Star Wars Franchise Fatigue Greatly Exaggerated

It wasn’t that long ago (uh, April) that fresh from disappointment over Solo’s box office, Disney’s Bob Iger announced they would “…take a pause, some time, and reset,” when fears of “franchise fatigue” had pundits worrying there might actually be too much Star Wars product. Today, Disney made their first big announcement since the Fox merger, revealing a wide slate of opening dates stretching out into the future – prominently featuring more Star Wars. Beginning in 2021, Disney will use the pre-Christmas holiday weekend to stagger between new Star Wars and Avatar films, now scheduled through 2027. Here’s the breakdown:

• December 17, 2001 - Avatar 2
• December 16, 2022 - Untitled Star Wars

• December 22, 2023 - Avatar 3

• December 20, 2024 - Untitled Star Wars

• December 19, 2025 - Avatar 4

• December 18, 2026 - Untitled Star Wars

• December 17, 2027 - Avatar 5

We don’t know what the content of these new Star Wars films will be, but given that they’re announcing three films, it’s not too big of a stretch to posit that these will consist of the new trilogy films from Game of Thrones’ showrunners David Benioff and D.B. Weiss, rumored to take place during the Old Republic timeline.

This likely means two things: Disney is very happy with what they’ve seen in Star Wars: The Rise of Skywalker, and are confident of a smashing audience reception. Perhaps even more telling, while there’s still a fair amount of skepticism about the need for an Avatar sequel (not to mention four of them), something director James Cameron has revealed has Disney feeling bold enough to declare a massive long-term relationship.

Our holiday seasons are going to have a distinctly sci-fi vibe for the foreseeable future!

Peter Mayhew has left us.

Sad news in the world of science fiction films today, with news of the passing of actor Peter Mayhew, best known as Star Wars Wookiee Chewbacca. 

Mayhew was 74, which doesn’t sound nearly as old as it used to. London-born Mayhew’s kindness at signings was legendary, and he leaves behind the legacy of a truly iconic character who will forever be remembered for his courage and heart. 

Lighting a Match After Thrones’ Long Night

Daylight at last! Dawn breaks across the parapets of the north, and Game of Thrones’ Battle of Winterfell is over!
If for some reason you haven’t yet watched last night’s epic clash, be advised that...

...massive S  P  O  I  L  E  R  S  follow.

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Mid-point in this final season, this episode carried the weight and anticipation akin to a series finale.Thrones has served up some doozies in previous seasons, so the bar was insanely high here. I know, I know, “The Night is dark and full of terrors.” – but is it supposed to be that dark?! This episode (The Long Night) was big and bold at an hour and 22 minutes, but as many viewers were quick to point out, it was woefully murky and underlit at times. Fealty to environmental realism is great, but huge chunks of the first half of this episode made it nearly impossible to clearly see what was going on, with all the darkness, smoke, snow and fog. Compared to Hardhome (5.8), Battle of the Bastards (6.9) and The Spoils of War (7.4), this may have been a more elaborate shoot to orchestrate, but it’s just not as compelling or visceral to experience.

 

This battle didn’t quite unfold as I expected. The army of the dead is enormous, and when they collide with Winterfell’s defenders, it’s like a massive tidal surge, completely overpowering. When thousands of Dothraki riders charge into the fray, they’re overwhelmed and absorbed in seconds. This is an insanely populous and devastating enemy. So then how come so many of our principal characters emerged intact?! Stunningly, nearly all the characters who were in front line vanguard positions against the dead escaped with their lives. Brienne, Jamie Lannister, Podrick, Grey Worm, Gendry, Tormund, Ser Davos, Sam – there were surprisingly few casualties among the core characters, unrealistically so, given the nature of their foe.

 

Season 8 continues to be all about Arya, who had some of the most extreme character and action beats in this episode. She’s awesome, and a fantastic fighter. So it seems abruptly out of character, given her long evolution into one of the assassins of the Faceless Men, that she’d seem so panicked and afraid during the siege of the castle. She eventually regroups – and how – but for a good part of the episode, she seemed to have forgotten that training.

 

It was a rough night for the Mormonts, with young Lyanna meeting her end by a giant wight, who she killed with her last breath. Also valiant Ser Jorah Mormont, who had a perfect demise for his character, protecting his Queen right up to the very end. Theon Greyjoy also got a fantastic, redemptive sendoff, heroically defending Three-eyed-Bran even as the Night King fell upon him. Melisandre also met her maker, removing her protective necklace and surrendering her antiquity to her Lord of Light with the coming of the dawn. 

 

Which brings us to what for me was the biggest surprise of the evening, the sudden obliteration of the Night King – and with him, his entire begotten army – by a tenacious Arya. Yes, she was wielding Valyrian steel, but it was unexpected to have the story-defining, overarching threat of the entire series suddenly vanquished, and having just survived a massive blast of dragon fire unscathed, it felt like a sudden and anticlimactic victory. Having the dead defeated at the halfway point of this final season is not what I was expecting. 

 

Don’t get me wrong – this was an impressive, massively entertaining episode, but it deserved to look much better, and at times, the staging of events just simply couldn’t keep disbelief aloft. I have to admit, when they rolled the scenes from next week’s episode, I was thrilled to see daylight exteriors again! “Ah, crisp shot compositions! Focused depth of field! King’s Landing!” So it would seem that the threat beyond the wall is past, and now we’re all heading south – to a final confrontation with the real heart of darkness, Cersei Lannister. 

The Mother of All Weekends

Savor it well, Kindred! The weekend of April 26th-28th. For some, it may seem notable for legions of lawnmowers being started for the first time this year, but if you count yourself one of the nerd faithful, you're probably overwhelmed with awe and wonder at the astonishing double-whammy of entertainment bombarding us this weekend. It's practically generational in its harmonic convergence likelihood to be fondly remembered for many years to come.

Many of us have already had our infinity stones shaken by Avengers: Endgame, which as of this writing looks to have been the first movie in history to earn over a billion dollars in its opening weekend - with a 3-hour running time, no less! That's monumental, exceeded only be the fact that audiences and critics universally (and deservedly) are praising it to the rafters. Repeat business is a given, but after 11 years and 21 films paving the way, we've been given a truly wonderful shared experience that overflows with gasps, spoilers and tremulous heartbeats. 

Then we have tonight! 3 episodes into the final season of HBO's Game of Thrones, we have what promises to be an epic battle that redefines epic battles, the fantasy equivalent of Agincourt - "The Battle of Winterfell," where reveals - and demises - are certain to transpire that will leave us unable to think of anything else for days. It's not the series finale, but this promises to be the Omaha Beach of the greatest fantasy filmmaking achievement since The Return of the King. 

What do these two epic events have in common? They’re both examples of long-form storytelling, and they both contain tantalizing secrets and revelations that audiences eagerly yearn for. So expect to see plenty more opus-level entertainments along these same lines.

We live in some truly insane times, friends. But after all the dust of routine and headlines settle, it's often these milestones of escapism that truly stay with us and sustain us. To have two events of this magnitude - well, it's like having the moon landing and Chernobyl on the same day. It's gonna be a lot to process! I hope everyone's enjoying the heck out of all this, and just for a moment, pausing to savor the rarity of this much Wow, coming all at once. So drink deep! I'll see you on the other side.

Endgame’s Astonishing Swan Song!

Keep your shirt on, there's no spoilers here - this isn't even my review - but I just need to safely swoon a little about the massive Marvel milestone that is Avengers: Endgame. I'm not getting into any details, no in-depth analysis here. My only purpose is to urge you to race out the door and see this movie now. Get out there and enjoy this brief parenthesis before the entire universe starts spewing reactions, and every overheard conversation is fraught with peril.

I'll have a proper, full-length review in the days to come, after the opening weekend excitement dies down. But Endgame is a Sentinel Event - a colossus of storytelling eleven years in the making. MCU, stick the landing thou hast - and how.

At three+ hours, there's a lot to take in, and the movie is overflowing with surprises. It was such a treat to have virtually no idea where we were going or what might happen. Most of the trailer footage is from the first few minutes of the film, so they've really kept their cards close to the vest. Some characters I expected to play a larger part barely appeared. Some I never expected to see had significant roles. Some characters are markedly changed from when we saw them last. Half of life in the universe has been snapped out of existence. That's gonna leave a mark.

After 21 films, to pull this off is nothing sort of astonishing. The spectrum of emotions the audience goes through here is a little overwhelming. Your heart will be in your throat, and you'll be laughing maniacally. That's really all I'm comfortable saying for now, as we need to be cool and keep the lid on long enough for folks to get out and experience this for themselves.

If you've loved the Marvel Universe of films we've been treated to over the last few years, just know that disappointment is not on the table. The mother of all love-letter-feasts is out there waiting for you. So suit up, get your ass into a theater, and be a part of history. 

Visionary Spider-Verse Swings for the Fences

You hear that sound? It’s me – kicking myself, at having missed seeing Spider-Man: Into the Spider-Verse in theaters.

Released amidst the mayhem of the December holiday season, this phenomenally transcendent comic saga eluded me, though its reputation sure didn’t.

Comicbook fans have been raving about this film – deservedly so –  which went on to win the Oscar for Best Animated Feature Film, with a worldwide gross of nearly $375 million.

 

It’s a testament to those behind Spider-Verse that after no less than three different Peter Parkers since Sam Raimi’s 2002 film, that the Spider-Man character can seem as fresh – and as dazzlingly depicted as he does here. Inspired by the 2011 Brian Michael Bendis Ultimate Comics run, young Miles Morales (Shameik Moore) is a half-Latino, half-African American teenager growing up in Brooklyn – and in this universe, there already is a Spider-Man (voiced by Chris Pine). Miles feels like an outcast at his tony new boarding school, when he’d rather be naplaming graffiti art across derelict subway tunnels. He’s got his share of secrets, but so does the city. Nefarious criminal Kingpin has been fiddling around with a massive underground supercollider, and the fabric between alternate dimensional realities is starting to wear thin, and suddenly there are numerous different Spider-types to contend with, from anime-inspired futures to hard-boiled black and white noirs. A stellar voice cast including Hailee Steinfeld, Liev Schreiber, Jake Johnson, Mahershala Ali, Nicolas Cage and Lily Tomlin make the characters pop and come alive.

 

Spider-Man: Into the Spider-Verse is perhaps the greatest, most transporting and visionary comicbook movie since 2005’s Sin City. Written by Phil Lord (with Rodney Rothman) and directed by Bob Persichetti, Peter Ramsey and Rodney Rothman, Spider-Verse is a psychedelic visual triumph – no hyperbole. It feels like reading a comic book feels. The animation style is completely unique – a revelation. With what feels like a mad hybrid of 3D, 2D and dot printing – both digital and traditional hand-drawn line panels – dialogue often punctuating in thought balloons – “Why is the voice in my head – SO LOUD?!” They’ve also tinkered with the frame rate, which gives the images a surreal tangibility that’s downright immersive. I was particularly impressed by how New York was rendered. It’s realistic in so many small details, yet vast and operatic in others – just like Brooklyn itself. Miles Morales is such a great character, you immediately root for him as he stumbles his way into his new identity. Like all the peck of Peter Parkers who’ve swung before, Miles has heart, and the ability to keep swingin’.

 

Into the Spider-Verse recently hit home video, but if it’s still in theaters anywhere near you, don’t be a schmuck like me. This is a visual feast of pure animation cinema that’s going to cast a really long shadow - no matter what your universe. Very highly recommended.

Us - The Mirror Crack’d

We have met the enemy and he is us. Jordan Peele is back, and he’s as intent as ever on peeling back the veneer of our social identities to reveal what’s lurking beneath the surface. Since Get Out, Peele has been hailed as the successor to Hitchcock – he’s even hosting and producing a reboot of The Twilight Zone for CBS All Access. And in a box office climate where thrillers are hotter than ever, the world is Peele’s twitchy little oyster.

Where Get Out nimbly used allegory to turn the mirror of racism in America on itself, Us continues to put African American characters front and center, with the mirror this time turned upon the characters themselves. The Wilson family is black – refreshingly, unremarkably black – just an American family on their annual beach vacation. Adelaide (Lupita Nyong'o), Gabe (Winston Duke) and their two kids Zora (Shahadi Wright Joseph) and Jason (Evan Alex) live comfortably. Gabe wears a Howard University sweatshirt and drives a Range Rover. He’s the goofy, funny dad. Duke (so memorable as M'Baku in Black Panther) is wonderful in this role, an instantly relatable American Dad. Adelaide is apprehensive about returning to the Santa Cruz vacation house, where echoes of a trauma from her childhood still resonate. Lupita Nyong'o is remarkable here, pulling double-duty, as does most of the cast. Horror films are delivering increasingly high-caliber performances these days, and you can put Nyong'o’s work right up there with Toni Collette’s in Hereditary. Elisabeth Moss is intoxicating as a neighbor friend and Yahya Abdul-Mateen II (Black Manta in Aquaman) makes a real impression as young Adelaide’s father.

It’s giving nothing away to reveal that the Wilson’s getaway quickly escalates into home invasion territory – with invaders who are eerie doppelgängers of each of them, including the children. Us is more of a straight-up horror thriller than Get Out, but it’s no less thematically potent, with motifs of class and duality woven throughout the film. For there to be an Us, there has to be a Them. Peele is an avid horror cinephile who knows his tropes, peppering the film with call-backs and references, while staying wholly original in tone. An America where privileged classes live on top while the marginalized live in poverty below is clearly something that’s been weighing on Peele’s mind. His stories are about who we are, and I suspect Us will benefit greatly from repeat viewings.

Just as Jaws made it impossible to go on a trip to the beach without worrying about what’s beneath the water’s surface, Us will likely make it impossible to go on a family vacation without looking in the mirror and worrying about what’s beneath your surface.