If I could tell my 19-year-old self discovering superhero comics in college exactly how good their big screen adaptations would become, I wouldn’t believe me.
I saw “Avengers: Endgame” (2019) tonight with expectations that were very high. It was still better than I thought it would be. It was easily better than last year’s “Avengers: Infinity War” (although I think of them as two halves of the same epic movie). I don’t pretend to be a film expert, so take this as speculation — I personally think the pair of “Infinity” films have made comic-book movie history in the same manner as the original “Superman” (1978), Tim Burton’s “Batman” (1989) and Christopher Nolan’s “Dark Knight” trilogy (2005-2012).
I don’t really want to make any more observations, because I’m too afraid of inadvertently posting spoilers. But I will say that there is a massive tonal change between “Infinity War” and “Endgame.” The banter and humor of the former is largely left aside, and this concluding story is darker and far more emotionally sophisticated. It’s moving. It feels strange to write here, but I kept thinking during the movie that this was a more “grown up” Marvel film.
And it is EPIC. I honestly can’t imagine how Marvel can top it with future films. There is an action set piece that made my jaw drop. I can’t say more.
This is an obvious 10 out of 10 from me.
Blumhouse’s “Truth or Dare” (2018) isn’t high art, but it isn’t quite as bad as everyone makes it out to be. I’d rate it a 6 out of 10 for being a passably good fright flick.
It’s a gimmick horror film, but the gimmick kinda works –a powerful demon possesses an oral game of “truth or dare” — then follows its players home from vacation with lethal consequences. It’s actually not quite as stupid as it sounds; I had fun with the premise, which sounds like the basis for a decent “The X-Files” (1993-2018) episode. An exposition-prone minor character explains to our protagonists late in the game that demons need not infect only people and objects, but also “ideas” like games or competitions. The notion of an idea or a philosophy being demonically possessed has a hint of creative brilliance, and I’d love to see it fully developed in an intelligent, well written horror film.
Alas, this isn’t it. And instead of lovable heroes like Mulder and Scully, we get a predictable, throwaway group of unlikable teens on spring break. The movie’s most interesting character is the one it sets up as the stereotypical jerk, Ronnie, adroitly played by Sam Lerner. The film would have been much better if it had fleshed him out as a three-dimensional character, and had the story revolve around him as a surprise anti-hero.
“Truth of Dare” also borrows maybe a bit too much from “It Follows” (2014) and “The Ring” films (2002-2017). Finally, it confuses the viewer with some head-scratching plot turns near its end.
Oh, well. The movie still doesn’t deserve the hate it gets. I figure it’s at least a fun time waster before bed on a weeknight.
“The Silence” may be dreck, but it’s good dreck.
If you’ve read anything about this new Netflix movie, than you know it’s regarded as a lower-budget ripoff of the immensely well received “A Quiet Place” (2018). (Both follow a family surviving an apocalyptic invasion by monsters who hunt by sound.) And I suppose it is, with a bit of saccharine teen drama and a neglected cult subplot shoehorned into it.
But I’d be lying if I told you I didn’t enjoy it at all. I’d rate it a 7 out of 10 for being a fairly entertaining creature feature.
Stanley Tucci and Miranda Otto are always great to watch, and the young Kiernan Shipka is a cute kid with a lot of charisma. (Am I the only guy in the world who thinks that Tucci is extremely talented? To appreciate his range, compare his milquetoast suburban dad here with his growling, menacing super-zombie in last year’s “Patient Zero.”)
The monsters were suitably revolting and well rendered, and the action sequences were mostly engaging. (The scene involving a well was well executed — no pun intended.) Maybe I’m just a kid at heart and want more creepy crawlies in my horror films, as opposed to endless demons and shrieking wraiths.
Here’s the key to enjoying it — think of it as a throwback to cheesy 70’s monster movies like “Kingdom of the Spiders” or “Damnation Alley” (1977). We had fun with those when we were kids, didn’t we?
I don’t understand how “Black Summer” can be as good as it is. It’s produced by The Asylum, the makers of low budget, direct-to-video ripoff films like “Atlantic Rim” (2013) and “Triassic World” (2018). It’s a prequel to the horror-comedy “Z Nation” (2014-2018) — a show that was so bad I couldn’t make it through its first episode. Yet “Black Summer” is inexplicably a great, albeit imperfect, TV show. I’d rate it a 9 out 10.
I might be in the minority here; a lot of people are severely panning this show online. And I do recognize its weaknesses — there is very little detail in its plot or character development … there is often even very little dialogue at all. And even I recognized some plot holes. (I’m typically a little slow on the uptake where these are concerned.)
But this bare-bones zombie story still manages to screen some likable characters, and then put them through a thrilling succession of hyper-kinetic chases and melees. I was on the edge of my seat, and I consequently didn’t miss the methodical, detailed plotting of shows like “The Walking Dead.” The season’s finale is crowned by an extended, eye-level, real-time action set-piece that ought to be considered a classic in the zombie-horror subgenre. It was mind-blowing. I just can’t dislike a horror property that genuinely scared me.
I could simply be out of step with everyone else; I often have different tastes in zombie fare. I love Zack Snyder’s 2008 remake of “Dawn of the Dead,” which this series reminds me of. And I also love similar overseas productions like Spain’s “[REC]” films (2007 – 2014) and Britain’s “Dead Set” miniseries (2008), while those amazing entries are hardly known among my friends. I also cannot understand why many people who love George A. Romero’s and Robert Kirkman’s productions must always compare other films and TV shows unfavorably to them. We can love both. Why not?
Hey, if you don’t want to make my word for it, here is what Stephen King tweeted: “No long, fraught discussions. No endless flashbacks, because there’s no back story. No grouchy teens. Dialogue is spare. Much shot with a single handheld camera, very fluid.”
I obviously recommend this.