Showing posts with label 2010's. Show all posts
Showing posts with label 2010's. Show all posts

Wednesday, November 16, 2016

Disney Re-Watch: Zootopia (2016)



I was glad to get a chance to re-watch Zootopia (2016), which I'd last caught on a plane from Austin to London, and that's never an ideal viewing environment.  You can read my write up here.  I also think that whatever version I saw on the place was the British version, which was maybe called Zootropolis, because in the version we watched last weekend I'm pretty sure they called the city Zootopia.

Whatever.

Anyway, I still liked the movie just as much.  It's not the same instant myth-making as Frozen or Beauty and the Beast (and did y'all see that trailer for the live action version?  Pretty keen.), it's too high concept and plot-driven.  In it's way, it's dealing with a lot of cultural abstractions that, pretty clearly, a lot of people are not quite internalizing and dealing with in the adult world, which makes the all-ages nature of the film kind of a peculiar fit.

But, yeah, I still like the movie quite a bit.

Saturday, November 12, 2016

Jungle Re-Watch: Tarzan (2016)


No real write-up.  We re-watched The Legend of Tarzan (2016), which I wrote up this summer.

It's too bad this film didn't perform better and get more attention, because I quite like where they were going with Tarzan here.  It's a leap from the books and various other incarnations, but it was a version I would have gotten me back to the theater for a sequel, and it was at least as fun as Doctor Strange, while also having something of a point to it (which I'm not sure you can say about Marvel's latest entry).

It's also weird to think a movie can make $356 million and be seen as a "meh" performance, but that's today's Hollywood.  If a movie isn't part of a system like the Marvel franchise where they can build and build on even a middling performer (see Ant-Man or even the first Captain America movie), it's really tough to get a second go or, weirdly, even to get any attention.  I mean, it's kind of funny we'll take Doctor Strange seriously (it's at $350 million after a week!  Go, Doc Strange!), but without the Marvel label, we'll shrug off Tarzan.

In short: that Marvel brand is a powerful thing.  Being seen as old or legacy is not.

It's not a perfect movie or even a great movie, but it's certainly okay.  I wish it did some things it didn't, but it did lots of things that surprised me, and gave me the first Jane Porter outside of the books or comics I've really liked.

Ah, well.

Friday, November 11, 2016

Batman: Return of the Caped Crusaders (2016)



Had this movie not been released the week of the election, I expect this movie would have made a bit bigger splash in the media, maybe even gaining some mainstream media attention.

If you're looking for some pure, escapist fun to watch with the kids* (and you want to guarantee they'll enjoy the action while you enjoy the jokes), I really can't recommend the newly released Batman: Return of the Caped Crusaders (2016) enough.

Thursday, November 10, 2016

Alien Watch: Arrival (2016)



What an inexplicably timed movie.

I'd gone into Arrival (2016) with very little knowledge other than it was about "first contact" and starred Amy Adams as a linguist, and at this point, I'll more or less pay to see Amy Adams read the phone book.  So, throw in some aliens, some hand-wavy hard science fiction and I was in.

This movie is in line with The Day the Earth Stood Still or the themes of Close Encounters of the Third Kind.  Alien vessels arrive, truly alien, and a very good looking linguist must be put to the task to help the military communicate with the visitors.  Of course there are eleven more of these ships scattered across the planet, and everyone is trying to speak to the aliens to find out if they mean us harm.

Sunday, November 6, 2016

Marvel Watch: Doctor Strange (2016)



It's safe to say that Doctor Strange as a Marvel character has never been much in my wheelhouse.  As a kid, the comics always held a certain visual appeal, but I felt like the character was all mustache and cape, dealing with, yeah, world-threatening dilemmas, but always in that vague way of magical characters that didn't hold the immediate familiarity of "oh, Joker's going to kill all those people" or "Magneto is up to his old tricks."  I was pretty well into college before I embraced the abstraction of world-ending calamities on a metaphysical scale, mostly by way of Jack Kirby's 70's-era work and Grant Morrison's JLA.  But I still never drifted back to Doctor Strange over at Marvel.  I'd enjoy his guest appearances everywhere from Spider-Man to The Illuminati-type stuff, but didn't think it was something that needed to be in my monthly "buy" pile.

Really, the only Doctor Strange comics I ever purchased were back when the character was double-billing in Strange Tales with Cloak & Dagger, which I was picking up because I dug Cloak and Dagger.  Figuring out what the hell was going on with Stephen Strange, MD, wasn't particularly something I was losing sleep over.

But, the Marvel movies are, for me, an ideal way to engage with the Marvel U in a non-invested sort of way with stuff I was vaguely interested in, but didn't care to get too immersed in.  Starting with Iron Man and including everything from Thor and The Avengers to the current incarnation of Guardians of the Galaxy in the comics, I prefer how these packages are presented in movie-form.*

Doctor Strange (2016) is - yes - another Marvel origin story.  This is both a reality and problem for Marvel as it rolls out it's ever-broadening line of characters in television and film, as the origins of these characters are, in fact, of great importance to establishing the characters and their motivations for films to come.  If not for Iron Man and Captain America as origin stories, how interesting would Civil War have been, really?  Or, hell, Winter Soldier?  DC Entertainment is finding out the hard way via Suicide Squad's terrible story problems that even an ensemble piece needs a bit more fleshing out.

Friday, November 4, 2016

Cubs Win 2016 World Series



Wednesday night, November 2nd, the Chicago Cubs broke their 108 year streak and won Game 7 of the 2016 World Series.  At this point, you have no doubt heard about this win and cannot have missed the jokes and media bits surrounding the long drought for the Cubbies over the past, oh, fifty years or so.

The Cubs' 2016 season was one for the record books, with individual players earning honors and a win record that's going to be discussed for a generation or more.  At some point, books and movies will memorialize this team and this season, and those adaptations will end in what will seem to be hokey, melodramatic fashion as the series stretches to seven games, then feature a Game 7 that ties up with an outstanding hit by Davis of the Cleveland Indians, then is delayed from going into the 10th inning by a rainstorm.  A speech will be given in a players-only meeting by Jason Heyward, a phenomenal outfielder who had a terrible batting slump, but who never, ever gave up.  And, the final play will be a showcase for the same meticulous defense we've seen all season by Kris Bryant and Anthony Rizzo.

As was being joked about on social media with some friends, it could have only felt more like a Disney movie if they'd needed to sub in a charming 12 year old girl as the closer with her golden retriever behind the plate to catch.

I didn't grow up watching baseball - our family sport was basketball when it was anything.  But I've followed the Cubs since middle school, more off than on, thanks to the broadcasts of WGN out of Chicago.

Tuesday, October 25, 2016

Non-Essential Viewing: Rocky Horror Picture Show (2016)



I don't know how to categorize this.  It was a two-hour television "event" on Thursday night, in prime time.  It's a sort of "TV movie", but it's in the manner of one of the live musicals the networks have been doing.  Only, it wasn't live.

It also wasn't... very good.

Look, no one has remade this movie to date because the original is lightning in a bottle.  It was a movie that's still relevant, but a lot of what was taboo or edgy in that film has lost it's subversion as elements have become or are becoming more mainstreamed.  Putting a play/ movie about themes that were still considered unmentionable in the 1970's and turning it into fodder for channel flippers on a Thursday night was going to be difficult - but I almost felt like, Laverne Cox aside, most of the cast didn't really know how this was supposed to work.  And, frankly, it didn't feel like the director or producers knew how to do this, either.

To maybe throw some context on this:  the show/ movie was directed by Kenny Ortega, a name that's not exactly household for me, but he was the brains behind High School Musical.  And, boy howdy, does that explain a lot when you're watching the thing.

Really what struck me while watching this was:  Hot Topic.

Monday, October 24, 2016

Doc Watch: Tower (2016)



About thirty minutes into Tower (2016), I realized that the soundtrack to the film included the ever-present sound of cicadas, a tree-dwelling insect which emits a steady humming that all Central Texans know as the droning background noise of the hottest days of summer.  I'd tuned the sound out the same way we all do, and I began to realize part of why the film felt so immediate - and why the film is so effective.  What the film captures is very real, from glimpses of the University of Texas campus to the sound to the casual chatter about campus life, torn apart on August 1, 1966.

I'd wanted to see this film from when the producers first released footage maybe a year ago.  Then friends saw it as SXSW and had positive things to say, and I was encouraged that the documentary would do the event whatever justice could be done.

Wednesday, October 19, 2016

Marvel Watch: Luke Cage (Season 1, 2016)



I want to say that I loved Luke Cage.  Because for a full 6 episodes, I was ready to stand up and say "this is the best Marvel TV series to date, even better than Jessica Jones or Season 1 of Agent Carter".  But, man, the back half of this series feels rough.  It's still watchable, but as early as the beginning of the seventh episode, the wheels start coming off, and it's only in fits and spurts that the show reclaims the excellence of those first six episodes, seems to remember its mission statement, and doesn't feel like it's a throwback to 1990's-era superhero movies.  I have a few hypotheses as to what may have occurred, but that doesn't save the overall project anymore than headcannons or fan theories (neither of which this blogger recommends you indulge in).  What matters is what winds up on the screen.

What does retain it's consistency, as surely as the cells in Luke Cage's body bounce back from a bad day, is the strong character put forth in Luke Cage, the grounded, human force of a man trying every day to do right.  In Luke Cage we get that rarest of characters which are slowly climbing their way back from two decades of think-pieces to the contrary, the good guy who doesn't need to be called an anti-hero to work in a modern context.  For Marvel, and maybe for the mass audiences, up to this point we've relied on our sepia-toned notions and the uncomplicated moral battle of the Allied fight against the Axis to gain access to the point of view of our upright hero in Steve Rogers - AKA: Captain America.  But in Luke Cage we get a modern man who has known the compromise all his life and despite what's past, he's moving forward in a world that broils and churns with moral compromise as the "smart" move, the only way to get things done.  And we have a hero who isn't living in a hypothetical world of cops and robbers, but in a world that reflects a lot of our own, with Trayvon Martins and the Black Lives Matter movement.

Sunday, October 2, 2016

Doc Watch: Vampira and Me (2012)



It's nothing like news that a lot of folks' personal Hollywood stories end badly.  For many a-starry-eyed actor, all the positive thinking in the world doesn't mean financial or personal success.  Exploitation of hopeful people (and their ideas) is woven into the fabric of show business at such a deep level, it's more or less S.O.P.

At some point, you start to notice that actors have a limited shelf-life in Hollywood.  As the years pass, those talented girls you found so attractive in movies just stop appearing in anything, even though they were kind of a big deal and in quite a few pictures for a stretch there.  The birth of IMDB really brings the idea home if you do what I do mid-way through most movies and start checking up on actors you're enjoying in a movie but haven't seen in much else - where did they go?  There's almost always a petering out of roles and then *poof* some final role and then nothing.  They threw in the towel rather than play yet another character called "So-and-So's Mom" or the equivalent.  Some go on to other lives (Justice Bateman just got her CS degree.  I mean, talk about a kick-ass second chapter), some marry well, and some - even screen legends like Veronica Lake - have sad, obscure ends that don't ever seem to get remembered.

But that's not the sort of Hollywood messed up story that Vampira and Me (2012) tracks.  That's a story of illusion, delusion and the disposable nature of fame for (especially) female actors when a dream is realized in part, but is taken away.  

It's hard to call the movie a documentary, exactly, and it certainly isn't journalism.  It feels like a bit of a memoir, an apology and a posthumous plea for sympathy for a third-tier icon most people have never heard of or forgotten about except as a shadowy Halloween-type bit of imagery not associated with anything in particular.

Monday, September 26, 2016

Cap'n Watch: Captain America - Civil War


I re-watched Captain America: Civil War because I bought the BluRay.

In general, I like this movie quite a bit.  But I've written on it twice this year, so that seems like plenty.

The image above appears on a t-shirt my mother purchased for me.  She's generous to a fault, but she usually is on the side of "you have plenty of Super-America Man stuff" which is usually followed by an unprompted "Poor Jamie" and a look of pity tossed Jamie's way.

But... My mom bought me this.  I wear it all the time because - yeah, I like it fine on its own, but sometimes it really is the thought that counts.

Thanks, Ma!

Monday, September 5, 2016

Obligation Watch: Batman v Superman - Dawn of Justice (theatrical cut, 2016)



So, I was in no rush to ever see Batman v Superman: Dawn of Justice (2016).

In summer of 2013, despite the many positives of having a Man of Steel movie even existing, a stellar score by Hans Zimmer and Amy Adams cast as Lois Lane, I never cottoned to the movie, and, in fact, despite the fact my completionist self purchased a deeply discounted BluRay of the movie, it's never found it's way onto the platter for a spin.

But, you know, WB and DCE seemed aware of their problems with Man of Steel.  It was a little hard to ignore when adults watching the movie started saying "holy @#$%.  Did I just watch a movie where Superman was turning presumably occupied buildings into rubble and started his public career by snapping the neck of the bad-guy?  Yeesh."  So, despite the return of Zack "I don't understand characters or motivations" Snyder as director and the casting of Jessie "Two Modes of Nebbish" Eisenberg as Lex Luthor, I'd tried to withhold judgment until the reviews hit.  And, mostly, the reviews were not kind on many levels.  So, I'd stayed away.

But, ha ha ha.  One of you (JimD) decided to just send me a copy of the BluRay in the mail.  Over the course of two evenings, I watched the movie, trying not to open my computer or look at my phone when the movie got dull (which was more or less 90 of the 150 minutes).  I tried to make note of what I liked and didn't like, but - I guess unsurprisingly - the movie offered little to enjoy that was not Amy Adams.

It's not the worst movie I've ever seen.  for example -  Suicide Squad was just a dumber movie.  But BvS:DoJ felt positively adolescent in some ways, and had the storytelling instincts of a five year old relating the events of the day.  But it has some interesting stuff in it, too, as far as DC Comics lore.

It's just not a terribly good movie.

Wednesday, August 10, 2016

Vertigo Watch: Preacher (TV series, 2016)



At the beginning of the 1990's, I almost bailed on comics.  If you want to know who kept me coming back I can throw a bunch of names at you of authors and artists, but the real force bringing me back to the funny book store was editor Karen Berger, the mastermind behind the 1993 launch of Vertigo comics.

A lot of people say a lot of negative things about the comics industry in the 1990's, and if you consider what was going on in many corners, they're not wrong.  I was avoiding shiny and holographic covers, watched unknown companies try to launch whole universes in one shot and avoided the Scarlet Spider stuff like the plague.  But Berger was the one who saw the potential for what comics could do, saw the potential in then little known writers, was flexible about what could appear in a floppy comic, and she may be the least risk-averse person to ever work at the Big 2.

After successes with Wonder Woman, Legion and other titles, she shepherded several cutting edge titles that eventually set up shop under the Vertigo imprint.  She gave Sandman, Swamp Thing and Hellblazer a home, nurtured and loved both the titles and creators, and resurrected dead IP at DC Comics (Kid Eternity, The Tattooed Man, Shade: The Changing Man) while also letting creators bring their own, fresh ideas to the Vertigo.  In an era embracing what had been counter culture  as we coined such terms as "Alternative Music" and put a groovy coffee shop on every corner, the company that put out Superman was also putting out The Extremist and Transmetropolitan.

Just imagine a young and hungry Neil Gaiman, Grant Morrison, Warren Ellis...  And, of course, Garth Ennis.  In many ways for which she will rarely be given the credit she deserves, Karen Berger gave us Preacher.

Sunday, August 7, 2016

Suicide Watch: Suicide Squad (2016)




As the lights came up, I turned and looked at my movie companion and heard myself say "that was the worst movie I've seen since Battlefield Earth".  But, that was unfair.  It's the worst movie I've seen since 1998's Godzilla,  but the issues with the movie are maybe more akin to Battlefield Earth.

Now, I don't say that lightly, and I obviously don't include "bad movie" fodder like The Room, Birdemic and other grasp-longer-than-reach independent efforts.  Rather, there's a special place in movie-going hell reserved for huge blockbuster movies with gigantic budgets for production and marketing that have been corporate committee'd to death.

I didn't show up at Suicide Squad wanting to dislike it.  I'm a grown-assed adult, and if I don't want to see a movie, I won't.  Heck, I could have skipped the movie with a refund before it rolled (and I thought about it after seeing the reviews).  The movie was sold out and people would take the seats.  I could have had a nice beer on the porch at the theater.

I am, of course, not a DC "hater" and am more than happy to discuss DC comics, associated media and lore at length.  In short, don't make me embarrass you, kid, when you come at me to explain the movie.

For decades I've read DC comics, watched TV shows - good and bad - read non-fiction histories of the characters and industries.  And, in this era I just want for DC to make a movie that isn't a trainwreck, and - while I've not seen BvS - that doesn't seem to be happening.

There's probably a competent movie somewhere in the footage and scripts that led to the product that is Suicide Squad (2016).  Director David Ayer has a respectable filmography as both writer and director, and on IMDB, he's listed as the sole writer and director, but...  well, it's Warner Bros.  I mean, they say a lot about being a "director's studio", but if you believe that the suits had nothing to do with how this movie wound up, I have some beachfront land in Arizona to sell you.

I have no doubt the folks who've already branded themselves as DC movie fans (and as carriers of true fandom for these characters) will like the movie as it follows a certain line of thinking that has so far appealed to that audience and basic issues with story and structure didn't deter them with Man of Steel, and from what I've heard about BvS, even more so.   It is in no way short of wanting to be hip and edgy like an Ed Hardy shirt or vape booth at the mall.

It's a movie that does not know the rule of "show, don't tell" - it doesn't trust the audience to follow a story, delivering character and action in literal bullet points.  Mostly, though, the film is presented in such a way that the errors and issues were so large and as consistent as gunfire throughout the movie, that it's impossible to stay with the movie rather than just cataloging the issues as they pop up, one after another.

At almost every single thing this movie attempts, it misses in big and small ways, with the unsurprising exception of the Will Smith as Deadshot storyline (Big Willie carries too much clout in Hollywood to not come out of this still intact, and the charm I'd nearly forgotten the man has on screen fills in a lot of gaps that the movie leaves there for virtually every other character).  Whether it's the much derided musical accompaniment, the nonsensical story bits left in place after the editors were done, the odd choice of villain and scope of the mission, or why everything in the movie felt like it needed to be doodled upon from the frame of the film to Margot Robbie's face to Will Smith's collar.

This movie is a @#$%ing mess.  And, no, it's not even really a "fun" or "enjoyable" mess at that.  Maybe "a distracting two hours where you'll ask yourself a lot of questions about why they made a lot of decisions the way they did."  That kind of mess.

Sunday, July 31, 2016

Bourne Watch: Jason Bourne (2016)


This is my fourth Bourne movie, and with about 9 years between The Bourne Ultimatum and Jason Bourne (2016), a lot has changed in the world and in movies.  You'd be hard pressed not to find an action movie not taking something from Paul Greengrass's energetic direction and tracking camera shots.  It's something I'm maybe too aware of when I watch something like Captain America: Civil War, when they go in for some "authenticity", or at least a particular feel to the action in the Lagos scenes - that "we're on an espionage mission, so the camera needs to be shakey" look to the proceedings comes right out of these movies.

But as a character in film, Bourne was always a bit flat, a bit two dimensional.  He was the hero who was complex not by what he did, necessarily, but by virtue of the background given him.  Then he proceeded to act like a fairly standard-issue guy-in-a-white-hat action hero.  Matt Damon did a lot to make the character likable, and when you're one guy against the CIA, there's a lot to root for.

The first three films contained the plot of what might have been in a single film if the Bourne movies weren't mostly about the extended action sequences.  Really, The Bourne Ultimatum is impossible to understand unless you've seen the first two, and it's really the third act of a story about Jason Bourne recovering himself from a bunch of shady dudes who got him to volunteer for a CIA program that made him a superhuman, but messed badly with his personality and splintered his mind.

I don't think the third movie, no matter how many Joan Allens in turtlenecks it may contain, is actually a great movie.  It's a necessary concluding chapter with more impressive stunts than prior films.  And speaking of Joan Allen, my feeling was that Pam Landy's part was more pivotal in making you care that any of this was happening at all than anyone realized.  Without a Pam Landy, you've got a bunch of people just operating in a moral neutral zone where it's all about government folks playing CYA and a guy who's a bit of a cypher trying to not die.  That's not really a story, per se.

I was unsure what to expect with a fourth installment, especially one arriving late.  I had no idea what story they might concoct to see Jason Bourne back in action after escaping.  But, like Batman comics of late, it seems there's no part of Bourne's origin that we don't need to explore more, and so it's back to the origins of Treadstone,

Tuesday, July 26, 2016

Trek Watch: Star Trek Beyond (2016)



No big secret to anyone with whom I talk Star Trek, but I hated Star Trek: Into Darkness.  That's not a term I use lightly.  Generally, I "didn't like" a movie, it "wasn't aimed at me", "wasn't my cup of tea" or I might have believed "it sucked".  But, nope, I hated Into Darkness.

The movie, which could and should have been about the launch of the Enterprise and establishing the universe around the characters set up in the first movie (which, in many ways, was a glorified version of Space Camp), didn't just feel like a betrayal to the spirit and (pardon the pun) enterprise of the Star Trek universe I've enjoyed as both an avid enthusiast and sometimes occasional fan, depending on which incarnation of Trek we're discussing.  Into Darkness felt like it was picking the bones of a better, much-loved franchise to tell a lousy story and try to steal some of the gravitas along the way rather than creating anything of its own or lending anything new and not doing anything compelling with what bit of novelty it did contain.

With this third installment, Paramount does a yeoman's job of righting the ship and getting it back on course.  I won't try to oversell the movie - it's far from a perfect film (but name the Citizen Kane of Star Trek movies, I dare you), but for the first time in three movies, it feels like Trek.  And, man, that is actually terribly important.  Not only does this installment understand the universe of Trek better than its forebears, it does that thing of spiffying it up and adds some new bits along the way.

I hadn't actually planned to see the movie.  The first trailer I saw alongside The Force Awakens was so cringe-inducing and tone deaf (and, as it turns out, a bad representation of the actual film), that I just laughed it off and decided I'd get back to Star Trek at some other point with some other relaunch after the public wrote off this series for good.

The Star Trek reboot, in my opinion, was a failure.

Thursday, July 14, 2016

Ghost Watch: Ghostbusters (2016)



I haven't written much about Ghostbusters (2016) up to this point for a few reasons.

I wasn't entirely certain how good the remake would actually be, for one, and so I was watching the trailers with cautious optimism as I quite like all four of the main cast members.  And, while I was aware of the Ghost-Bro nonsense, social media kind of went from having it well in hand to the story being about how we were all going to support this movie and protect it from a few neckbeards online, and somehow that, in and of itself, took on a life of its own that got kind of...  I dunno.  It had taken on a life of its own.

Like many of you, I saw Ghostbusters in the theater as a kid.  My mom took Jason and me one sunny day around opening weekend to a matinee, and the theater was totally packed.  And like a lot of you, I grew up loving the 1984 movie (and, to a lesser extent, the 1989 sequel).  I was never really pulling for a Ghostbusters 3 with the original cast as the last thing I wanted was a third installment that was anything less than the first movie, and I think the sequel proved that the original was a bit of lightning in a bottle.  You could try to get it back, but asking guys twenty years on to do the same again?

So, a reboot it was going to be.

Wednesday, July 13, 2016

Signal Watch Reads: The Ocean at the End of the Lane (by Neil Gaiman, 2013)



I wound up finishing my book I planned to read to and from Boston (note - last night's post on Firebreak) and decided that rather than read the trade paperback I had in my bag, I'd pick up another book at the airport.

I don't know why, exactly, but after a few minutes of perusing the shelves, I was absolutely certain I wanted to read a Neil Gaiman book I hadn't yet read, of which there are plenty, and so I found the one Neil Gaiman book they had on the shelf, bought it, and started it at the gate and finished it by the time we were touching down, with at least a half hour of airplane-nap tucked in there.  So I can tell you - it is possible to read this book between Boston and Austin in a single flight.

The book in question was Gaiman's 2013 novel The Ocean at the End of the Lane, which I believe had won a few awards and was (or is) a best-seller.

Wednesday, July 6, 2016

Marvel Watch: Iron Man III (2013)


In some ways, all I want to write about here is how much I like Gwyneth Paltrow in movies and how at odds that is with what little I know about her from what we all get to hear about her real life.  Pepper Potts I want to hang with.  But Paltrow?  It's hard to say.

When I went to see Iron Man III (2013), I was laboring under the misconception it was about Pepper Potts as much as it would be about Tony Stark, but, alas, that was not to be.  It was just a few moments that they chose to use in the trailers.

While I really like all three Iron Man movies, gigantic flaws and plotholes and all (and Iron Man 2 has plotholes you could navigate in a steamliner), there's just no comparing what goes down in this movie - scale-wise - with, really, any of the Captain America movies or even Thor.  Or Guardians of the Galaxy.  It's a personal story for Tony, and that focus gives it a certain sense of a 90's actioner to it except in two or three big-scale sequences (like saving everyone who fell out of an airplane).  The consequences of the story seem entirely tied to Tony, and that makes the movie all the more personal while also really making it seem consequence-free in a lot of ways that, say, The Winter Soldier felt like it mattered to everyone on Earth.

Tuesday, July 5, 2016

Jungle Watch: The Legend of Tarzan (2016)



In some ways it's a goddamn crime that the version of Tarzan that Millennials grew up with was saddled with Phil Collins music and Rosie O'Donnell's voice blasting like an air-horn throughout.  I recently tried to re-watch the Disney version of Tarzan, and for all the technical achievements of the film, that "let's do things tied entirely to what's popular in the moment", upon reconsideration, makes the film a grating mess.

I guess Gen X may have been the last generation to be given Tarzan to enjoy in steady doses.  I remember watching black and white Tarzan on TV as a kid, and I have to assume it was Johnny Weissmuller and Maureen O'Sullivan with Cheeta.  It's also possible we were watching later movies, the 1960's TV series...   Who knows? Tarzan has known a lot of incarnations in film and television, including maybe the version that really informed me most about Tarzan, the 1970's-era cartoon show.

Before the release of 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, Marvel put out a Tarzan magazine comic which covered the first half of the first Tarzan novel.


And this was really what informed me as to the more detailed version of Tarzan's origin.

Like a lot of kids, we played "Tarzan", even if I can't really recall what that meant other than climbing whatever we could get a grip on around the yard and imagining we'd made friends and foes of the 10 or so jungle animals we could name.  But being able to talk to monkeys and lions seemed like a pretty good deal to us.  The 70's and 80's were still safely within the 20th Century, and the notion of High Adventure was still very much a marketable commodity at the time, across nearly all genres, and Tarzan was right at the center of that.

I finally watched the original Johnny Weissmuller movie and read the actual Edgar Rice Burroughs novel of Tarzan of the Apes just last year.  The book is a book of its time, as is the movie, and both have their place in history.  While the prose of the novel may be purple and many ideas in the book would now seem dated, the story still holds as an adventure and romance.  And if we're looking for our own cultural DNA, both Tarzan and ERB's John Carter are vital to understanding what was to come with superheroes and superhumans in fiction and popular culture, and - of course - that's now escalated to culture writ large with fifth generation offspring of Burroughs' creations throwing shields in billion dollar movies.

All that to say, I was a bit pre-disposed to want to see a new Tarzan movie, and, yet, I've seen very, very few of them to date.  Not even Greystoke, which I am told again and again is not worth seeing.