REVIEW COLLECTION: The Nolan Files, Part I

WRITER'S NOTE: The following reviews were originally written and posted on my Instagram page @be.kerian in June of 2023. (The Dark Knight trilogy is not included, as that's in a category of its own. You can read more about that series here.) 

Momentum Pictures

Following (1998) 

Christopher Nolan is one of the most influential and dynamic filmmakers of the 21st Century. But many don't know that his feature film debut came right before the turn of the century. In 1998, he laid the groundwork for his trademark cerebral, nonlinear style, with this engrossing thriller. 

The detailed neo-noir Following centers on an English writer (played by Jeremy Theobald) who becomes obsessed with voyeurism, with his latest subject being an expert thief. With a haunting score, Hitchcock vibes, and a subversive twist from the get-go, Nolan's film (which he photographed on 16mm black-and-white film stock, as well as co-edited and co-produced) also deals with themes of materialism and the invasion of peoples' privacy, whether visually represented in a sea of faces in the street or in a small jewelry box. More importantly, the filmmaker's recurring theme of time here blurs the line between past and present--and the challenging question of who was really following who. 

TRIVIAL FACT #1: The Batman logo makes an appearance in one scene. (Seven years later, Nolan would revive that franchise with Batman Begins.) 

TRIVIAL FACT #2: One year prior to the release of "Following," Nolan made a 3-minute short film called Doodlebug. 

Newmarket Films

Memento (2000) 

There are few films that have had as profound of an effect on postmodern cinema as Nolan's sophomore feature. Essentially a noir-thriller in reverse, Memento (based on a short story written by Nolan's brother, Jonathan) follows a man with short term memory on a quest to find his wife's killer. Much like Quentin Tarantino did with Pulp Fiction, Nolan uses a non-linear structure to illustrate main protagonist Leonard Shelby (played superbly by Guy Pearce)'s fading memory and trust issues. 

The details in this film are key, from the numerous tattoos on Leonard's body to the Polaroid snapshots he takes of certain people and places, and the black-and-white segments intercut throughout (a subplot that, ironically, moves forward instead of back). Guided by Pearce's engrossing voice over narration, Memento exceeds being just a mere whodunit murder mystery, and more of a nail-biting and tragic character study. That goes just as well for the thought-provoking question of what's more reliable: notes, facts, or memories? As Leonard contemplates, "I have to believe in a world outside my own mind. That my actions mean something." 

The film is ultimately a morality tale of one man struggling with his own identity (and possibly self-deception?) and believing what he wants to believe, regardless of the facts. As one character tells the bleach-blonde Leonard, "Maybe you should start investigating yourself." 

Warner Bros. Pictures

Insomnia (2002) 

For his first major studio film, Nolan helmed this gripping slow-burn of a thriller. Insomnia is about a seasoned homicide detective (Al Pacino) who is assigned to a murder case in a sleepy Alaskan town where it's always daylight. Following an unexpected incident that haunts him for the rest of the film, the sleep-deprived Will Dormer soon gets caught in a twisted game of cat-and-mouse with a murder suspect (Robin Williams), while his fellow officer (Hilary Swank) questions Dormer's possible hidden agendas.

All three actors are in top form, particularly Pacino's multilayered and guilt-stricken detective, and Williams in one of his darker roles (although, his character in that year's One Hour Photo was a lot creepier). This also marks the only time that Nolan directed a film where he wasn't credited as a writer (that goes to Hillary Seitz, who adapted the 1998 Swedish film of the same name). Nolan's trademark editing style (reportedly influenced by Terrence Malick) was arguably first seen here, while Wally Pfister's haunting and misty cinematography adds to the film's challenging attention-to-detail clues (or misdirections) involving "wild cards" and choices that characters grapple with. This is a complex, disturbing, and engrossing thriller about moral ambiguity and personal demons. 

Buena Vista Pictures Distribution

The Prestige (2006) 

"Are you watching closely?" Perhaps no line best sums up the filmography of Christopher Nolan than from his 2006 mystery-thriller about two magicians whose friendship turns to rivalry. Hugh Jackman and Christian Bale headline an impeccable cast (including Michael Caine, Scarlett Johansson, and musician David Bowie) as the eponymous stage performers who spend years trying to unravel and outdo each other's secrets. To reveal anymore plot details would be to ruin the illusion. 

Penned by Nolan and his brother Jonathan, this subversive and engrossing story of betrayal, deception, envy, and tragedy has brilliant period production design, while its narrative is filled with various misdirections and slights of hand, often blurring the lines between what is an illusion and what is (shockingly) real. 

"Dear Journal": Doug's Disney Years

Courtesy Disney/ABC Network

Doug is one of the defining T.V. shows of the early-1990s. But even though it was technically the first "Nicktoon" to air on the ever-popular channel (followed by Rugrats and The Ren & Stimpy Show, respectively), it's been absent from such recent merchandising. The reason and history behind this is a complicated one. 

Doug premiered on Nickelodeon in 1991 and ran for four seasons before being canceled three years later. (A proposed fifth season, as originally contracted, never came to be.) By this time, the children's network was experiencing a high watermark in their animation department, much like Disney was going through with their own feature films in the medium. Doug, however, received low ratings and reported budget increases compared with the aforementioned programs (including the forthcoming Rocko's Modern Life). 

As series creator Jim Jinkins recounted in 2013 (read Mathew Klickstein's in-depth oral biography, Slimed), "Disney bought ABC, created 'One Saturday Morning,' and began to court my company, Jumbo Pictures [created by Jinkins and David Campbell in 1990]. So, should I stay with Nickelodeon, who is through with me . . . or get bought by Disney, where we get to create sixty-five new half-hours of Doug, a feature-length movie, Doug Live! for their theme park, toys, books, additional funding for development and production on many new series . . . ? To quote a famous movie line, They made an offer we couldn't refuse." 

To get right to the point, what was once an engrossing independent property (on Nick) later became a corporate and generic sellout (at Disney/ABC) that ran for three more seasons (1996-1999). From the very first episode of this "Brand Spanking New" incarnation, we know that things will never be the same. For one, the titular Doug Funnie's voice has changed (original voice actor Billy West was the only cast member who didn't return, and was replaced by Thomas McHugh, as Doug, and Chris Phillips, as school bully Roger Klotz). Roger has become rich. Best friend Skeeter Valentine goes through an elastic growth spurt. Secret crush Patti Mayonnaise gets homeschooled. The once-big-boned Connie Benge has lost a lot of weight. Rock band The Beets break up. And the Honker Burger has become a French cuisine spot. If that's not enough, spoiled rich kid Beebe Bluff gets a nose job and gets the new middle school named after her (complete in the shape of her head from a bird's eye view), while frequently-referenced juvenile delinquent Skunky Beaumont gets a face. (Wikipedia describes him as a Jeff Spicoli type.) 

Unlike the original 11-minute episodes, these 22-minute arcs have too many things going on--too many notes, as Mozart's critics would argue--and they go fast. Too many subplots, too much narration, and not enough quiet moments or time to breathe. (I wonder if this was to compensate two 11-minute shorts for the price of one.) Either way, much of the color and creativity was drained or squeezed dry. The animation feels cheap, much of the writing is poor and/or lazy with several been-there-done-that scenarios, and many of the characters and locations are rather shallow. 

Yes, change is necessary, and we all need to grow up and move on sooner or later. But, in retrospect, how this version of Doug ended up didn't (and doesn't) feel right. 

Rare marketing for Doug's 1st Movie (courtesy Disney 1999)

The 1999 feature film was originally slated for a direct-to-video release, but eventually shipped to theaters on the heels of Paramount/Nickelodeon's success with The Rugrats Movie the previous fall. Doug's 1st Movie (an ironic title, considering the film was not a financial success and didn't warrant further sequels) followed Doug and Skeeter trying to find and catch the mysterious "Monster of Lucky Duck Lake" (a frequent arc in the Disney series), while Doug tries to ask Patti to the Valentine school dance against arrogant eighth-grader Guy Graham. Despite a clever title intro and at least one moment of genuine, relatable adolescence, the film suffers from a generic storyline, overt sentimentality, ridiculous humor, and a pushy environmental cover-up. It does, however, highlight the importance of doing what is right, even if it isn't popular. 

Getting back to the Disney series, some of the themes are worthwhile. Patti goes through heartache and angst over the loss of her mother ("Patti's Dad Dilemma") and, for a time, an eating disorder ("Doug's Chubby Buddy"). Judy Funnie stands up for her family, despite their quirks ("Judy, Judy, Judy"). Superhero alter ego Quailman gets a colorful team of super-friends ("Quailman and the L.U.B."). And Doug reflects on everything up to the present, and after that, in the series' finale ("Doug's Marriage Madness"). 

The same goes for some of Dan Sawyer and Fred Newman's music themes, as well as some of the creative episode titles (courtesy Tony Eastman) and occasional film/pop-culture parodies (i.e., Citizen Kane, The X-Files, Braveheart, Look Who's Talking). With that in mind, two of the only episodes worth checking out in full are "Doug's Hoop Nightmare" (set during the summer before seventh grade, when the main characters still looked as they last did on Nick) and "The Dark Quail Saga" (Jinkin's favorite of the Disney episodes, written by series regular Joe Fallon). But at the end of the day, there were other coming-of-age shows at the time that did it much better (i.e., Recess, Pepper Ann, Hey Arnold!).

Said Patti's voice actress Constance Shulman (in Klickstein's book), "Hands down, I prefer the old Doug! The new Doug just wasn't the same. Hard to put into words. Perhaps not having Jim around as much and Tom McHugh--definitely awesome, but having to readjust to a new Doug--and I missed all the gang crammed in the studio, waiting for their turn for the big group scene. Someone just dimmed the magic a bit." 

Jinkins agrees (again, read Klickstein), "I will confess that I took my eyes off Doug too much during those Disney days once I got overwhelmed with all my responsibilities [as an executive]. The Nicktoons Doug stories were the most autobiographical, and I was the most hands-on with their creation." Here's hoping we get to see some of that classic Nickelodeon magic (including nostalgic merchandising with the rest of the Nicktoons gang), and maybe a better feature-film adaptation, someday. Until then, we have this terrific 2013 medley by Newman and Sawyer and these Nickelodeon "Splat" reunions between Jinkins, Newman, and West. Cool, man! 

EXTENDED REVIEW: "The Little Mermaid" (2023)

Disney (c) 2023

WRITER'S NOTE: The following review was originally posted on my Instagram page, @be.kerian, on May 27th, 2023. 

Let me be up front about this (and I think many people would agree): Disney doesn't need to remake all of their classic animated features into live-action movies. True, there have been exceptions (2015's Cinderella and 2016's The Jungle Book, among others), but there's a growing sense of oversaturation--or should I say overflowing waves?--and it seems to be showing no signs of slowing down. (A prequel to The Lion King and a Snow White remake are scheduled for next year.) 

That being said, this update of the 1989 animated musical, based on Hans Christian Andersen's classic fairy tale about a young mermaid who longs to be human and live on land, swims with flying colors. And while it doesn't exactly sink, it does tread waters that are both nostalgic and predictable. 

To me, the best live-action Disney pics work because they do something fresh and profound with their source material (hence, the aforementioned films). Others, meanwhile, fall short because they try to be currently relevant with certain agendas (looking at you, 2017's Beauty and the Beast). And while some moments in this new Mermaid are unmistakeably shot-for-shot replicas of its 2D predecessor, it mostly stands on its own two feet--and without pushing on its audience. 

The musical arrangements (along with original composer Alan Menken's enchanting score) are wonderful if a bit overdone, while new songs by Lin-Manuel Miranda (a fan of the original) give the story a profound and witty spin. (Highlights in this roster include a new song for Ariel, and an additional, bittersweet reprise of one famous ballad.) And let's not forget actress Halle Bailey's awe-inspiring rendition of "Part of Your World". 

Disney (c) 2023

The casting is ideal, with Javier Bardem as a fitting King Triton, Melissa McCarthy as the campy and cunning sea witch Ursula, and Daveed Diggs (who originated the role of the Caribbean-accented Lafayette in Miranda's Broadway smash Hamilton) nearly stealing the show as sea crab Sebastian. Prince Eric (played by Jonah Hauer-King) is even given surprising layers and connections with the titular heroine. But its Bailey (of the Grammy-nominated music duo Chloe × Halle) that beautifully and soulful makes the role of Ariel her own, and carries the film. (Original voice actress Jodi Benson even makes a cameo.) 

Speaking of Ms. Bailey, I do believe the criticisms (and online trolls) towards her casting from Day One have been completely unfair and mean-spirited. But the film has generated other forms of controversy since its release last month. Black activist Marcus Ryder wrote a blog post criticizing the film for overlooking the harsh realities of slavery in the Caribbean Islands in the 1800s, where this particular story is set. This same writer, however, did also say he enjoyed the film as a fantasy-adventure, and commended it for celebrating Black beauty, but implored readers by saying, "We owe it to our children to give them the most amazing fantastical stories possible to help their imaginations grow." Ryder continues, "We do not do this by ‘whitewashing’ out the difficult parts of our history. We do it by embracing our rich history and empowering them with the truth.” Ryder adds that, had the story been set in another country like Haiti (after slavery was overthrown), it would've improved the story "without sacrificing historical accuracy." A solid point, and something to think about. 

All controversy aside, others have praised the film for improving on the original in many ways, including making Ariel a more proactive and self-aware, even feminist, lead. To her credit, Halle Bailey adds a more layers and "nuances" to Ariel's character arc, giving her a thirst for adventure and not just a mere romance. (Her new song in the film is a great example of this.) Regardless of how you feel about the new movie, I think most of (if not all of) us who have seen it can agree that Bailey is absolutely amazing! Her voice is incredible. Her personality is infectious. And she's already making a big impression on little girls and people of color who are seeing themselves onscreen. (One adorable video on social media sees her meeting a young fan at Disneyland.) That fills me with joy, and I couldn't be happier for this young lady and the many uncharted waters she has yet to explore. And the fact that Bailey has gone through this whole journey with such grace and humility speaks volumes to her integrity and character. Now, that's something to be admired. 

All in all, this new Mermaid is both fresh, familiar, and, in its own way, exceptional. It's also a lovely commemoration for the Mouse House's 100th anniversary. (Just look at that new company logo if you don't believe me.) Now if only they could use more discernment and calm the tides of their live-action remake assembly line. 

The Magic of Disney Animation, Second Edition: Out of the Sea, Part of Our World, and The Birth of a Renaissance

[Courtesy Great Big Canvas]

WRITER'S NOTE: The following was originally published on March 24, 2020. 

The progress that Disney's Feature Animation division had been making throughout the 1980s had been building up to something, one way or another. And in 1989, it came in the form of a mermaid longing to be human, and who raised her head out of the ocean and literally sung to a new generation.

Based on Hans Christian Andersen's classic fairy tale of the same name, The Little Mermaid became the liviest feature the studio had made in so long. Reportedly, the Mouse House had put more resources into this film than any other up to that point, including the most elaborate water effects created since Fantasia and Pinocchio in 1940. (Seriously, the time they put into animating the millions of bubbles alone is fascinating.) Not to mention some of the most electric and catchy songs ever written and composed in the studio's history, including the showstopping "Under the Sea" and the perfectly-serenading "Kiss the Girl".

Mermaid also represents one of Disney's most complex films, in terms of character dynamics and relationships, which add a contemporary spin while honoring its literary source material. The traits of the titular Ariel, for one thing, redefined the role of a Disney princess for a new generation. As animator Mark Henn described, while the classic female characters (Snow White, Cinderella, and Aurora) were "reactive," Ariel and subsequent others (like Belle Jasmine) were more proactive, taking their own steps in their respective journeys/stories. Ariel wants more than the stuff of human life (she keeps hundreds of worldly items in a secret cove). She longs to really live as they do. And if one looks closely, they may find some surprising spiritual aspects in Ariel's dreams ("Up where they walk," anybody?). She also expresses universal body language when she's on land without her voice (a testament to the animation by Henn and Glen Keane).

For the sake of discerning families reading this: while Ariel is an amazing character (voiced and sung memorably by Jodi Benson), she can also be very rebellious, angsty, have "daddy issues" (something Jasmine from Aladdin would later have in common with her), and make questionable choices. Chief among said choices is instantly falling for a young man she barely knows. Plus, the subplot of her making a deal with an undersea witch where she trades her beautiful voice for human legs (the scheming Ursula is, no doubt, one of the scariest and most dynamic Disney villainesses, alongside the Queen, Maleficent, and Cruella DeVil) probably wouldn't fly today. On the other hand, the theme of the cost of selling yourself in exchange for something else has cautionary undertones. 

On that same note, the role of Prince Eric is more than just a one-note leading man (as most iterations in previous Disney fairy tales have been the case). His intentions in waiting for the "right, and not just marrying for the sake of it, are noble. Plus, he does demonstrate sacrifice, redemption, and genuine acts of love. As for the role of King Triton (while also questionable at times), there's the theme of letting children grow up and allowing them to live and lead their own lives (as the scene-stealing crab Sebastian says).

Revisiting the film, I marvel at the colorful and beautiful animation, the story's emotional arc (especially the iconic "Part of Your World" motif, which was almost cut from the film a la "Over the Rainbow" from The Wizard of Oz), the unforgettable music by Howard Ashman and Alan Menken (his first of many contemporary Disney scores), and thrills from its strong sound design and aforementioned underwater effects. The result is enchanting and entertaining. The Little Mermaid also turned out to be the last hand-drawn film made by the studio before they transitioned to a new digital ink-and-paint system that would redefine the look of the modern Disney feature from thereon.

FILM FREEQ ARCHIVES: "Fast and Furious" Franchise (Second Edition)

WRITER'S NOTE: The following was originally posted on my Instagram page @be.kerian on May 25th, 2021. 

It's interesting to look back at the origins of a film franchise. In the case of The Fast and the Furious, most people may forget that the original movie from 2001 (has it really been that long?) was a gritty street-racing crime drama. The film is dated by today's standards, although it no doubt made stars out of Vin Diesel (as Dominic Torreto), Paul Walker (as officer Brian O'Conner), Jordana Brewster (as Dom's sister, Mia), and Michelle Rodriguez (as tough-as-nails Letty), to name a few.

Its trademark melodramatic dialogue, fast cars (that climactic highway sequence is a standout), and objectified sexuality would carry over into three mediocre sequels. 2003's 2 Fast 2 Furious did feature scene-stealing roles from Eva Mendes (as a Miami officer) and music artists Tyrese Gibson (as the fast-talking Roman) and Ludacris (as the tech-savvy Tej). 2006's Tokyo Drift had impressive, practical drift racing. And 2009's Fast & Furious marked Gal Gadot's big screen debut (as racer Giselle). 

(L-r) Vin Diesel and Paul Walker in The Fast and the Furious (2001, Universal Pictures)

It wasn't until 2011 when a fifth movie (titled, Fast Five) took the series in the direction we know today. Released just as Marvel was establishing their now-iconic cinematic universe, the Fast saga became its own thing with its aforementioned insane action, larger-than-life narrative threads featuring characters from different installments, and almost mythological undertones. Five had a good balance of all these elements, not to mention practical stunts and effects, as well as consistent themes of family and freedom. (To be sure, these movies aren't for everybody.) 

2013's Fast & Furious 6 seemed like an excuse to bring the same team back together, and most importantly Rodriguez as Letty (who did have a signature brawl with MMA pro Gina Gerano). Since then, the series went full-throttle with over-the-top, physics-defying mayhem. 2015's Furious 7 ended up being a poignant chapter, considering the unexpected death of Walker, who was given a fitting and respectful send-off in this genuine, roller-coaster blockbuster. This is arguably where the series should have concluded, whereas 2017's The Fate of the Furious and the 2019 spinoff Hobbs & Shaw seemed unnecessary, squeezing dry all the tension from the 6th and 7th movies for the sake of subversive humor. (Charlize Theron, on the other hand, did make a great villain in Fate.) 

(L-r) Paul Walker and Vin Deisel in Fast Five (2011, Universal Pictures)

With 2021's F9, I think enough time had passed where it became exciting to see the old gang again, along with John Cena (as the film's new baddie) and some more crazy action. And the resulting chapter is, like many its predecessors, definitely a cinematic experience, especially in IMAX. But it also may be a middling one. While its character emphases and arcs are noteworthy and surprising, its convoluted plotholes may leave many (especially those not caught up with this two-decades-and-counting franchise) feeling dazed and somewhat disappointed. With reportedly two more films to go (starting with this summer's Fast X), it's anyone's guess as to whether this series stays in the same lanes or truly takes some unexpected routes. 

REVIEW COLLECTION: The MCU, Phase 4 (Updated and Expanded Edition)

WRITER'S NOTE: The following was originally published on May 9, 2022, based on a collection of reviews posted on my Instagram accounts @be.kerian and @film_freeq (the latter is no longer active, as of this writing) in 2022--and later from early 2023. They’ve been organized chronologically, based on initial release dates, and have been slightly edited. ALSO: I do not own the rights to the included images. 

Now that I've caught up on the numerous Marvel shows on Disney+ (as well as feature films in the fourth phase of their Cinematic Universe), I have to say that I'm generally impressed with what they've done--despite not being entirely "family-friendly". (Then again, like their films, they manage to stay within PG-13 boundaries, even while occasionally pushing the envelope in terms of intense violence and problematic language/crass content peppered throughout.) 

WandaVision (2021) 

A unique throwback to the evolution of television since the 1950s, merged with Marvel's blockbuster aesthetic. Former Avengers Wanda Maximoff a.k.a. the Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) are at the center of this genre-bending narrative, providing clever homages to everything from I Love Lucy to Malcolm in the Middle and Modern Family. Meanwhile, this inexplicable "world" is a place where things aren't as they seem, as government agents try to solve the mystery behind these strange occurances--and why/how Wanda and Vision are at the center of it. Olsen and Bettany are as committed as ever, while Kathryn Hahn is a surprising standout in this genre-bending miniseries. You may never hear The Monkees' "Daydream Believer" the same way again. 

The Falcon and the Winter Soldier (2021) 

Sam Wilson (Anthony Mackie) and Bucky Barnes (Sebastian Stan) team up to uncover a global conspiracy, even as they find difficulty adjusting to a world without Steve Rogers. This series is the most gritty and palpable of the aforementioned shows, echoing the political-thriller vibe established in 2014's Captain America: The Winter Soldier. Wyatt Russell is engrossing as a potential successor to the Cap mantel, despite complex layers and agendas throughout. Ditto Erin Kellyman as a super-soldier runaway and rebel organization leader. Next up: Captain America: New World Order in 2024! 

Loki (2021) 

The ever-popular Norse "god of mischief" (Tom Hiddleston) finds himself in a strange time variant loop following the events of 2019's Avengers: Endgame. Both this series and WandaVision are very creative and subversive in the directions they take with their cast of characters and how they effect the MCU from thereon. How they do it, I won't say. Except to say that Owen Wilson (as a time variant agent) is along for the ride. A second season is on the way in 2023, as part of the MCU's Phase Five. 

Black Widow (2021) 

Agent/assassin Natasha Romanoff finally makes her long-awaited solo feature debut in the MCU--and kickstarting a postponed fourth phase on the big screen (after WandaVision did on the small screen). In a story set between the events of 2016's Captain America: Civil War and 2018's Avengers: Infinity War, the Black Widow is on the run while seeking to bring down the very secretive organization that made her who she is. 

A thoroughly gripping and intense experience (arguably the first of its kind since 2014's Captain America: The Winter Soldier). Some of its humor is a bit out of place, especially during scenes with Natasha's Russian family (David Harbour, Rachel Weitz, and a breakout Florence Pugh), but this was made for the big screen where it belongs. Scarlett Johansson (in her final MCU outing) has come a long way, and counting. (Originally scheduled for a May 2020 release, but postponed for a year, due to the COVID-19 pandemic.) 

What If . . .? (2021) 

An animated anthology series that takes events from previous MCU films and flips the script in alternate realities. High points include seeing Agent Peggy Carter (Hayley Atwell) as the next Captain America, and T'Challa/Black Panther (Chadwick Boseman, in his final screen credit) as a ravager in the Guardians universe. Jeffrey Wright perfectly narrates as the mysterious Watcher. A very daring and polarizing risk that may leave many fans and viewers scratching their heads.

Shang-Chi and the Legend of the Ten Rings (2021) 

I've got to be honest, I had low expectations for this martial-arts action-adventure--the second film installment in Phase Four of the MCU. But I was quite blown away by how good it was. 

Sure, Shang-Chi has dynamic and genuine action sequences (despite the fact that half of it is clearly CGI), a killer score, slick direction (courtesy indie filmmaker Destin Daniel Cretton, of Short Term 12 and Just Mercy), and an awesome cast (mostly Asian and Asian-American actors, including the legendary Michelle Yeoh). But it has a strong, beating heart in its central story of the son of a centuries-old assassin and the complicated family dynamics, misguided use of power, and past mistakes he has to face and ultimately make right. The film does lose a bit of momentum in its second act, and some of the dialogue (unnecessarily crass at times) could've easily been avoided; it even gets surprisingly dark with its elements of mysticism and Eastern spirituality. 

Overall, this is an exciting (if occasionally benign) blockbuster that goes in unexpected directions, showcasing, in the process, how to take what we've learned from those before us and making it our own. Wow. This is one of the biggest surprises of 2021. 

Eternals (2021) 

One thing that's for certain about Marvel Studios, fan or not: they never lack ambition. Even after two monumental Avengers finales and now four phases into their already-unprecedented franchise, Eternals represents one of their most daring and challenging films. Based on Jack Kirby's celebrated comic book series of extra-terrestrial beings who have been on Earth for thousands of years, there's a lot to like about this epic story, as much as there is to be confused by (especially if your not familiar with the history of the series or characters). 

First the good news: the film looks and sounds stunning (especially in IMAX, despite its distracting aspect ratio shifts). The cast is stellar--further proof of Hollywood's significant shift in onscreen and cultural representation, not to mention universal appeal. (Deaf actress Lauren Ridloff is a standout as Makkari.) And the fact that it was shot at real locations around the world (my hats off to director Chloe Zhao and crew) adds to its authenticity and rich world-building. 

That being said, that world-building and mythology can be hard to follow, considering the story jumps back and forth between various time periods in which our central characters have lived through. It can also get very meandering and too introspective. At more than two-and-a-half hours, Eternals (much like another Disney-produced feature this year, Cruella) feels longer than it needs to be, even more than Zack Snyder's Justice League--and that one was barely over four hours in length! Like I said, Marvel Studios never lacks ambition. Only time will tell how this world within their cinematic universe will thrive or shake from here. 

Hawkeye (2021) 

Clint Barton just wants to spend Christmas with his family, but suddenly finds himself thrust into a mission with young archer (and fan) Kate Bishop. This series is thoroughly entertaining, and benefits from the presence of the always-engaging Jeremy Renner and the multi-talented Hailee Steinfeld, respectively. 

Spider-Man: No Way Home (2021)

I mentioned in one of my previous Spider-Man reviews the term "oversaturation," which makes sense in this day and age of multiple franchises and studio tentpoles. In my review for last month's Ghostbusters: Afterlife, I didn't bring up the term "fan-service," which makes more sense when analyzing that sequel in retrospect. 

Both of those terms could easily apply to the MCU's third solo Spider-Man movie starring Tom Holland. At least on the surface. If you've been paying attention to the trailers and marketing, you know by now there would be appearances by former foes like Alfred Molina's Doc Ock and Willem Dafoe's Green Goblin. But No Way Home is way more than that. In fact, it's better.

Not only does it subvert all expectations out of proportion--and you're in for a whole load of surprises! This is a powerful story of second chances and making the right choices, no matter how difficult. And it's not only the best solo Spidey entry in the MCU (honestly, they've been doing an incredible job overall with these installments, and third time really is the charm here), but arguably the best moviegoing experience since Endgame in 2019. Trust me, this one is worth going to the theaters for. My only warning: prepare to be wowed!

And one more thing I'd like to mention: much like Jared Leto got to revisit (and reimagine) his version of the Joker in Zack Snyder's Justice League, so here does Jamie Foxx get to revisit his rendition of Electro from 2014's The Amazing Spider-Man 2. I did mention second chances, didn't I? 

POSTSCRIPT: An extended edition of No Way Home was released in theaters over Labor Day weekend of 2022, featuring over 20 minutes of footage not shown during the film's initial release. Some of these scenes--including a new post-credits segment--involved Midtown High School reporter Betty Brant (yes, that one), as well as another certain crime-fighter's alter ego. The former scenes drag a bit, but the overall thrill of seeing Peter Parker going up against multiple villains from different universes is still in tact. 

Moon Knight (2022)

A lesser-known Marvel property that is thoroughly convoluted and murky as it is ambitious. Oscar Isaac gives convincing dual roles (as an English gift shop employee, and as an assasin) in a grand story set in ancient and contemporary Egypt. The mild-mannered Steven Grant (who suffers from a sleep disorder) soon discovers he has been given the powers of an ancient moon god, alternating between his own world--and personality--to that of several others. (This is the MCU's "Multiverse Saga," after all.) This is overall the least of the aforementioned series on Disney+, in the same league as 2021's Eternals. Although, it does get interesting after a mind-blowing twist halfway through, but only just.

Doctor Strange in the Multiverse of Madness (2022)

On the heels of Spider-Man's previous experiences with the "multiverse" (see 2018's phenomenal Spider-Verse and 2021's awesome No Way Home) and the ambitious Daniels feature Everything Everywhere All At Once, Benedict Cumberbatch's Dr. Stephen Strange has an even more head-trip of a journey through the very concept in this sequel to 2016's psychedelic origin story. Let's just say the plot involves Strange protecting a universe-jumping teenage girl (a breakout Xochitl Gomez, as America Chavez), with Elizabeth Olson's Wanda Maximoff a.k.a. the Scarlett Witch thrown in. 

If you've seen WandaVision and What If . . .? on Disney+ (and the latter aforementioned Spidey flick), then Multiverse of Madness will make more sense. All you need to know, otherwise, is the experience is jaw-dropping (surprise appearances will blow your mind) and polarizing (arguably the studio's first since 2018's Infinity War). This is, after all, Marvel's first full-on horror feature disguised as a superhero adventure; Sam Raimi (who returns to the director's chair after nearly a decade) is a veteran of both genres, having previously made the Evil Dead and Tobey Maguire Spider-Man trilogies. 

The result is, shall we say, a strange blend of thought-provoking themes (i.e., what could've been, the dark sides of various characters); incredible cinematography, art direction, and action sequences (especially in IMAX); chilling sound design; and frightening (sometimes, demonic) imagery that more discerning families ought to think twice about. At least there are other, less problematic, viewing options in this cinematic universe. 

Ms. Marvel (2022) 

Continuing its push for more diverse stories and characters, Marvel presents Muslim-American teenager Khamala Khan, a die-hard Avengers fanatic (especially of Carol Danvers) who soon discovers a long-kept family secret that she may be carrying her own superpowers. Granted, this six-part series weilds some ridiculous CGI and some misplaced humor. But its sense of multiculturalism and emotional stakes improve as the series nears its climax, with rich mythology (recalling Moon Knight), references to Bollywood movies, some clever eye-popping animation interludes, and ultimately a lead-up to 2023's highly-anticipated The Marvels. Move over, Kate Bishop and Yelena Belova. You've got company. 

Thor: Love and Thunder (2022) 

Thor has now officially bested fellow Avengers Iron Man and Captain America with the most solo outings in the Marvel Cinematic Universe. It's interesting that it took as many films for Chris Hemsworth's God of Thunder to find his own unique footing, and counting.

Thor: Love and Thunder redefines the "go big or go home" aesthetic of blockbuster moviemaking. It's thrilling. It has exciting set pieces, visual feasts for the eyes (including the sights of Omnipotent City), and energetic action sequences. The aforementioned banter works best during moments of camaraderie between Hemsworth, Tessa Thompson's Valkyrie, and Natalie Portman's "worthy" return as Jane Foster a.k.a. Mighty Thor. (Don't ask me how.) It's also cool to see the Guardians of the Galaxy in on some of the action, and to hear several 80s rock anthems (especially Guns 'n Roses' "Sweet Child of Mine") put to good use. 

However, like Thor's current identity crisis and damaged Mjolnir hammer, Love and Thunder struggles to hold itself together. One minute, it's rapid-fire witty, and the next, it's quite dark (a standout Christian Bale is menacing and frightening as the villainous Gorr). The film ups the ante of its content issues from the last installment, not to mention the industry's growing inclusion of LGBTQ representation. (Okay, not every mainstream movie has to have these just for the sake of them, or to try and stay relevant.) Plus, the film's handling of various spiritual/religious elements will make it hard for more discerning or sensitive viewers to navigate through. Thor may have the most solo MCU movies at this point. But, as he himself may be the first to admit, he still has some growing to do. Something similar could be said for Marvel's current phase, which has no doubt been ambitious as it has been challenging. 

I Am Groot (2022) 

This series of 5 four-minute shorts centers on the baby  humanoid tree from Marvel's Guardians of the Galaxy franchise. Vin Diesel reprises his iconic role as the titular creature takes his first steps out of a flowerpot, discovers a tiny colony of cute critters, has a dance-off against a shape-shidting stranger, has a sauna that makes him look like a chip pet, and makes a group portrait out of an A.L.F. comic book. Visually eye-popping and appealing. 

WRITER'S NOTE: The "Bath" segment has a few references to gender confusion, while Groot's childlike nature occasionally results in some explosive mayhem. 

She-Hulk: Attorney at Law (2022) 

The MCU turns on itself with this completely subversive legal comedy, based on the comic book series centered on Bruce Banner's attorney cousin, Jennifer Walters. Struggling to balance a work life and a new role as a "superhero," Jen's clever fourth wall narration (thanks to lead actress Tatiana Maslany) throughout this nine-part miniseries almost gives the equally-meta Deadpool a run for his money, as she takes on numerous cases and encounters old rivals, as well as a few new allies (I won't say who). In agreement with some critics, the CGI is, at times, uncanny. Plus, some of this show's more problematic elements do get a little too crass and suggestive at times (particularly references to casual sex). But the meta humor ultimately pays off by the finale, with eye-popping animated closing credits as icing on the cake. (Green icing, that is.) 

Werewolf By Night (2022) 

Next to Multiverse of Madness, the MCU fully embraced the horror genre once again with this brilliant homage to Universal monster movies of the 1930s and 40s. The story centers on a group of international creature hunters (including Gael García Bernal and Laura Donnelly) as they compete for their wealthy leader's estate. Celebrated composer Michael Giacchino makes an impressive directorial debut here. But this morbid tale is also very occultish, violent, and bloody--even in black-and-white. To paraphrase author R.L. Stein: "Viewer beware! You're in for [more than] a scare." 

Black Panther: Wakanda Forever (2022) 

Any discussion of the Marvel Cinematic Universe these days would be remiss without mentioning the impact that the late Chadwick Boseman a.k.a. T'Challa a.k.a. Black Panther has had not only on the franchise, but the entire world. And his absence is felt throughout this powerful follow-up to the surprise 2018 movie phenomenon. 

Director Ryan Coogler and company waste no time in honoring Boseman's memory, while also telling an epic and compelling story--rich in culture and mythology--about carrying on a legacy and mantel in the face of loss and grief. From Ruth Carter's stunning costume design, to Ludwig Gorannson's jaw-dropping score, adrenaline-filled set pieces, and fully-committed performances (including returning players Leticia Wright as Shuri, Danai Gurira as Okoye, Lupita N'Yongo as Nakia, and Angela Bassett as Queen Ramonda), Black Panther: Wakanda Forever is an exceptional follow-up that expands the MCU while still being an equally exceptional standalone film in its own right.

The Guardians of the Galaxy Holiday Special (2022) 

In quite possibly the first time since that infamous Star Wars holiday special back in the early-1970s, Marvel decided to give the Guardians franchise their own Christmas. The plot centers on Drax and Mantis deciding to cheer up Peter Quill by heading to earth and kidnapping, of all people, Kevin Bacon. Featuring James Gunn's trademark wit, macabre and twisted sensibilities, a rocking 80s soundtrack, and visual spectacle, this Disney+ special (like its cinematic predecessors) crosses into some edgier territories that aren't kid-friendly (i.e., one scene of excessive drinking; others involving property damage). Than again, it has more to do with the secular version of the season. A few other elements that stand out: some animated flashbacks (in the style of Ralph Bakshi), and the debut appearance of Cosmo the Space Dog (voiced by Maria Bakalova). 

Pixar Filmography, Volume 4: What To Remember About "Coco"

When Pixar first set out to make Toy Story in the early-1990s, one of their goals was to not make a musical. Twenty-two years later, they ended up going that route--but in an unconventional way--with the fantasy-adventure Coco. 

This spiritual and emotional journey (courtesy directors Lee Unkrich and Adrian Molina) is set during the indigenous holiday known as "Dia de Los Muertos" (or, Day of the Dead), where a young boy named Miguel plays and loves music, despite his family's outright detesting of it. He eventually meets his ancestors when he inadvertently ends up in the Land of the Dead. He also meets a charismatic trickster named Hector, before journeying to meet his music hero, the famous Ernesto de la Cruz, who may or may not be his great-great-grandfather. 

Sure, this vibrant, dazzling, and colorful story features original songs (one by Frozen songwriters Kristen Anderson-Lopez and Robert Lopez) inspired by the country of Mexico. But its characters (including the ambitious Miguel) perform them at venues and other related events throughout the film, resulting in a very grounded approach. (This is something the 2018 remake of A Star Is Born also did very well). 

Miguel and Mama Coco

Coco also represents a stepping stone for onscreen cultural representation, and not just for Pixar or animation in general. Its artistry is breathtaking (such as when Miguel first crosses the leaf bridge) and its character designs (particularly the unique skeleton forms in the Land of the Dead) are idiosyncratic. More importantly, the film is very respectful of Mexican culture, from its customs to its indigenous communities.  

However, the film does step into murky waters with a paganistic and humanistic worldview and an idolized view on family, with no suggestion of a Higher Power--with the exception of one character making a cross signal. (One scene, in particular, suggests that, according to said worldview, once people in the afterlife are completely forgotten, they disappear forever. A depressing fact, indeed.) In addition, the humor, while witty,  often plays on the macabre. With that in mind, Coco is not a film I recommend for younger children; parents will need to navigate some of its more mature and theological elements (including allusions to cancel culture). 

On the other hand, the film does a few things right. As Cars 3 did, Coco illustrates the power of untold stories from people long-forgotten. Other themes include the pursuit of worldly success and the terrible cost involved, along with the hurt, anger, and even lack of forgiveness, that comes with it. The same goes for the danger of looking up to those who seem great but turn out to be the opposite (and vice versa). In the case of Miguel's family line, things go from the pursuit of happiness and self-worth to recognizing the importance of family and remembering (and forgiving) loved ones. Hence, the profound and endearing track "Remember Me" (especially when its true context is revealed, which you'll need a box of kleenex for). Now that's a life-affirming message worth remembering.