Since its inception, the course of Marvel Studios’ cinematic universe has been mapped out. Iron Man promised that a team of heroes would come together, and The Avengers proved that they could. The 2012 movie promised that they would return, with the real big bad behind it all still to come. The saga is now concluding with Avengers: Infinity War and its 2019 sequel, leading us to ask: What next?
I can’t deny I’m a little intrigued by the possibility of further sequels or another crossover event (Secret Invasion is a safe bet), but they can do better than that. If they want to make the most of their dominant position on the blockbuster scene and keep things feeling fresh and new, they really need to broaden their horizons and bring in new characters.
Characters like Kamala Khan, aka Ms. Marvel.
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A lot has happened in the eight years since Thanos made his big screen debut in The Avengers. While the mid-credits scene was essentially an ingenious way to keep an audience invested in a vaguely-defined future release, it was also one of the most memorable and bold moments in blockbuster cinema – a thrilling mystery to close a world-changing event movie. Thanos’ smile promised something greater to come, but his central role in Avengers: Infinity War this year gave us more than we anticipated.
Following a streak of well-written villains from Marvel Studios’ rapidly expanding cinematic universe – with Ego and Killmonger leaving the likes of Malekith and Whiplash in the dust – as well as his own prolonged build-up across multiple movies, Thanos had plenty to live up to. Yet rather than give what comics fans were expecting – a mad nihilist hopelessly seeking the approval of the physical embodiment of death – we got something a little more human.
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I wrote an article for Little White Lies a little while back that has recently gone up on their website. It delves into James Mangold’s Cop Land and the ways in which its main character, played by Sylvester Stallone, mirrors the actor’s own career in the movies.
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The finale of Twin Peaks: The Return landed this week, and as we all should have expected, there was no predicting what happened. I’m very into what that episode was doing, and I’m glad of it, because the frustration those who didn’t vibe with it seem to have sounds painful to say the least. Even as a fan of it, I feel like I’m reeling from a shocking blow; exhausted, but at the same time invigorated by it.
There are plethora of interpretations and analysis to be had. You can find my complete recap of Part 17 and 18 here, but I still had some more thoughts to sort out. There is so much to unpack that I don’t think it is about finding the right way out of a maze (it rarely is with David Lynch). But there is one theory that is going around that I want to talk about: the idea that it was all a dream. More accurately, I want to talk about exactly why this dream/reality dynamic works so well in Part 18, and why that sensation is deliberate, whether or not it is the “true” explanation for it all (a notion that I don’t buy).
If there’s one thing most of us can relate to, it’s the feeling of waking from a dream. Much like Dorothy in The Wizard of Oz, a favourite of the director’s, we awake to the world we had left, and see that the entire experience was not what we believed it was even seconds before. There is a texture to the world that dreams don’t quite replicate, a level of detail that we don’t realise was missing until we wake from the dream. Continue reading →
There are plenty of people out there who can more authoritatively and comprehensively address the issue of whitewashing in this adaptation of a uniquely Japanese story. But as a fan of both the manga and the anime on which this film is based, I believe that Death Note offers the chance to explore elements of modern America rarely touched on.
In this context, to deal with the smirking certainty of a teenager who remotely doles out vengeance by his own distorted moral code is to get into the mindset of the internet’s own ugly habits of anonymous trolling, abuse, and doxxing. Continue reading →
Music is a big part of David Lynch’s work, from the eerie soundscapes of his early films to his own studio releases. As his career continued and full length feature films became a rarer sight, he began to make his own music—and now has five albums and a record label to his name.
Twin Peaks‘ season 3 revival looks to include more music than ever, with appearances by Trent Reznor, Sky Ferreira, Eddie Vedder, Sharon Van Etten as well as Lynch alumni Rebekah Del Rio and Julee Cruise. Continue reading →
Ayesha, High Priestess of The Sovereign sits on an opulent throne, boasting of the perfect evolutionary state reached by her species. The Sovereign are covered in gold, from their clothing and skin all the way down to their eyes.
In sharp contrast to the supercilious society and their conceited leader stands the Guardians of the Galaxy, a damaged group of misfits barely keeping it together. It’s one thing to create an ensemble as engaging as this, but it’s another to know where to place them.
Lucky for us, James Gunn knows exactly what he’s doing. Continue reading →