Batman: Caped Crusader Season 1 (08.09.24)

 

Like most nerds, I like Batman. Most people do, if one takes the shear amount of times the character has appeared in print and on the small and big screens as evidence of his popularity. But I’m kind of getting tired of Bruce Wayne and his rogues, if I’m being honest… after all, there’s only so many times one can watch a trust fund orphan dress up like a rodent and beat up mentally troubled people on the streets without getting a bit bored. Batman: Caped Crusader, a new animated show on Amazon Prime, is in many ways an exceptional Batman experience  that goes out of its way to offer something different. But despite this I still couldn’t shake the feeling that we have already seen all of this before.

Caped Crusader has a lot of the same DNA as the popular 90s cartoon Batman: The Animated Series, which makes sense, considering that DC’s animation maestro Bruce Timm is the mastermind behind both. The animation is very similar, as is the respect that the subject matter is treated with—it does not dumb things down, despite the fact that kids are among the target audience. They're both shows that adults can enjoy as well, particularly Caped Crusader, which is a bit more violent and considerably darker than its predecessor.

Caped Crusader does some cool things with the Batman mythos, reimagining some characters, genderbending others, and setting the whole thing against the backdrop of a vaguely 1940s era of Gotham City. The noir approach that Caped Crusader takes is appreciated, the serialized tales of crime and murder really leaning into the detective facet of Batman’s nature.

But at the end of the day, Batman: Caped Crusader is still the same old Batman stuff. Bruce is humorless and dour, Alfred is concerned and frustrated, Catwoman is sassy and flirtatious. Despite all of its attempts to be different Caped Crusader is still what we’ve seen over and over again since Bob Kane and Bill Finger created the character in the late 30s, and I wasn’t able to appreciate the craftsmanship of the show that much as a result. This is not a problem with the Caped Crusader as much as it is a direct result of media saturation. Why not do a Wonder Woman cartoon instead? Or maybe a lesser known DC comics character like Midnighter or Zatanna? There’s only so many times you can run back to the Batman well without the thing running dry. I don’t subscribe to the idea of super hero fatigue in the media; I think that as long as there is innovation the genre can be as long lived as action films or comedies. But man, Batman: Caped Crusader just exhausted me.

But it’s a great show! This is the Dark Knight at his best. But the fact is that we have so many examples of the character at his best that the sum of those feels lesser because of it.

Batman: Caped Crusader season 1 is now available on Amazon Prime.

This review was first published in the Keizertimes on August 9th, 2024. Visit at www.keizertimes.com/ 

Deadpool & Wolverine (??.??.??)

Some actors and roles are just made for each other, and Ryan Reynolds and Marvel’s Deadpool are one such pair. Snarky, irreverent, and hilarious, the merc with a mouth was always a natural fit for Canada's second-best Ryan, so nerds everywhere rejoiced when it was announced that he would continue in the role even after FOX was bought by Disney and the fictional universe that his version of the character existed in was discontinued. Deadpool, the Marvel Cinematic Universe’s first permanent transplant, would get a third film, but this time it would take place in the world of Iron Man, Captain America, and other fan-favorite Avenging heroes.

Deadpool & Wolverine, a threequel that also sees the return of Hugh Jackman’s iconic version of the latter character, is less of an exciting look forward at what’s ahead for the MCU and more of a fun look back at what came before it. Strictly speaking, the film isn’t perfect; the simple plot on its face isn’t terribly interesting and has numerous holes, the villain is cool and excellently portrayed but only has the vaguest motivations, and there are some noticeable pacing issues that effect the momentum of the film. But I would be lying if I said that Deadpool & Wolverine didn’t also provide one of the most fun movie-going experiences for me in years.

From start to finish I was grinning like an idiot, enjoying every joke and every well-choreographed moment of ultra violence (D&W is the MCU’s very first R-rated film, and like its predecessors it thoroughly earns this rating) as the mercenary and the mutant slice their way through waves of bad guys as well as each other. The dramatic moments work as well, the writers and actors once again proving that they know what makes these characters so memorable and enduring—Deadpool isn’t just a live-action Loony Tune but a thoroughly messed-up and disturbed individual who hides behind humor and wants to be better, and Wolverine is the best there is at what he does but would rather be anyone else.

The MCU has always had the problem of alienating new viewers who don’t want to watch a few dozen films as homework to understand what is going on in the current film, and I’m sorry to say that Deadpool & Wolverine is, as a celebration of not only the MCU but also the FOX X-Men universe that came before it, probably the worst offender yet. Though I absolutely loved each and every reference and cameo (indeed, they proved to be the best part of my viewing experience), I can comfortably say that most of them will probably go over the heads of all but the most hardcore viewers. I can’t tell you if that is a deal-breaker or not, but I don’t think I would have had nearly as much fun watching Deadpool & Wolverine if I wasn’t already a MCU groupie in it for the long haul. It may not be a perfect movie, but it sure was fun!  

Deadpool & Wolverine is now playing in theaters. 

This review has not been published in the Keizertimes yet and may not be ever at this point, but here is the link anyway-  www.keizertimes.com/

Simone Biles Rising (??.??.??)

 

I don’t know if you noticed, but the year 2020 was really weird. One of the events where this was particularly apparent was the Tokyo Olympics, where athletes performed to empty bleachers and were required to put medals around their own necks if they were lucky enough to win. But even with these COVID oddities there was one particular moment that stood out—the moment when Simone Biles, arguably one of the best gymnasts of all time, decided to sit out most of her competitions after a handful of botched performances with little to no explanation why. At the time, absolutely everyone had an opinion on what had happened, and now, on the eve of the 2024 Paris Olympics, Biles herself is setting the record straight once and for all in Simone Biles Rising, a triumphant and inspiring documentary that sheds light on not only her own troubles but also the need for better mental health accommodations in the world of professional sports and beyond.

Simone Biles Rising is refreshingly candid as it delves into just what went down in Japan and what Biles has done since to take control of her mental and emotional wellbeing. Her problems are often so relatable and understandable that it is sometimes easy to forget that this is an international superstar we are talking about and not just some “normal” person with a regular 8-to-5 career. A lot of this comes down to Biles’ likeability as a person, and a lot of it has to do with the documentary crew never failing to ground the pomp and glamor of the Olympic stage with interview clips of those who know Biles best, such as her mother Nellie and her husband Jonathan Owens, whom she married in 2023 (and who played for the Packers, but I suppose I should forgive him now that he’s with Chicago). Somehow the documentary made it easy for me, a guy who has never done so much as a cartwheel, to see myself in and sympathize with her position.

Mental health has never been a priority in any competitive endeavor, and this is something that Simone Biles wants to see changed. Rising is a fascinating look behind the Olympic curtain and also a call for all those who are suffering from unresolved mental afflictions to seek out help when needed and to also know that they are not alone in their suffering. If Simone Biles can break down in front of the world and come back stronger, we all can.

Simone Biles Rising isn’t just an exploration of the past and present, but also a fun and exciting preview of what is to come. Biles will once again be competing in the Olympics this year in Paris, and I can’t wait to see how the true ending of this documentary plays out in real-time. Win or lose, Simone Biles will be going out on her own terms.

There are currently two episodes of Simone Biles Rising available on Netflix, with more coming in the fall.

 

This review has not been published in the Keizertimes yet and may not be ever at this point, but here is the link anyway-  www.keizertimes.com/

Brats (07.19.24)

 

If you lived during the 80s there is a very strong possibility that you knew of the Brat Pack. A loose coalition of similarly-aged actors at the forefront of a teenage Hollywood revolution, members of the Pack starred in a handful of groundbreaking films that defined a generation, from The Breakfast Club to St. Elmo's Fire to Pretty in Pink. But apparently the phrase “Brat Pack” was reductive, and if you didn’t know that then Andrew McCarthy, himself an alum of the rowdy crew of misfits as well as the director of Hulu’s new original documentary Brats, will spend an hour and a half of your life telling you so.

Ostensibly a documentary chronicling the careers and lives of the titular Pack, Brats is much more of a therapeutic journey for McCarthy as he grapples with the label that was thrust upon him. The chip that is always present on his shoulder is the true star of the documentary, presenting itself even when it makes for awkward viewing (the interview with Emilio Estevez is particularly painful). Some of the other Brats clearly didn’t see the big deal he was making of the label, no matter how many times McCarthy insists otherwise, and in many ways the documentary feels like a thesis statement in search of validation, rather than a conclusion reached naturally through supporting evidence. Andrew McCarthy believes that the phrase “Brat Pack” derailed his career, which is, on its face, a thing that can be sympathized with, and it may even be true. But it’s hard to take his complaints too seriously when he is interviewing his fellow Brats (some of which have had very respectable careers post-80s, such as Rob Lowe and Demi Moore) in their giant, beautiful houses. Many kids would have killed to be in the Brat Pack at the height of their fame, and here you are complaining that things didn’t go exactly your way because of a relatively harmless nickname? It’s self-indulgent and, dare I say, a bit bratty.

Brats has some occasionally interesting moments outside of McCarthy’s labeling complaint, such as when the issue of racial representation (or the lack thereof, to be more accurate) in 80s coming-of-age films arises, or the discussion of the importance of music in the Brat Pack films, but these moments are always superficial and skin-deep. It always comes back to the phrase “Brat Pack” being bad, and it’s just very hard to care. To paraphrase Rob Lowe, the person who seems to have the best perspective on these things, this isn’t a cure for cancer we’re talking about here; we’re talking about a handful of classic films and the nitpicks of the very lucky people who made them. Brats is the ultimate exercise in whining about first-world problems, and this hardly makes for interesting viewing. If you’re not already a fan of these films you won’t care, and if you are then Brats might just leave a bad taste in your mouth. I say skip it.

Brats is now available on Hulu.

 

This review was first published in the Keizertimes on July 19^th, 2024. Visit at www.keizertimes.com.

A Quiet Place: Day One (07.05.24)

 

When John Krasinski made the transition from acting to directing and writing he surprised expectant fans by debuting not with a quirky comedy but with a novel and effective horror film, A Quiet Place. Drawn to the simple idea of a father giving everything to protect his children, the scariness of the film was always secondary to the Office alum, but what started as a tense little story of a family trying to survive in a world of aliens with an intense desire to maul everything that makes the slightest sound eventually did what most successful films do: It became a big ‘ol series. Yet despite this the second film did not lose its intimate and personal nature, and the prequel/spinoff, A Quiet Place: Day One, follows suit, much to its benefit. 

Those expecting answers to just who these aliens are, how they arrived, and what their life goals are will be disappointed. Like the previous two films Day One focuses on the experiences of everyday people who know just as much as the audience does when the decibel detesting demons drop, and it never really moves beyond our main character Samira, who is played wonderfully by Lupita Nyong'o, and her new apocalypse buddy Eric, portrayed equally as well by Stranger Things’ Joseph Quinn. By focusing on Samira and her already-tragic story Day One retains an appealing heart throughout, a factor that would have been very easy to overlook for a film with a much larger budget and body count than its equally effective forbearers. 

But Day One is still a very thrilling experience, especially because director/writer Michael Sarnoski seems to understand two very important things about the horror genre—One, having a pet in the mix (in this case Frodo the cat and Eric the not-unlike-a-puppy) always raises tensions to bloodcurdling levels, and two, Lupita Nyong'o has one of the most convincing scared faces in Hollywood. Like its predecessors the film isn’t exactly scary per-say, but it is intense, and like A Quiet Place and A Quiet Place: Part II it requires some suspension of disbelief simply because of its premise (why aren’t the aliens attracted to the noises that other aliens make, for instance?) And watching the film in theaters is a particularly unique and enjoyable experience, as there is nothing quite like sitting amongst a group of people who are subconsciously trying to make as little sound as possible lest the illusion being shared be broken (I have never finished a movie with so much popcorn left over... that stuff is really loud when it wants to be). 

A Quiet Place: Day One is otherwise perfect for popcorn—a fun movie that makes for great summer viewing. Anchored by a simple yet heartwarming story it is a thriller that thrills, and fans of the other two films should definitely catch it in theaters before it’s gone. And try not to worry too much about the cat... I promise that Frodo is more resourceful and capable than most of us would be in that situation. 

A Quiet Place: Day One is now playing in theaters.

 

This review was first published in the Keizertimes on July 5^th, 2024. Visit at www.keizertimes.com

Hit Man (06.28.24)

 

Sometimes it can be hard to pin down a film’s genre. A movie can dive into so many pools in one go that it feels like it fully swims in none of them, or it can have hints of a flavor or two yet never commit to any one taste, leaving the audience confused as to what they just consumed. Hit Man is the latter of my lamentably mixed metaphors: It’s a romance that isn’t really romantic, a comedy that isn’t really that funny, and a crime story that doesn’t delve too deeply into the law and the punishments of those who break it. But despite its nebulous genre I actually enjoyed Hit Man for the most part, mostly thanks to some incredible acting and the chemistry of the two leads.

Glen Powell, a guy who I previously only knew as the cocky pilot from Top Gun: Maverick that wasn’t Tom Cruise, both co-wrote and stars in Hit Man, and damn does he do a good job, if you pardon my French. His character Gary, a mild-mannered psychology professor with a part-time gig as an undercover agent who pretends to be a hitman in order to entrap potential customers, allows for an incredible range of people to play-- Gary himself is meek and dorky, his main alter ego smooth, assertive, and tough. Over the course of the film he effortlessly takes on other personas as well, from a Russian mobster to a murderous redneck, and every one of them is fun to watch. Powell’s acting ability and charisma is the primary force driving the film forward, especially when it is complemented by his electric chemistry with Adria Arjona, who plays his love interest, Madison.

But despite this chemistry it’s not a love that I ever believed in, and they are not a couple I ever rooted for, a bad sign for what Wikipedia describes as a romantic comedy. It’s not a very funny film either, not because it has jokes that don’t work but because it doesn’t  really go for any jokes at all. The plot that gets the characters to the expression of the “l” word is fraught with illogical leaps, and much of the conflict seems artificially generated by characters keeping secrets when there is no apparent reason for them to be doing so and lying just for the heck of it until it is too late for an easy resolution. This point of no return doesn’t happen until the ninety minute mark: Every bit of conflict up until that point could have been resolved with zero negative consequences if the people in the film weren’t purposefully trying to generate enough content to fill an hour and a half. It’s frustrating and a little bit bemusing, to say the least. And that ending? It would have been one thing to leave me dissatisfied, but it’s quite another to leave me actively disliking the main characters and wishing they were robbed of the happy resolution that they thought they were owed for some reason.

Thanks to Glen Powell the actor Hit Man is perfectly watchable and enjoyable, but Glen Powell the writer might need to brush up in his skills just a bit if he wants his characters to inhabit a believable and worthwhile world next time.  

Hit Man is now available on Netflix.

 

This review was first published in the Keizertimes on June 28^th, 2024. Visit at www.keizertimes.com/

The Acolyte (06.21.24)

 

Nobody hates Star Wars as much as Star Wars fans. This is the unofficial motto of the fandom, an attempt to explain why complaints accompany any new release in the franchise like fleas accompany an unwashed Wookie. A lot of this is can be chalked up to passionate fans being protective of their favorite intellectual property, but there is no denying that the fandom also attracts a lot trolls that hate for the sake of it and muddy the waters when it comes to legitimate criticism. The Acolyte is the latest victim of this: currently the latest Star Wars show has a 3.5 out of 10 on IMDb in part thanks to relentless review bombing by those who have written off the show without having watched it for various dumb reasons—it’s too “woke” (whatever that means), the costumes aren’t gritty enough, the hairstyles are too modern, etc.

These bad-faith reviews make it harder for fans to criticize things for fear of being labeled as intolerant or reactionary like that (thankfully) small but (unfortunately) vocal percentage that actually is. And that finally brings me to my personal views of The Acolyte: It is fine, but it could be better.

Set around a century before anything else we have seen in the Star Wars universe (on the screen, anyway), The Acolyte has so far mostly been a straightforward murder mystery with some silly soap opera-ish family stuff thrown in (this is Star Wars… silly soap opera-ish family stuff is kind of baked into the DNA), but the majority of it is done well if not great. The acting is adequate but isn’t award-worthy (the acting in Star Wars very rarely is) and the writing is fine despite the occasional questionable dialogue. When people get in fights the action is pretty cool, mixing martial arts with force powers in a way that really hasn’t been seen before in the franchise. It didn’t blow my mind and I wish they would have committed and gone full-Crouching Tiger, Hidden Dragon with the physics-defying craziness, but maybe I’ve just been spoiled by exceptional action beats recently.

The show benefits greatly from its simple premise that doesn’t require homework to understand it, and the story itself feels less like a Star Wars event and more like a story that just happens to take place in the Star Wars universe. There are some plot holes that I take umbrage with, and it remains to be seen if the show will be faithful to the canon established before it, but the basic bones of The Acolyte look promising so far, especially the bits about family and sisterhood.

Is it a perfect show? Definitely not, but it is no 1/10 either. It feels fresh, it’s entertaining, and unless things take a drastic turn next week I for one will be tuning in to see things through to the end. If you like Star Wars give it a shot; it’s more than a lot of fans are doing these days.

As of this writing, the first three episodes of The Acolyte are now streaming on Disney+, with new episodes dropping each Tuesday.

 

This review was first published in the Keizertimes on June 21^st, 2024. Visit at www.keizertimes.com/