On a four-city tour, fans of Batman got to see the new costumes and Batmobile for the upcoming film The Batman! Fortunately, one of the stops was right here in Tampa! Contributor Danielle Mescall attended this past weekend, and you can checkout her writeup and photos below!
On Saturday February 19th, locals from Tampa had the chance to check out “The Batman special event,” where people got a sneak peak into the newest film adaptation in the Batman franchise. As crowds lined up to see this exhibit for the new film releasing on March 4th, it is clear that the love for the caped crusader is still very strong and people from all generations are excited for this film.
At this event, you get the chance to see the newest Batmobile along with costumes for Batman, Selina Kyle, The Riddler, and The Penguin. In addition, you get to play trivia and join in raffles while you wait. Once you are in the tent, you can see the detail that these creators have put into it and it gives you the ability to picture yourself in the action as you look at all of the modern and sleek designs of the suits and the car.
Producer Dylan Clark explained in an interview, “We wanted the Batsuit and the Batmobile to look obviously like it was designed by one man, by Batman himself. The suit is tactical, it’s military, it’s purposedriven, it’s practical. It’s also iconic; Batman has his own emblem, his cowl, his cape. We chose a design that Bruce Wayne, at 30 years old, would have built.”
After getting the chance to see the exhibit myself and after seeing other people’s reactions and responses, it seems to make the crowds and fans that more excited for March 4th!
The final two stops on this tour are listed below, so make sure to check out the exhibit if you can: • 2/22 Miami, FL at Dolphin Mall • 2/25–26 Philadelphia, PA
An ambitious departure from the previous paint-by-numbers MCU films, but while it will attempt to distract you with impressive visuals (other than the Deviants), it’s a soulless film with a convoluted plot full of neo-liberal woke-pandering. Chloe Zhao’s The ETERNALS is the result of a writer/director concerning themselves far more with satisfying the rubric of check-boxes associated with toxic woke culture than telling a thoughtful or entertaining story. This is MARVEL Studios’ movie to demonstrate, through superficial virtue signaling, that they are onboard the Woke Express. Perhaps the idea of this movie sounded innovative in the echo-chamber meetings, but the execution leaves much to be desired. Diegetically, the prolific world building, MCU connectivity, and character development this movie needed to do, even the more than 2.5hr runtime isn’t sufficient, and ultimately feels like a DCEU-style rush job. Between the chaotic plotting, bad CG (those Deviants look like something right off the SyFy Channel), cosplay uniforms, dialogue lacking in any subtext, and the gross neglect for any nuance to the storytelling whatsoever, this movie is the product of an assortment of post-modern critical theories and not the imagination of a filmmaker. Clearly Zhao has an eye for cinematic composition, but her skills as a storyteller are not nearly as fine-tuned–certainly not for such a gargantuan superhero spectacle.
The Eternals, a race of immortal beings with superhuman powers who have secretly lived on Earth for thousands of years, reunite to battle the evil Deviants.
Dramatize don’t tell. This is the No.1 principle I teach in my film studies and screenwriting classes. And this important convention is broken at the very beginning of The Eternals. Very few movies have demonstrated that scrolling text in a prologue can pay off dramatically (i.e. Star Wars). It works in Star Wars because that is how the world was first introduced to the mammoth intellectual property, therefore, it becomes part of its branding (and is missed when it doesn’t happen). Moreover, there was no frame of reference prior to A New Hope; and since we were being plunged into the middle of the action, it was necessary to preface the story that was about to unfold. Audiences aren’t being introduced to the MCU–they’ve been in the MCU ostensibly since Paramount’s Iron Man. Therefore, this demonstrates a lazy approach to providing exposition that could have otherwise been integrated more thoughtfully into the main action story. Furthermore, this lack of dramatic exposition is problematic, not only at the beginning, but throughout the movie.
If there was a social media campaign or outcry about it in the last few years, you will find that box checked off in this movie. As I watched this movie (in IMAX, btw), I couldn’t help but envision a rubric, not unlike the kind many professors use for grading papers. Personally, I don’t use a rubric in my classes because satisfying requirements in that fashion does not tell me how you can apply what you learn in class to your topic; but rather, that you know the bare minimum you need to do in order to get the point(s). Think of it as a typical test. A typical test only demonstrates to the professor how much you can remember NOT how much you know or your level of wisdom (the application of knowledge). It’s as if Zhao held meetings with MARVEL Studios executives and staff to outline every woke box that needed to be checked in this progressive movie. I won’t go into all the examples because that would take up a paragraph in and of itself, but if there has been a push for representation, then you will find it here. And all those characters in one place means that most are not developed sufficiently and feel more like one-dimensional tokens than characters crafted by a writer who cares. That’s the problem here. Increased representation across the spectrum of humanity in cinema is very important, but not when it comes at the expense of the integrity of the characters themselves.
One of the hottest topics of discussion to come out of this movie is the inclusion of a PG-13 sex scene, which is long overdue in a cinematic universe such as this one, which is filled with HOT male and female characters in form-fitting uniforms. More than demonstrating to audiences that the MCU movies have grown up with their initial audience of teens and 20-somethings, this scene is important because it shows that these immortal beings have some humanity in them. Superheroes and supervillains are often not thought of as human, and even though we learn that these immortal beings aren’t exactly human, they do take on many characteristics of humans, and this scene is a refreshing reminder that superheroes have erotic passions just like the rest of us. There is a vulnerability about them.
Because of all the piping that is being laid in this movie (enough for at least two or three movies), the story feels incredibly rushed. It reminded of how the DCEU tried to complete with MARVEL, years after MARVEL had been in the MCU. The result was hurried world building. It took MARVEL years to build the MCU, but the DCEU tried to accomplish the same in a year or two. We have five stories here (1) its creation myth and early Mesopotamia (2) the time in Babylonian Empire (3) the time in the Aztec Empire (4) the Greco-Roman Empire, and (5) the present-day story. Each of these is incredibly important to the main action plot of The Eternals, and yet these otherwise rich settings are reduced to flashback fodder. There are easily three thoughtful movies that could have come out of the five aforementioned stories. The result is a single plot that cannot possibly accomplish everything that it needs to in order to effectively tell the story and do it justice. I’m still not entirely sure why the Deviants were attacking the Eternals; oh it was sort of explained, but like with much of the rest of the film, it wasn’t thoughtfully developed either.
If you are familiar with Middle Eastern or Greek mythology, you will enjoy the integration of some of the mythological stories with which you are likely familiar. From the Epic of Gilgamesh to Ikaros to Athena, you will learn that it’s the Eternals that inspired these stories. While we may never know precisely what inspired these stories in real life, they were likely inspired by real individuals, much like legends and lore are to this day. So, knowing that these powerful, immortal beings have been secretly living on earth makes since, and can be appreciated both through a historic lens and through the backstory of the main action plot of the movie.
There are two end-credit scenes, each setting up a new characters. I won’t spoil it (but don’t look at the IMDb either). One scene in at the beginning of the credits and the other is a post-credit scene.
Ryan teaches American and World Cinema at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
Not a total train wreck, but the plot is full of cracks nevertheless.
After the success of 2017’s Split, M. Night Shyamalan’s Glass was the highly anticipated conclusion to the macabre take on the superhero genre. Unfortunately, the film fails to deliver the intense plot that audiences wanted. After the big reveal that Split was connected to Unbreakable (2000), the audience was predisposed to anticipating the same level of suspense and thrill that was found in the aforementioned two films. Plot twist. The plot misses the mark. Glass is the final installment in this superhero universe trilogy that postulates that comic book characters are, albeit exaggerated, inspired by real-life super humans. Out of left field, this movie was completely unexpected until the uncredited cameo of Bruce Willis’ character of David Dunn from Unbreakable. Despite the lackluster narrative, the film is not without its entertainment value. It is sufficiently enjoyable, but leaves you with a feeling of “meh.”
For the full review, visit the One Movie Punch website for the audio review and transcript! And if you don’t do so, follow One Movie Punch on Twitter and subscribe with your podcast service.
Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!
Norse mythology meets Gladiator meets 80s vintage video game in this non-stop adrenaline pumping action film. Suffice it to say, everything you’ve heard about Thor Ragnarok from your friends is true. It is an incredibly fun movie that is equally well written and directed. For anyone who follows my blog, it is no secret that I typically do not like the Disney-Marvel films (and for good reason), but the focus of this review is on THIS particular film. I state that because, honestly, I very much enjoyed this film! So, it comes from liking the structure, characters, plot etc. not just from being a fan boy, or lack thereof in this case. Not only an excellent third sequel, but this movie can easily stand on its own. Whether you have watched the other MCU (Marvel Cinematic Universe) films or not, you can rest assured that you can enjoy this superhero movie. With the way the initial trailers were cut, I thought that this was MCU’s way of jumping onto the 80s nostalgia band wagon–not so. Oh, there is definitely an 80s video game vibe about the film, but the focus is on the characters and storytelling, not the nostalgia. There is also a self-aware element of this film. Not to the extent Deadpool is self-aware, but Chris Hemsworth’s Thor has a twinkle about his eye that winks at the audience so that we know that he is aware of the corniness and ridiculousness of the characters and plot. But the magic of this film is just how well balanced the content of the film is. There were many times that the plot lended itself to falling apart, but the solid cast held the film together and provided audiences with one of the best movies in the MCU.
When Thor learns of a dark, hidden family secret, he must confront the deadliest enemy he has ever faced off with in his life. But the legendary hero encounters far more than he ever expected. The mighty Thor finds himself imprisoned on a faraway planet and forced to battle in gladiator-style games. Little does he know that the winningest challenger on the planet is his former ally The Hulk. Thor must survive the deadly gladiator-like battles in order to build his team to defeat Hela, the Asgardian goddess of death who is destroying his home world.
One of the principle themes in this film that enables this one to be more and deeper than other MCU films is just how similar it is to a conventional war picture. There are hints of courts of intrigue as well. The complex plot provides a comprehensive foundation upon which a more superficial story can be developed in order to appeal to wide audiences, with few appreciating the deeper themes and subtext. But it takes more than effective and well-developed writing to build such a solid movie, it takes multi-dimensional characters portrayed by impeccable screen talent. You’ll find all of that in Thor Ragnarok. Although his screen time is brief, Anthony Hopkins’ Odin commands the screen with confidence, wisdom, and sincerity. Few actor’s can take a few minutes of screen time and put more cinematic magic in it than Hopkins. After all, he won his Oscar for Silence of the Lambs for his collectively few minutes on screen. Joining the cast are Jurassic Park’s Jeff Goldblum and the beautiful, talented Cate Blanchette. Goldblum’s Grandmaster of Sakkar is hilarious and brilliant. As you’d expect a Goldblum character in a film like this to be: detached intellectually from that which is seen as conventional, smart-alecky; yet, he is also petty, sadistic, and relentless. Blanchette’s Hela is elegant, sadistic, and intelligent. She is perfectly able to be the comic book-esque villain she needs to be, all while bringing about a pedigreed acting to it.
All the technical elements of the film works excellently together. The most memorable of those elements is the music, for me, followed by the visual effects. I absolutely loved the nod to Willy Wonka and the Chocolate Factory during Thor’s transport to through Sakkar. This works because (1) the scene it shot and edited similarly to the boat scene in the aforementioned movie and (2) Goldblum’s Grandmaster is a Willy Wonka type. Throughout the film, there are 80s video game sound effects and a score that could fit into a nostalgic 8bit video game. However, the nods to Willy Wonka and video games do not overpower the more conventional score. Whereas the visual effects could have gone overboard and made the film play off as a video game, the video game like effects where carefully integrated in order for the film to maintain a high show quality.
The film was initially sold as a funky, colorful, comedic MCU film. And there are times that the film also encroaches upon that animated feel, but it never crosses that line–thankfully. The more serious aspects to the film balance out the slapstick moments. All of this works together to execute perfect pacing and plot/character development. Like with most MCU films, the more adventurous parts of the film are not quite adventurous enough to be an adventure film and there is typically a predictable nature about the film. I find that this film is not as predictable as previous MCU movies, but there is still that experience with this one. There is one particular part to the showdown of the film that prohibits this from falling victim to another cliche MCU ending with an epic battle, bodies flying through the air, and cities on fire, but I cannot reveal that without giving away the ending.
Looking for a fun movie to watch with your friends? Then this is a solid choice. Although the film has its diegetic flaws, the ways it succeeds outweighs the shortcomings. You also do not have to have seen the other Thor movies and really don’t even need to have seen the previous Avengers films, albeit helpful to understand some of the minor plot points. It’s definitely one that has re-watchabbility.
Uncanny! 20th Century Fox, Marvel, and TSG Entertainment’s Logan is a compelling, grizzly, organic superhero movie that is the last to feature Hugh Jackman as Logan (Wolverine) and Patrick Stewart as Professor Charles Xavier. Prepare to have your mind blown as the action unfolds in such a way that your heart will be pounding, racing, and pumping adrenaline through your body and then tug at your heartstrings as emotions run high. Logan is quite possibly the most comprehensive and diegetically dynamic superhero movie ever, and perhaps best X-Men film in the long, successful franchise. With a penchant for thrilling, action, and even horror films, director James Mangold pulls out all the stops in the last chapter in the story of The Wolverine. While there have been several films about Logan/Wolvervine outside of the main X-Men films, this cinematic adventure will have you on the edge of your seat with anxiety and holding back tears simultaneously. Some of the responsibilities of the final chapter of a character or an actor portraying a long-standing character are striking a delicate balance between nostalgia, closure, but still providing audiences with a new story; overwhelmingly, this film delivers the absolute best as we bid farewell to Hugh Jackman and Patrick Stewart from the X-Men universe and exceeds any and all expectations.
In the not too distant future, an aging Logan (Jackman) is caring for an increasingly ailing Professor X (Stewart) near the US/Mexican border. With the professor’s cognitive health in a downward spiral, Logan illegally acquires medications that ease the Professor’s seizures…seizures that are telekinetically powerful enough to leave devastation in their wake–and have. Logan is challenged to hide the Professor from the world in an effort to shield him from those who seek to kill him. While operating as a limo driver, Logan encounters a bizarre woman at a funeral who begs for his help. As Logan has always been the solitary type who mostly cares for himself, he ignores her cry for aid. In a bizarre turn of events, he finds himself caretaker of her daughter when she is found dead in her hotel room. After she follows Logan to the hideout, Professor X pleads with Logan to take her to a place called Eden. This soon becomes a bloody road trip as the three of them hide from and attempt to outrun those who want to kill Logan, the Professor and take the girl back to Mexico.
What do James Mangold’s 3:10 to Yuma and Logan have in common? They are both grisly western films. Evidence of this is not only seen in the character development, pacing, and overall tone of the film, but can also be seen within the film itself as Professor X and Laura (Dafne Keen), the young girl traveling with Logan and Xavier, watch a western film on TV–a film that Xavier references several times as he reminisces about films from his childhood. While many think that the American Western film died out with Hollywood Golden age, it has certainly not retreated from cinemas. In fact, many of Quinten Tarrantino’s films are westerns, the original Star Wars: A New Hope was a post-modern western, and Mangold’s Logan is yet another example of a reimagination of the American Western film. Reading the film as a western enhances the visceral experience of the film. Although directors seldom pit cowboys against indians anymore, there are subtle references to that relational dynamic from early western movies within this film. Much like the Lone Ranger and many of John Wayne’s characters, Logan is also a solemn solitary character being pulled into a world built upon the idea of relationships but his baggage makes it incredibly difficult. Emotions run high in Logan; and it’s these emotions that provide audiences with a comprehensive experience that fulfills the desire for gritty action plus moments that may stir you to tears.
Although we are just coming out of this year’s award season, it’s entirely possible that Logan may be the first superhero motion picture to be nominated and even win Best Picture at next year’s Oscars. All the elements that make up a Best Picture nominee can be found in Logan. It has drama, romance, a little humor, feels organic, deals with prejudice (by extension), and is based on a book–a comic book that is. The R rating is also important because it (1) serves as further evidence in the direction Fox is going to proceed with films like Deadpool and X-Force–gearing toward an adult audience (2) it allowed for audiences to see the Wolverine at full bloody force, which has been a desire for quite sometime and (3) the degree to which the film can deal with real adult problems physiologically and emotionally. The financial success of Logan will depend on adult audiences speaking the word about the outstanding nature of the film and even bringing more mature younger superhero fans to see the movie. Since most of the film contains disturbing imagery in regards to both the bloody violence and with Professor X’s debilitating cognitive disorder (most likely a severe form of dementia), I would not recommend bringing those under 13 to the film until you have screened it for yourself. It’s an incredible, film; but, there is content that may not sit well with those that are quite young.
Before Logan begins, fans of Deadpool will be excited to know that there is a short film (glorified promo, really) for Deadpool that does a successful job at promoting the highly anticipated sequel to last year’s blockbuster. Its placement is also important to Logan in that it provides some levity before the rather somber tone of the feature film that follows Ryan Reynolds’ offensively endearing witty charm as Deadpool. Logan is proof that superhero films can take the more serious route without sacrificing the art of the story. Both Jackman’s and Stewart’s acting is on point, and probably some of the best of their respective careers. Stewart, more specifically, delivers a command performance as Professor X and demonstrates that an accomplished actor who was primarily first known as Captain Picard can excel in both the horror (Green Room) and superhero genre films, all the while continually adding the touch of class that comes with his formal Shakespearean training as a performing artist.
This is NOT repeat NOT a kids superhero movie. Unless you have screen the film first, I would not recommend bringing anyone under the age of 13 with you to the cinema for Logan. There may not be “adult” content in the conventional sense; but, there are themes, subtext, and some violent content that may not be suitable for a younger audience who typically flock to superhero genre movies. Over all, Logan is an outstanding film, not just of the superhero variety, but also in general. From the writing to the directing and technical elements, this movie is a fantastic example of a superhero film that attempts to be and successes at breaking the mold and cementing itself as serious cinema.