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So I finished watching Suicide Squad the other night while I was also wrapping Christmas presents, and thus I wasn’t completely wasting my time. I posted some brief reactions to the film on Twitter, and pal Andrew said in response to my negative review:
…And that’s fair enough. I admittedly am not the most critical of film-goers (“Frank Miller’s The Spirit!” everyone shouts at me in unison), and I usually can eke out some value from nearly any movie, even if as a whole I realize it’s kinda lousy. And I realize this may be the kind of out-there crazy talk that none of you will be willing to buy, but sometimes a bad movie can be fun, and you can immerse yourself in it and sympathize with the characters and be invested in the plot even as all the while the more rational part of your brain whispers to you “this ain’t good.”
Suicide Squad ain’t that kind of movie. It’s mostly just bad, with a jumble of characters and scenes and a whole lot of shouting and running around and you don’t really care about any of it. Like Avengers: Age of Ultron, the film depends on the concept of “here are a bunch of comic book characters on the screen together” to do the heavy lifting, without realizing that what was once novelty is now old hat, and you need a little more sauce than that to keep interest up.
Among the annoyances: characters develop some form of camaraderie not really through anything you see in the movie, but mostly because at one point it’s necessary to move the action along. The animated on-screen “bios” for the Squad members is supposed to come across as irreverent and wacky, but simply feel forced and pandering. And the Joker…now, everything I’ve heard prior to seeing the movie seemed to imply that there was a lot less Joker in the film than anyone expected. Frankly, I felt like there was too much Joker in the film…a little of him went a long way, and this much of him went too long.
Not to say there weren’t bits that I could have enjoyed. I thought Will Smith as Deadshot and Margot Robbie as Harley Quinn fit the roles well, and did what they could with what they were given. Jokes fell flat, emotional development fell flat, dialogue just kinda hung out there to dry…the one bit I’ll give ’em is the idea that Deadshot’s daughter is totally aware of what her dad does for a living, and just deals with it. I also liked the creepy visuals of the Enchantress, and at first thought she’d be my favorite character in the movie until the rest of the film dissuaded me from that particular notion by turning her into another Big Glowy Bad Guy for the “heroes” to defeat.
I also liked seeing Ben Affleck’s Batman again, and I even enjoyed the 3 seconds or so of the Flash that we got.
But overall…Suicide Squad didn’t do it for me. I understand there’s an Extended Cut (the Netflix rental I saw is, I think, just the theatrical version), but I don’t know if the extra material provides some of the necessary connective material to flesh out the film, or it’s just more stuff to pile onto the mess that’s already there. There are a lot of pieces present that could be beaten into a good, or at least watchable, film…we’ll see what happens when the sequel shows up.
• • •
So my pal
has undergone her name change…she’s Tegan O’Neil now, and if you need a reminder, please start with this post
to understand where she’s coming from and where she’s going. She could also use a bit of assistance as she completes her transition during the new year…of course she has a Patreon
to support her writing, but for a little more immediate help please consider donating to her GoFundMe account
. Not that it was a piece of cake before, but this kind of life change will likely be more of a challenge in the years ahead, so if you can support her, or anyone else in your lives going through something similar, I am positive they’ll be grateful for it.
I received a certain item in the mail this week…that item being the Blu-ray disc of the Suicide Squad movie from Netflix, which I never made it out to the theater for. Not sure when I’m going to make room in the schedule for it, what with Christmas looming in the very near future and me with shopping and wrapping to do still. (I haven’t even made it out to the new Star Wars movie, which makes the Ghost of 8-Year-Old Mike loom over me and shake his head in disapproval.) Anyway, I’ve been curious about the film, even though I’ve heard only generally negative things about it from other comic folks…but then again, I’m the Guy Who Liked Batman V Superman so maybe I’ll be more favorably inclined toward it. I will say that my initial reaction to trailers and stills is that it appears all dirty and grimy and sickly and yeccchh so the movie may have a struggle overcoming my visceral negative response to its looks.
Yes, I did watch the first episode of the new Justice League Action cartoon, and yes indeedy, it does contain the Swamp Thing/Plastic Man team-up the world has been clamoring for. Also featured: an all-ages appropriate John Constantine, who is more British than approximately 10 British men in, at least, this initial installment. There’s a story reason given for his particular style of dialogue, but I hope that’s how he’s portrayed consistently in the series because it’s hilarious…and probably can be read as a critique of how folks can kind of go overboard writing his dialogue in the comics.
Anyway, I had a hard time pulling a still of Swampy from any of the clips I saw online, so here’s a link to the trailer where the timestamp should take you directly to Swamp Thing getting clobbered by Solomon Grundy. Not his most dignified moment.
So it turns out I was able to pick up the Batman: The Killing Joke Blu-ray for a reasonable price (“not cheap enough!” I already hear some of you saying) so I was able to form an opinion on the thing for myself rather than depending on the internet’s wailing and gnashing of teeth that followed its unleashing upon the world.
And…well…I mean, the cover’s nice:
…though looking at a large version of the image, I can’t precisely tell if this is a brand new image based on the cover of the original comic, just with extra details that extend beyond the borders of that comic’s cover, or if it is the original drawing, with those additional details added after the fact, or what. My vote’s for brand new drawing, since it wouldn’t surprise me if Brian Bolland exactly duplicated every strand of hair, every glare on the camera, for this new image. There are enough little differences that could be attributed to recoloring/Photoshop manipulation, I suppose, but…
“Hey, Mike, what about the actual cartoon?”
…Now, the discs inside are certainly very round, with nice labels, and…
Oh, okay, fine.
What we have here are two very different cartoons basically just glued together to make a feature with the expected run-times of DC’s usual home video product. You have the first half (more or less), which is relatively standard issue Batman/Batgirl fighting bad guys, and the second half which is the actual adaptation that you presumably bought the movie for. The big problem is an issue of tonality…the second part does not flow from the first part. You have slam-bang action with relationship melodrama, and then you swing into a story that, as originally presented in print form, has a measure of melancholy and introspection that the cartoon at least attempts to duplicate.
The elephant in this particular room is of course that Batgirl and Batman perform, to borrow a phrasing from my initial Twitter response, the horizontal Batusi in the first half of the story. Now, this seems very much to be wildly inappropriate for the characters, to say the very least, given the “mentor/student” relationship that the two have…and is in fact reinforced throughout this half of the film, despite Batgirl’s efforts to alter that status. Batman even says to her at one point “we’re not equals,” emphasizing the apparent power imbalance that makes this “hook-up” even more cringeworthy. Yes, in context, they’re both adults, but that’s not how their relationship has ever read. At any rate, I will say that to the film’s credit, their sexual encounter is presented as a Very Bad Idea, so for a one-off film, I suppose can deal with it…
…Not that there’s any real point to it, beyond (as I’ve seen some folks suppose) to give Batman even more reason to hunt down the Joker, since apparently just shooting one of his crime-fighting partners and, oh, the simple fact that he’s the Joker aren’t enough. This is part of the larger idea that the producers added this extended prologue to give context as to who Batgirl is, so that we’ll feel the loss more when Joker shoots her in the back half of the movie (oh, SPOILERS, by the way) and…I don’t know. I feel like if you had to it, an entirely separate adventure, giving us not just the classic context for Batgirl but the Batman/Joker conflict as well, would have provided sufficient contrast and not have diminished the whole by pretending to be part of “The Killing Joke.”
Now the actual adaptation itself is…serviceable, if viewed as its own thing. There are some highlights, like Mark Hamill’s voicework as the pre-Joker Joker, which was as good as I’d hoped. He sounds like a perfectly normal guy…with just the faintest hints of his eventual Joker voice at the edges. And the scene where Barbara opens the door and the Joker is waiting there with the gun pointed at her…that’s just as terrifying and horrible as it needs to be. In fact, that entire scene is probably the best paced of the film, and most closely resembles the source material. There are attempts at some of the visual transitions from the comic, too, and those aren’t too bad, I suppose.
But overall this trip didn’t feel necessary. Nothing’s really added by giving voice to the dialogue, by making the pictures move. Part of the appeal of the original Killing Joke is, like I’d said, the quiet melancholy, as in the scenes where the Joker is clearly reflecting on his past. And Batman’s opening speech to who he thinks is the Joker, about how he’s been “thinking about you, about me” — that works read on a page. It doesn’t work when read out loud. Even the joke that ends the story…the timing on its telling feels like it’s off…and we don’t get the sirens that drown out the laughter, even though Batman has explicitly said that the police will be coming. You can still interpret the ending in this way, however, which is a good thing since in my mind I do think that’s an important part of the story.
It’s like animating The Killing Joke has made it smaller, taking its sadness and its nightmarish qualities and reducing them to Just Another Cartoon, and tacking on an unnecessary prologue didn’t help.
I mean, believe it or not, I’m glad I saw it…I think it’s interesting from the perspective of what happens when direct adaptations like these are attempted (see also The Dark Knight Returns and Watchmen), but maybe we’re better off when these stories are used as inspirations for new media adaptations rather than expecting accurate translations.
So just on a whim (mostly because I was reminded of the film the other day and that I hadn’t seen it) I rented 1988’s Elvira: Mistress of the Dark from Netflix, and…well, it was amusing enough, I suppose. Elvira’s always likeable (unless, I guess, if you’re Vampira) even when the material is a bit slight, and even though my brain is still refusing to process the ending musical/dance number, it’s overall a watchable, silly movie.
However, there are a couple of things I wanted to point out. First, in the bowling alley scene, we are introduced to the bad guy’s goons (one of whom is the late Jeff Conaway of Taxi and Babylon 5 fame). To demonstrate that at least one of said goons is a slow-witted dolt, he is of course given a comic book to read:
And it isn’t just any ol’ comic book…it’s Amazing Spider-Man #299, also from 1988, featuring Todd McFarlane’s second art job on the title, as well as featuring Venom’s first “on-screen” appearance in a panel or two:
That’s worth a small amount of money nowadays, so as the fella in the still above was manhandling the comic something fierce, Mr. Comic Shop Owner here was cringing a bit. And then Jeff Conaway ripped the comic out of that guy’s hands and tore it in half:
Well, I suppose it could have been worse. If they’d filmed this scene a few weeks later, it might have been Amazing Spider-Man #300 that the prop guy bought off the rack at the local 7-11 and we could have been watching a comic that now regularly sells for two or three hundred bucks being torn in half. In a looping GIF. Forever and ever. Pinned to the top of this site.
Second thing I noticed:
Sure were a lot of boob jokes in this film. Who would have guessed?
- I’ve been putting off any kind of review of Batman v Superman: Dawn of a New Film Franchise, We Hope simply because at this point, what’s to add, really. I liked it fine: I thought it was a valid and interesting interpretation of these characters, though I do understand the larger context complaints about tone and accessibility to younger potential viewers. Just taken as a film on its own terms, outside the criticisms of “I didn’t want this movie, I wanted a different movie,” it’s no better or worse than most big-budget blockbuster films. It’s certainly better made than the mishmash of Age of Ultron, and at least seems to have a vision and a point of view. Maybe not the vision or point of view people necessarily wanted, but I think there was some depth to the proceedings that made it worthwhile viewing, at least to me.
Yes, sure, I’d love to have a bright, cheery Superman movie. At least we’re getting a bright, cheery Batman movie (in the form of Lego Batman, guest-starring Superman!). But at least I think we can all agree that Wonder Woman was pretty great. And Lex is a hoot.
Here’s a review by pal Ragnell that I pretty much agree with.
- Free Comic Book Day plans are still coming along, and if you missed my announcement about my special guest that day, well feast your peepers on this. I don’t really have a lot of prep to do, as I’m not doing the age-appropriate packaging like I used to do…just setting ’em up on tables for free perusal works fine, and stretches supply out a bit longer. I certainly don’t have the same worries I did about getting a turnout at my new shop that I did prior to last year’s FCBD, given how things worked out. If anything, I’m hoping for a larger turnout.
I am a little annoyed that the special FCBD retail shopping bags haven’t shipped out yet…you know, those white plastic bags with the logo on ’em. That was a good advertising tool, and if I don’t get them until a week or two prior to the event, a fat lot of good that’ll do me. I contacted my distributor, and even they don’t seem to know when they’re getting to me. In the meantime, I’m passing out the bookmarks and the flyers I did get, and I’ll have some specially-printed Sterling Silver Comics-specific flyers to give away as well.
Just so long as I don’t have the stoned guy cycling around my storefront chatting people up about Herman Hesse again. That’s a Free Comic Book Day repeat I’d rather avoid.
- Haven’t really done a market report of late, I realize, but did want to note that the newest Star Wars spinoff, Poe Dameron, has sold quite well. Star Wars comic sales are still very strong, though they have softened slightly, now that they’ve been around a while and the new movie’s come and gone. But, with Force Awakens now available on home video and with hype beginning to build on the forthcoming Rogue One, maybe interest will rise again. It sure did for Poe Dameron, as I said, which I’m sure probably caught some folks at Disney by surprise just how much interest there is in the character. The strong creative team (Charles Soule and Phil Noto) and the accompanying freebie buttons and lithographs didn’t hurt.
We’ll see how sales go on next week’s arrival of the long-delayed C-3PO one-shot.
…but I just couldn’t do it. I got, I don’t know, about 40 minutes or so in, over a couple of attempts on consecutive nights, and decided it just wasn’t worth the effort. It did have 1) Helen Slater as a charming Supergirl despite everything, 2) Peter Cook being as Peter Cook-ish as the movie would allow, and 3) Matt Frewer in a brief role as a street creep, but that just wasn’t enough, I’m afraid. There is a fine line between the filmmakers allowing the viewer to fill in narrative gaps and filmmakers just not giving half a darn, and I’m afraid Supergirl veered more closely to the latter. It’s the kind of thing that brought us “Phantom Zone Villain Levitation-Ray Finger” and “Restore-Great-Wall-of-China-Vision” in the Superman films, the “who cares/it’s good enough” method of storytelling that tells anyone even vaguely familiar with the source material that they, and said source material, don’t matter enough to be treated with even the slightest respect.
I tried to be more charitable…even the venerated Superman: The Movie isn’t without its flaws, but even trying to view Supergirl as a near-dreamlike fairy tale, which one suspects was at least partially the intent, it’s just not very well done. Or it’s just that what passed for cutting-edge superhero movie-making in the mid-1980s just hasn’t aged well into the early 21st century. Or maybe I just plain wasn’t in the mood for it. Whatever the reason, it was more than I could bear, so back in the ol’ Netflix envelope it goes. Sorry, #1 Fan of the 1984 Supergirl Movie That I’m Sure I’ll Be Hearing from Soon.
• • •
In other news: I’ve been trying to come up with a follow-up to my last post, in particular the response from blogging brother Tim, but I’ve been having a hard time of it. It’s a complicated issue, regarding how best to return an old series to the stands after years of absence, and there’s no good answer. You can just ignore what came before and start afresh (like Valiant), you can reissue everything previously published prior to starting new material, either in individual issues (Miracleman) or in book collections (Beanworld).
Or, in the case of the Badger, which, as I’d said before, is pretty continuity-light, just bring him back in new adventures and reintroduce old characters/situations as needed. Old fans will be satisfied, and new fans won’t feel like they’re out of their depth with missed backstory.
I don’t know…it’s tough, and anyone, from new creators to long-established ones, trying to claim a little space on retailers’ shelves among the multiple Batman and Deadpool comics has my sympathies and understanding. It’s a small, tough marketplace and you’ve got your work cut out for you.
• • •
In other, other news, pal Andrew will be featuring Shrinking Violet from the Legion of Super-Heroes all this month. Why, you may ask? Why not, I reply.
Yeah, I know I’m stretching this thing a bit, adding more fuel to the fire on something studios would rather just vanish into thin air. However, it occurred to me over the weekend that perhaps one should have some measure of pity for the poor guy(s) and/or gal(s) in charge of the official Fantastic Four movie Twitter account:
I’m sure they’re not locked away in a secret bunker somewhere, away from all media…they know the film is critically despised and tanking, but they’re still plugging away, hyping the film and trying to generate interest. And, of course, what else would they be doing? Presumably someone’s being paid to run that account…I mean, I’m guessing, I don’t suppose they’d throw some unpaid intern on there. And right now, that’s probably the last place they’d want an unpaid intern.
So, yeah, you’re not going to see “um…hey, everyone, sorry about the film” tweeted on there anytime soon, though that would be amazing. But if this account hasn’t yet, well…. But still, those folks running the Twitter account have a job to do, and they have to do it as best they’re able, because I’m sure the last thing they want is the studio deciding the reason the film flopped was because the Twitter campaign was insufficiently compelling and pointing their big ol’ stogie-wielding movie mogul fingers at them.
The other issue with running a Twitter account for a less-than-popular movie is that, well, on the Internet everyone gets their say. Sometimes it’s erudite and refined educated folks like all of you fine readers perusing my site, and sometimes it’s just straight-up dummies. I wondered aloud about the temptation of whoever’s in charge of the FF account to click the “Notifications” link and see how everyone’s responding to them. Because, boy howdy, are people responding to them, letting them have it with both barrels. You can pretty much just click on any post there and see the parade of haters venting their keyboard rage, for whatever good that’ll do. But I have to tell you, this particular exchange cracked me up:
So there are defenders for the film, too, presuming that they’re not all Fox employees.
There’s beginning to be some backlash to the backlash, suggesting that maybe we’ve gone from “well, that movie didn’t turn out as planned” to just dogpiling on the dopey film because it’s the fun thing to do. And, yeah, okay, it’s a little fun, and a small heaping of deserved scorn onto a studio once in a while helps remind them that maybe there’s some shit we won’t eat. But thanks to the Internet, any creative product with a social media presence gets hit with waves of anger over anything, sometimes deserved, usually not, and it all just blurs together into one bit ol’ mass of “why are we bothering reaching out to the fans again?” Who knows if the FF people are even paying attention to online reaction. I suspect the box office returns are keeping them occupied.
Anyway, that’s enough of that. I think I’ll hold off further comment ’til I actually see the darned thing, rented from Netflix in three or four months. Like I’ve been saying, the look of the film is very appealing, so I’d at least like to enjoy that aspect of it. And if it’s all that bad, I’ll just throw on my Blu-ray of Frank Miller’s The Spirit and wash that taste out.
• • •
As mentioned last week, I am now contributing to the Trouble with Comics
group blog, mostly to the weekly roundtable question discussion thingie. This week’s question
is regarding the future of the comic book periodical, and I pitch in with my usual overlong, rambling and nonsensical response.
Plus, here is an overview of what’s been going on over there, and boy, those folks have been busy as all get-out. And there’s plenty more to come!
[…but the SPOILER ALERT is in place in case you want to know NOTHING about the new film]
So one of the questions I heard a lot over the course of my Wednesday was “did you see the Deadpool trailer, and as I type this I still haven’t see the main trailer, which is one of those naughty “red band” trailers that doesn’t censor things like “fuck” or “shit” or other words I would never, ever use on my site. However, I did see the trailer-for-the-trailer which is a thing we do now I guess, and I suppose it was amusing enough. However, I’m one of those funnybook-readin’ guys that never really got into Deadpool. I mean, I get the character’s appeal, I’m glad people are really into him, and I really, really hope Marvel doesn’t burn people out on him anytime soon, like the last time Deadpool was prominent in the marketplace. Or maybe I’m thinking of the Punisher. Or Wolverine. Or Ghost Rider. Anyway, you get my point.
Oh, okay, after the end of that paragraph and the beginning of this one I went ahead and watched the full trailer, since I was going to have to copy the URL for the link above anyway. It’s…well, it’s a lot bloodier than I was expecting, and the CGI Deadpool mask actually worked okay (putting half-lie to the whole “don’t make my costume green or animated” gag, referencing Ryan Reynolds’s’ previous superhero role). I can see parents taking their kids to see this new Marvel superhero movie, expecting more of the usual formula, and getting blindsided by the usual formula plus sex and George Carlin’s Seven Words, and never going to a Marvel movie ever again. Or maybe this is just what the superhero movie marketplace needed, and Deadpool will be the greatest cinematic achievement in film history, crashing economies as every available dollar, euro and Geoffrey Buck gets sucked into box offices around the world. Or maybe nobody will see it all. I’m definitely putting my dime on one of those options, or somewhere between. That’s right, that’s my position and I’m sticking to it, and I don’t care who’s offended.
Speaking of Marvel movies nobody’s seeing, the latest in what apparently will be a long line of Fantastic Four reboots, stretching (heh) out into infinity is opening this week. Or has opened. Or will opened. Regardless, word on the ol’ Internet superhighway is that…well, it ain’t good. Which is a shame, because I noted on this site a while back that the trailer made it look less like a superhero movie and more like a high-end science fiction film, and that seemed like a good way to go. And despite reaction, I still kind of want to see it, maybe via Netflix someday rather than enduring a theater visit, if only to enjoy the cinematography and effects and to see maybe if Mr. Fantastic’s stretchy powers actually work onscreen this time.
What bothers me most is that Doctor Doom once again is given superpowers from the accident that transforms everybody, like in the FF films from a decade ago. I mean, yeah, I can see the filmmakers wanting to make sure Doom seems like he can stand on his own against the Fantastic Four by ramping up his special abilities, because as we know there’s no way an audience is going to accept just a more-or-less normal guy in a metal suit in a superhero film. But as I said on Twitter just the other day:
…and granted, Doom did steal the Surfer’s powers in Rise of the Silver Surfer
, so that movie at least had that
. But as I lamented last year:
It’s like they’re afraid to let Stan and Jack’s creation be Stan and Jack’s creation. Yes, some compromises and changes need to be made…it’s not the early 1960s anymore, and film ain’t comics, but surely there must be a way to capture the essence of the original stories while making them appeal to modern movie audiences. Or maybe there isn’t. Maybe there’s just a magic there that can never translate. Almost wish Marvel’s film studio could
get the rights back to the FF, because they’ve had a stronger history getting these characters onscreen and making them appealing.
Also I’m annoyed because I want them to do enough FF movies in a row without rebooting so that maybe we can get an actual, real, live-action Galactus onscreen (and not that stupid smoke cloud from the FF Silver Surfer film). Ooh, and the Watcher, too, so long as I’m dreaming, and if they don’t make him look like the Queen of Hearts from that Tim Burton Alice film, what with that big ol’ noggin of his.
Let me leave you with some words to think about, from Twitter pal Steven:
Just got in from seeing Ant-Man…it’s nearing midnight as I write this, so I’ll keep it short. Or small. Like an ant. An ant man.
Hold on, let me try that again.
Just saw Ant-Man, and it was a vast improvement over the last Marvel film inflicted on us, Avengers: Age of Disjointed Nonsense. While I wasn’t terribly eager for yet another superhero origin story, this one was unique (I believe) in that it gave us our first legacy superhero, more or less, in which an older hero passes down his name and powers and so forth to another. It was also a story which worked at a much smaller (har har, yes, I know) scale than recent Marvel movies, less bogged down by the shared universe, or at least incorporating it in a more natural, less in-your-face fashion. Having only one superhero guest-star during the course of the main story was something of a relief, though from the looks of things we’re going to get the exact opposite of that in this forthcoming Civil War movie.
Anyway, it was exciting and interesting, and, something the Marvel movies have been particularly good at, funny without undermining the characters. If anything the humor helps along that suspension of disbelief required to buy into all this craziness. That’s the kind of deep insight that keeps you two or three dozen people coming back to Progressive Ruin Dot Com.
The film also had one of the greatest, most fitting cameos of all time. No, not Stan the Man (yes, he’s there)…I’m talking about this fella. And I gotta give them credit for actually working the phrase “tales to astonish” — the name of the comic Ant-Man first appeared in — into the dialogue.
So, Ant-Man: surprisingly good. I’d recommend you go see it, because I’m sure you totally haven’t by now.
That’s it, I’m off to bed. Pleas-ANT dreams!
(SPOILERS ahead…not many, but enough to annoy you if you haven’t seen the films)
Well, I went in wanting…okay, let me amend that. I wasn’t particularly interested in seeing Jurassic World
at all, to be honest. I was perfectly happy waiting to get the disc from Netflix in about five or six months from now. As it turned out, though, there was a bit of a family outing to see the film and I was…perhaps “strongarmed” into going is putting it a little too harshly, but, ah, what the heck, to return to the beginning of this paragraph I went in wanting some dinosaur mayhem and that’s what I got.
While there’s a sameness to all the Jurassic family of movies, it’s probably been long enough since a new one’s been on the big screen that there’s a welcome nostalgic enjoyment to seeing the formula play out with minor variations and…I almost said “improved effects,” but the original Jurassic Park raised the bar so high it’s almost like there’s nowhere else for the effects to go. It was all a bunch of enjoyable nonsense, with, as noted, plenty of dinosaur action (sometimes a little too intense, maybe, judging by the family in the row ahead of us that quietly made their exit about 2/3rd of the way through the film), but I think this was enough. I don’t see a need to pay a return visit to the franchise for a fifth variation on “it appears dinosaurs and humans don’t mix,” but of course we will since the movie made all the money in its opening weekend. However, if the next movie is about a humongous mega-dinosaur mutant threatening the Earth and the only way to defeat it is by somehow growing Ian Malcolm (Jeff Goldblum reprising the role, natch) to giant size and pitting the two against each other, I’ll be there opening day.
One more point, which I thought was interesting (and here’s the SPOILER I warned you about), is how the Tyrannosaur went from the being the Big Bad of the first two films to being, more or less, the hero of the fourth film. A heroism born of familiarity, and certainly played upon by the filmmakers…”enough of this new weird nasty dinosaur, let’s see our old friend the T-rex kick his ass!”
So, okay, I may be a little behind the times in finally seeing this film, but I noticed the new Criterion Blu-ray edition made it to Netflix and, well, I thought I’d give it a shot. This is one of those films where I’ve repeatedly seen the same stills over and over again in various contexts over the decades (the pic of Henry, as seen on the disc packaging above, and of course the hideously deformed baby). For years, without really knowing anything about this movie, I’d assumed the title referred to either that gentleman’s lofty hairdo, or perhaps to that weird baby-thing…I mean, it still can, I guess, but that there’s a more literal explanation in the film is oddly satisfying as well. Emphasis on “oddly.”
I…um, I don’t even know where to start on this movie. It’s like watching a nightmare, but I don’t mean that in a bad way. The terrifying dream logic pushes along the action in this horrible world all the characters are stuck in…it’s compelling and it’s awful, all at once. Not sure what it all means just yet — some stuff I got, some I’m still chewin’ on — and I’m certain if I looked around online I’d have plenty of people wanting to tell me what it does mean, but it’s nice to occasionally experience a movie where there’s still a little room to dig into it after taking a first pass. And imagine, not a digital dinosaur to be seen.
Haven’t really made the time to see this one yet. Perhaps if it starts getting some positive word of mouth I’ll be more inclined to go.
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