The Girl With All The Gifts & The Last of Us: A Dual Review With No Spoilers

10006072_the-girl-with-all-the-gifts-trailer-offers_3e248692_m

I watched The Girl With All The Gifts since I was very interested and decided it would be a good while before I could get to the book.

Well.

It’s…okay. It’s not the revelatory burst of cool originality I’d been led to believe, and it’s nowhere near as good as the other zombie flick I saw recently, the Korean Train To Busan which is a revelatory burst of cool and one of the best films in this genre ever made.

The Girl With All The Gifts is kind of tedious, the characters sketchily drawn, and the story underdeveloped. That said, I’d have probably enjoyed it more if it weren’t for one thing:

I’ve played the video game The Last Of Us.

The Girl With All The Gifts is like a clumsy echo of The Last Of Us. It has a similar theme, similar setting, suspiciously similar ideas (The Last Of Us came out a year before the novel). I’m not saying it’s a rip-off, I doubt it is. But the thought occurs.

And while The Girl With All The Gifts is a so-so zombie flick with a few new ideas, The Last Of Us is a goddamned masterpiece.

The Last Of Us is one of those works of art which elevates its medium. It isn’t just possibly the greatest narrative game ever made, it isn’t just a more satisfying cinematic experience than most films…it is literature.

lastofus

The writing, the direction, the art design are all phenomenal. The acting — and acting it is, full motion capture by the actors, with all the subtleties and complexities of real life, and eyes full of humanity — is amazing, and moving, and heartrending. And the characters are real the way the best characters in any medium become real, we live with them and die with them and feel their pain and occasional bits of joy. The settings are gorgeous, a civilization fallen and returning to nature. And the music…good lord, the music. My wife Nydia and I both tear up when we hear just a few notes of this game’s theme.

The Last Of Us, all by itself, entirely justified the money I spent on my PlayStation 4. All other pleasures I get out of it are gravy.

The Girl With All The Gifts just can’t compete. The only reason I’ll remember it is because it’s such a dull shadow of the game that got there first.

Target Gives Us Kid Avengers In Wonderful Conflict

kidavengers

Art by Jon Sommariva

For a wonderful break from the political, just check out this Target commercial featuring a bunch of kid Avengers playing out their own spirited civil war…

I love everything about this commercial, but I really love the gender politics of it. This is how you do it.

When Bernie Sanders Throws His Mighty Shield…

 

CapnBernie3

I just returned from visiting Nydia,  my amazing inamorata, in Brazil for a couple of months where, among other more psychologically healthy activities, we spent a great deal of time tracking the American election. Last week, as we sat eating airport food, drearily counting the minutes before I had to depart, I noticed the latest of many Captain America t-shirts I’d seen worn by Brazilians during the visit.

I told Nyd I was heartened to see the shirts, and the popularity of the character, who I see as a true symbol of the American ideal, not the jingoistic symbol of American imperialism seen by some. And I credited that popularity to the Marvel films, and Chris Evans’s very human, very decent, very noble portrayal of Steve Rogers. Captain America isn’t propagandistic, he’s aspirational.

“Captain America is Bernie Sanders,” I told her. “They’re both old guys from Brooklyn with superhuman stamina, dedicated to New Deal policies, still fighting to protect the weak from the powerful, unflinching in their belief in the American dream.”

Later, back home in the states, I saw author Catherynne Valente tweet, “Clinton is Black Widow (troubled past, does the right thing eventually) Sanders is Hulk, always angry, no one is Cap.” I have a lot of respect for Ms. Valente, but I disagree.

First off, Clinton ain’t much like the Black Widow. She lacks the Widow’s metaphorical agility as a campaigner, and when she takes aim at her opponent, her shots almost always miss or ricochet back and hit her. I’ll grant she has a “troubled past,” if you really want to undersell the problems with Clinton’s record, but that very record shows she actually doesn’t really do the right thing eventually unless it’s politically expedient or she has to because she’s forced to “walk back” a stance or action because of political damage. She does have a great deal of “red in her ledger,” blood on her hands, in places like Haiti and Iraq and Libya and Honduras, places that have suffered terribly because of Hillary (and Bill) Clinton’s ruthless political calculus. But the Widow owns up to her acts, and, in The Winter Soldier, even released the transcripts records to the internet, taking full responsibility for her misdeeds and working to redeem herself for them.

Hillary won’t even share the content of a few speeches she made to Wall Street, much less acknowledge the terrible human impact of her decisions over the years.

And Bernie as the Hulk? No. The Hulk’s anger is unreasoning, destructive rage. Bernie is angry, yes, as he should be, but he is not destructive. He is protective, nurturing, and constructive. And he is anything but unreasoning; just watch the video of him speaking to the students at evangelical Liberty University, where he engages them with respect and gets respect in return though their philosophies are radically opposed.

I’d say Donald Trump is the Hulk, but he lacks the Hulk’s dignity and compassion. Hell, he lacks the Hulk’s intellect.

But no, Bernie is definitely Captain America.

One of the best pieces I’ve ever read on Captain America is by Steven Attewell, and in it he addresses Steve Rogers’s political identity:

“Steve Rogers isn’t a jingoistic conservative asshole…Unlike many other patriotic characters who derive their virtues from the American heartlands, Steve Rogers grew up in the cosmopolitan multi-cultural world of New York City. He came of age in New York City at a time when the New Deal was in full swing, Fiorello LaGuardia was mayor, the American Labor Party was a major force in city politics, labor unions were on the move, the Abraham Lincoln Brigade was organizing to fight fascism in Spain in the name of the Popular Front, and a militant anti-racist movement was growing that equated segregation at home with Nazism abroad that will eventually feed into the ‘Double V’ campaign.

“Then he became a fine arts student. To be an artist in New York City in the 1930s was to be surrounded by the ‘Cultural Front.’ We’re talking the WPA Arts and Theater Projects, Diego Rivera painting socialist murals in Rockefeller Center, Orson Welles turning Julius Caesar into an anti-fascist play and running an all-black Macbeth and ‘The Cradle Will Rock,’ Paul Robeson was a major star, and so on. You couldn’t really be an artist and have escaped left-wing politics. And if a poor kid like Steve Rogers was going to college as a fine arts student, odds are very good that he was going to the City College of New York at a time when an 80% Jewish student body is organizing student trade unions, anti-fascist rallies, and the ‘New York Intellectuals’ were busily debating Trotskyism vs. Stalinism vs. Norman Thomas Socialism vs. the New Deal in the dining halls and study carrels.

“And this Steve Rogers, who’s been exposed to all of what New York City has to offer, becomes an explicit anti-fascist. In the fall of 1940, over a year before Pearl Harbor, he first volunteers to join the army to fight the Nazis specifically. This isn’t an apolitical patriotism forged out of a sense that the U.S has been attacked; rather, Steve Rogers had come to believe that Nazism posed an existential threat to the America he believed in. New Deal America.

“Captain America didn’t ‘share 40’s values’ – a reductive label assuming that everyone alive in 1940 was either a racial bigot, a misogynist, a homophobe, and an unthinking militarist, and handily ignores the people of color, women, gays, and left-wing activists who were hard at work to change American society for the better – he exemplified from the beginning the ideal that America could be. Thus Steve Rogers led the Invaders (a multispecies and multinational Allied superhero force) into Europe to fight fascism, he fought with Nick Fury’s Howling Commandos, a racially integrated fighting force from the beginning, and fought with the French Resistance rather than snidely repeating anachronistic cheese-eating surrender monkey jokes.

“Thus when Captain America is unfrozen in the 1960s, he’s not freaked out by the changes in racial progress – instead, he forms an instant partnership with one of the first black superheroes, the Falcon, who movie audiences just met for the first time, and the two of them go toe to toe against an insane imposter Captain America who’s obsessed about communists under the bed. The analogy cannot be more pointed: the real Captain America stands for racial equality and civil liberties, the Captain America who believes that the government needs to ‘smash’ reds by any means necessary is a fraud. In the 1980s, Steve Rogers runs into a childhood friend, Arnold Roth, who happens to be gay – and Steve Rogers defends his friend from bigoted violence, because Steve Rogers is a good man.

“In the Marvel Cinematic Universe, when Steve Rogers is unfrozen in the ice in 2011, he’s not here to be startled by our progressive values. He’s here to judge us for falling short of his – and that’s the entire crux of the plot of Winter Soldier. When Steve Rogers wakes up in post ‘New York’ America and sees SHIELD preparing a giant fleet of sniper drones that’s going to be used to cull the human race based on meta-data that supposedly predicts the bad things people might do in the future, he immediately calls this out as inherently incompatible with the Constitution and the ideals that Steve Rogers fought and essentially died for. He puts his faith on ordinary soldiers and rank-and-file officers to do what’s right, not the corrupt or blinded authorities personified respectively by Robert Redford and Samuel L. Jackson. And his solution to SHIELD/HYDRA’s plan for world domination through mass murder is not only to sacrifice himself to save the world (again), but also to release all of SHIELD’s secrets to the world.”

Did I say that Bernie Sanders is Captain America? Bernie Sanders is Captain America.

 

CaptBern

A few years ago, writer J. Michael Straczynski put these words in Steve Rogers’s dialogue balloon:

“Doesn’t matter what the press says. Doesn’t matter what the politicians or the mobs say. Doesn’t matter if the whole country decides that something wrong is something right. This nation was founded on one principle above all else: the requirement that we stand up for what we believe, no matter the odds or the consequences. When the mob and the press and the whole world tell you to move, your job is to plant yourself like a tree beside the river of truth, and tell the whole world: No, YOU move.”

That is exactly what Bernie Sanders is doing. He’s telling the Democratic establishment and the GOP and the media and the big money special interests, No, YOU move.

And the people of America are hearing him. And they’re starting to plant their feet as well.

(NOTE: A while back, I had a really interesting discussion about Captain America and his place in America’s political psyche. I posted it here.)

CaptBern2

Art by Danny Kelly

Watch Edison’s FRANKENSTEIN From 1910!

Frankenstein (1910)

As we creep toward Halloween, get in the mood by visiting with the very first cinematic Frankenstein’s monster.

This short film from Edison Studios was made in 1910 by writer/director J. Searle Dawley. It stars Augustus Phillips as Dr. Victor Frankenstein, Charles Ogle as the Monster, and Mary Fuller as the doctor’s fiancée.

It ain’t Karloff, but it’s a fascinating piece of film history. There’s some creative use of a mirror, both in the mise-en-scène and in the storytelling, and the sequence depicting the birth of the monster is primitive but amazingly creepy.

Mad Max vs. Mad Max

Okay, we revisited The Road Warrior last night, and I need to update my statement in which I said it was better than Fury Road. Story-wise and character-wise, they’re both (to put it charitably) streamlined for speed. But there’s a lot more action in Fury Road, and its action is far more creative. Fury Road is visually gorgeous in a way Road Warrior never approaches. And the world building in Fury Road is astonishing, just the intricate texture of the world and its cultures, all depicted without laborious exposition. Even the political/feminist themes work, as bald and obvious as they are, but then even clumsy progress is progress (a lesson I wish a lot of fanatical progressives would learn).

As for Max himself, both Mel Gibson and Tom Hardy are fine in a role that gives them little to chew on. Gibson’s best character beat is his “You want to get out of here? You talk to me.” Hardy’s is a grudging thumbs-up he gives in an action sequence. Gibson does get to be the actual star of his own movie, though, which Hardy does not (Charlize Theron’s Furiosa isn’t much better as a character, but she does get to carry the plot).

Still ahead, we’ll rewatch Beyond Thunderdome to see how that compares. And they’ve already announced another flick with Hardy. But really, I’m looking forward to the Mad Max game for PS4 a lot more.

Say, Mad Max, What About Your Promise To The He-Man-Woman-Haters-Club?

MADMAX

Depending on who you talk to, Mad Max: Fury Road is a revelatory feminist extravaganza, an insidious distaff assault on the stalwart ramparts of all real manliness, or not actually a feminist film at all because all violence is masculine.

I saw it, and if memory is accurate, The Road Warrior remains the best Max film (and Mel Gibson the best Max), but Fury Road is getting people thinking and that’s a good thing. [UPDATE: I changed my mind after rewatching The Road Warrior.]  Of course, the “Men’s Rights Activists” are pathetic creatures whose rants have worth only for those looking for a good laugh (and, perhaps in some cases, to establish a case for domestic abuse), like the quoted comment in the image above. There are similar fuckwits on the feminist extremist side of things, like the idiots who attacked Joss Whedon recently. And I respect Anita Sarkesian, and don’t think of her as a militant/unreasonable feminist, but she can be pretty reductively doctrinaire at times. This seems to be one of those times.

To me, yeah, sure it’s a feminist film. But neither it nor its characters are all that deep, and it seems that it had to hit a pretty low bar (promotion tied to Eve Ensler’s involvement, some really basic symbols and themes, passing the Bechdel test) to excite a lot of folks into raving that it’s some sort of revelation. In truth, it’s still just a beautifully crafted cartoon with the barest of ciphers for characters including Max and Furiosa.

Here’s Tina Turner (who could remind you that strong women in a Mad Max flick aren’t anything new) with a song of the week for everybody who can keep their heads out of their asses on the subject…

Tina Turner — “One Of The Living”

Captain America And The Real Myths Told By Superheroes (A Discussion)

A few years ago, when the first Captain America film came out, I was visiting my friend Phil Rockstroh. Phil is “a poet, lyricist and philosopher bard living in New York City,” so leftist he makes me look like Ronald Reagan, and he watched the film with me. To him, of course, Steve Rogers was the very major model of a modern jingoistic character designed to arouse fascistic and nationalistic feelings in the weak-minded.

I tried pointing out that Cap had been created by a couple of Jewish kids trying to encourage Americans to stand against the Nazi threat in Europe before America was even in the war. I tried to delineate the progressive values Captain America has shown over the decades, and how at every point in the film, the creators subverted the potential jingoism that can, indeed, be a part of such a character. I predicted that in future films we would see a very strong anti-authoritarian theme at work in not just the Captain America films but in Marvel films in general. And I’m happy to say I was right.

Recently, while discussing the Joss Whedon/Black Widow foofaraw, we revisited the topic and the discussion got interesting, so I’m sharing it here. Making an occasional contribution is my friend Ed Hall,  a writer and the co-editor of Mothership: Tales From Afrofuturism and Beyond. Continue reading

The Crown of Creation in Action: Humanity’s Hilarious Persecution of the World

Art By Boris

This video, called “Insanlığın Dünyaya Zulmü” (“Humanity’s Persecution of the World”), amusingly and tragically sums up the history of mankind on Earth. I think it would have been slightly better if it ended without the aliens, but it’s pretty freaking great anyway.

I’m Not Your Dummy — And Neither Is Joss Whedon (Part 2 of 2) (UPDATED 10/2017)

Art by Cliff Chiang

[Read Part 1, “I’m Not Your Dummy — Why No One Should Have To Be “The Right Kind of Ally,” here.]

Joss Whedon is a feminist.

He claims the term as a central pillar of his identity. He exerts a great deal of his creative energy on crafting narratives which focus on complex, strong female characters, and behind the scenes he goes out of his way to create opportunities for female creatives. He is a persistent activist in feminist causes like Equality Now, and has been an outspoken supporter of feminist targets of misogynistic harassment like (the awesome) Anita Sarkeesian.

But Joss is not the “right kind of ally.”

Last week, after Avengers: Age of Ultron opened (the film from my dream in part 1), there was a vicious shitstorm of online invective against him because of his treatment of the Black Widow in the film. He also left Twitter, without saying why, and many assumed it was because of the abuse. Or, as one blogger derisively put it, “Feminist and female writers take issue with black widow depiction. A lot of them do. Joss gets saddy pants and leaves Twitter.”

That same blogger was full of scorn for Joss and admiration for “what these intelligent and brilliant women wrote about their concerns with avengers 2…” And what sort of intelligent, brilliant commentary did we see?

Continue reading

What If MAN OF STEEL Had Been In Color?

man-of-steel

Man of Steel had a lot of problems, and unfortunately Batman v. Superman looks to replicate some of them and add a few more. Which is a shame because Henry Cavill is an awesome Superman and Ben Affleck looks great as Batman.

These folks color-corrected Man of Steel to see how it would look if it were spared Zack Snyder’s monochromatic dreariness. It actually looks like a Superman movie, which would have been nice, though it still would have been a Superman movie in which Clark Kent just stands there and watches his dad be killed by a tornado.

You Have Failed This Series: Why ARROW Kinda Sucks

Arrow

I want to love Arrow, I really do.

Green Arrow has always been one of my favorite DC heroes, and I’m thrilled that he’s got his own very successful TV show which, to be fair, is a damn sight better than it might have been. But that doesn’t mean that it’s as good as it should be.

My relationship with the show has run hot and cold. I watched the first seven episodes and quit. Later, during the second season, several friends recommended I give it another try, reassuring me it had gotten a lot better, so I went back and watched everything from the point I’d stopped. And I was glad I did, because it was getting better, and by the end of second season, it was pretty great. I went into the third season excited to see what the show’s creators would do next, and then things got painful.

Eleven episodes in, basically halfway through the season, I quit again. That was several weeks ago, and this week I decided to give it another chance to get better again, and I’ve now watched up through the season’s thirteenth episode, “Canaries.” And it’s still not must-see TV.

Before getting into what’s wrong with the show, I want to mention some things that are right about it… Continue reading

Batman Strange Days (A New Bruce Timm cartoon)

Last week, I posted a short cartoon Bruce Timm and Zack Snyder made last year to celebrate Superman’s 75th anniversary. I mentioned also that a Timm-directed Batman short — commemorating the Dark Knight’s 75th — was due to be released shortly.

Click on the image below to watch Batman Strange Days, with Timm-style Batman animation applied, I believe, to a story from way back in 1939…

Batman Strange Days

Super Animation From Bruce Timm

How did I miss this? To celebrate the 75th anniversary of Superman, Bruce Timm and Zack Snyder collaborated on a short full of classic Superman action. It’s wonderful (if only some of that wonder had appeared in Snyder’s Man of Steel):

Additionally, Timm has directed a Batman short — the first appearance of his version of the character (from Batman: The Animated Series and related shows) in a decade. Titled Batman Strange Days, it will appear on Cartoon Network on April 9th. I’ll post the link when it becomes available.

Batman Strange Days

Now, if only the brain trust at Cartoon Network would bring back Beware the Batman

Music From Mars (Song of the Week, 3/14/14)

Veronica-Mars-Season-2

I was always a huge fan of Veronica MarsRecently I started re-watching it with Nydia, who’d never seen it. We’re about a third of the way into the second season. Also, today the Veronica Mars movie hit theaters. So what the hell, here’s the theme song from the show as our song of the week.

“We Used To Be Friends” by The Dandy Warhols

Mongo to Face THE BEASTS OF VALHALLA on HBO…Maybe.

The Beasts of Valhalla

About a month ago, I wrote a post about ten books that had a strong impact on me over the years, and one of them was George Chesbro’s magnificent mash-up of science fiction and horror and the detective novel, The Beasts of ValhallaThis is part of what I said about the book:

It stars one Robert “Mongo the Magnificent” Frederickson, a PI who shares both sharp intellect and deep compassion with Robert Parker’s Spenser, but, as a dwarf, has nowhere near the physical power. Mongo is an ex-circus acrobat, professor of criminology, and black belt in karate, and he’s a wonderful hero starring in a series of books of which this one is by far the best. Beasts of Valhalla starts as a detective novel but winds up somewhere in a dark, science fiction/horror territory, with Mongo acting as the daring hobbit facing dread evil in a modern day Lord of the Rings. This book ROCKS.

Now, it’s being reported that HBO is considering a ten-part adaptation of The Beasts of Valhalla starring Peter Dinklage. Since Dinklage first popped up on my radar years ago, I’ve dreamed of a Mongo movie starring him (and indeed, in 2005 there were rumors of such that ultimately didn’t pan out), and now it looks like we might be getting a ten hour movie with him based on the best book in the series.

Mongo

Please, HBO. Please. Please please please. Also, please.

Doin’ Dialogue (ABC Wednesday, 2/5/14)

What's bothering you?

How to write dialogue like Aaron Sorkin, the writer/creator of The West Wing, Sports Night, and The Newsroom:

“Hey.”
“Hey.”
“What’s wrong?”
“Nothing.”
“Nothing?”
“Nothing.”
“Something’s wrong.”
“Nothing’s wrong!”
“Is something bothering you?”
“No, nothing’s bothering me.”
“Something is bothering you.”
“Nothing is bothering me!”
“Okay, okay….what’s up?”
“Something’s bothering me.”
Sigh. “What’s bothering you?”
“What’s bothering me?”
“Yes. What’s bothering you?”
“What’s bothering me is the way this country, this country that I love and revere, is, more and more, embracing the irrational, and it is tearing us to pieces. What’s bothering me is that people are coming to think that hard science is just another opinion, and not a very good one. What’s bothering me is that diseases which should be going permanently extinct are making a comeback and killing kids because a fringe of idiots out there won’t get their children vaccinated. What’s bothering me is that a growing segment of our population believes our laws should be based on their mostly uneducated notions of what it says in the Bible. What’s bothering me is that so many of our fellow citizens look to jackasses like Ted Nugent, Glenn Beck, and Rush Limbaugh, not to mention nearly the entire cast of that subpar sitcom known as Fox News, for guidance. What bothers me is that our country, which should be a powerhouse of productivity and enlightenment, is slipping into third world status when it comes to our industry and our ability to take care of our people. And you know what? Those are only some of the damned things that are bothering me, and it’s time we started doing a hell of a lot better, before it is absolutely, irrevocably, too late.”

D

I’ll return next Wednesday with the letter E. I hope you’ll stop by. I’m a writer and I post about a wide variety of non-alphabet-specific topics. Feel free to comment under my posts. If you want to subscribe to the blog, there’s a button in the sidebar.

Also, my adventure novel Doc Wilde and The Frogs of Doom is currently on sale to celebrate Valentine’s Day

For another fun ABC Wednesday post, visit the Carioca Witch here: Bringing Up Salamanders.

Find many more posts by others, and more info on ABC Wednesday, here: ABC Wednesday

I’m Batman (ABC Wednesday, 1/22/14)

I'm Batman

I’m Batman.

That may seem a cocky statement. I am not the world’s greatest detective. I am not the most accomplished hand-to-hand combatant on the planet. I am not a scientist/inventor with an unending inventory of cool gadgetry to rival that of Doc Savage. I don’t battle the forces of evil night after night wearing an incredibly cool batsuit.

But there’s a deeper truth here. It’s not that I’m projecting some Mary Sue wish onto this comic book character, or that I’m patterning my life in any way after the life of Bruce Wayne (though his money would certainly be welcome). Rather, there are a set of resonances in the character of Batman which, you might say, send me a signal. This has been so since I was a little kid, watching Adam West on television, even though I despised that show, just because nothing else was on. I wanted Batman like he was in the comics. Dark, agile, clever. Drawn by Neal Adams with no laugh track. Not cheesy as hell. And haunted…as I was haunted.

I didn’t consciously realize that last bit then, and not for many years. But Batman and I share something besides blue eyes and square jaws: loss. Terrible, heart-rupturing loss.

Everyone knows about Bruce Wayne’s loss: the gunshots in the alley, the clatter of falling pearls, the bodies on the ground. Fewer know the less operatic tale of my loss: a teenaged mother, riding home from her restaurant job to see her baby, her life crushed out in a high velocity encounter with a careless driver.

Loss drives us like a poisonous fuel.

For years, I thought I’d recovered from whatever trauma I’d suffered when my mother died. I had been so young, I couldn’t remember her. She was just an ancestor, if a recent one, no more a part of my life, of me, than a great grandmother I’d never known. But that was naive. Over the years, as depression kept me from the life I wanted, I realized that many of the traumas I brought into my life were refractions of the loss. Somewhere deep inside me was that small child, screaming over my mother’s body. Is it any wonder I found it easy to identify with Batman?

I had no Alfred in my life to raise me, to look after me. My father was a half-step away from cotton mill white trash, and a mean ass drunk. Over the years, he brought in two stepmothers, both cruel. He and they weren’t my family, they were my rogues gallery, the sideshow villains who plotted my destruction in nefariously neurotic ways. Batman’s villains are archetypal, each reflecting something within. The Joker is his mania, his enjoyment of the pain he brings to bear. The Riddler is his compulsion for mental challenge, Bane and Killer Croc his drive for physical dominance. The Scarecrow is his fear and despair. And Catwoman is his playfulness and his libido, trying to break into (or, rather, out of) the adamantine safe that is his heart.

Batman — Bruce Wayne — is the sort of man I strive to be: a successful man, a productive man, a noble man. A man who helps. A man who uses his anger and pain and loss not to hide or lash out at the world, but to fight the darkness (within and without) and keep it at bay. You may really love the Dark Knight, and thrill to his adventures, as millions do. But I’ve lived his dark night, I’ve fought its overwhelming darkness.

Because I’m Batman.

Mourning

B

I’ll return next Wednesday with the letter C. I hope you’ll stop by. I’m a writer and I post about a wide variety of non-alphabet-specific topics. Feel free to comment under my posts. If you want to subscribe to the blog, there’s a button in the sidebar.

For another fun ABC Wednesday post, visit the Carioca Witch here: Bringing Up Salamanders.

Find many more posts by others, and more info on ABC Wednesday, here: ABC Wednesday

What Elmore Leonard Taught Us

Dutch

Elmore Leonard was one of those great pulp writers who helped create modern fiction and along the way taught many writers how to write. Like the best in any “genre,” he proved that genre doesn’t matter, only quality. Whether you’re writing about cowboys or bank robbers or astronauts or superheroes or ennui-laden academics fucking around on their wives and feeling really really uncertain and depressed while they wash the dishes, the content isn’t what’s important, it’s the skill and insight and art that the writer brings to the tale.

Rest easy, Dutch.

Tim Vs. Superman ( MAN OF STEEL Review, No Spoilage)

Superior Super

Better than the movie.

Saw Man of Steel yesterday.

Didn’t love it. Sorta liked it.

If I let myself, though, I think I could hate it.

There are some movies that are deeply flawed but I come out of them loving them anyway because what I remember about them is the good stuff.  The Dark Knight Rises was like that. It fails in some major ways, but it is audacious in what it attempts and gets so much right and is just so thrilling that I loved it (though not with the same passion as I love its immediate predecessor) .

Man of Steel flips that dynamic on its head. It gets quite a few things right, but what lingers in memory are its failures.

The casting is excellent (though Amy Adams, who I generally adore, isn’t as good a Lois Lane as I’d imagined she would be). Henry Cavil is a fantastic Superman. The villains are pretty great (especially Antje Traue as Faora-Ul, who seriously upstages central baddy Zod).

Faora

The action is all very good to excellent, if at times too frenetic and unclear.  The story is smart and restructures the story we all know all too well by now in interesting ways. Largely, the creator’s approach to making a Superman for our time is admirable and successful.

Except…

There is no heart here. There’s a virtual geometry of a heart, pumping away in predictable throbs, but there’s no blood in that geometry, no heat. No humanity. The only truly human moment in the film is when Jenny Olsen (Jimmy’s much hotter contemporary iteration) panics while trapped in a terrible situation…and Jenny is barely even a character in this movie. And it’s the actress who brings the humanity, not the script or the direction. Suddenly, in that moment, I cared for one of the characters on a visceral, rather than an intellectual, level.

The film has absolutely no sense of humor. None. Zilch. I don’t want comedy, I don’t want camp, and I hated those elements in the old Christopher Reeve movies. But I do want wit, I do want humor, I do want irony, I do want to fucking smile every once in a while.

And please. Please please please. Please spare us the Space Jesus crap. Sure, it’s easy to find all sorts of subtext in a Superman story  if you want to (he’s basically more Space Moses than Jesus anyway, and was created by a couple of Jewish kids to boot), but when you start making the subtext hamfisted text it’s just embarrassing. Bryan Singer was guilty of this in Superman Returns too. Don’t bash us over the fucking head with the allegory: having Superman spread his arms as if he’s on a cross isn’t clever, it’s just stupid and obvious, especially when paired with a line of dialogue like “You can save them all…”

Also, spare us the jingoistic military recruitment video before the film that uses heroic imagery of Superman to inspire more kids to enlist to die pointlessly in far off lands. How frigging manipulative and cynical can you get?

There have been a lot of complaints that the movie makers went too dark and gritty with the film, and for the most part I disagree. There could certainly be a bit more color on their palette visually, but it’s fine, and I don’t think the story or characters are too thematically dark. I like the uncertainty and humanity they bring to Superman, and I prefer a noble person struggling to do the right thing to a two-dimensional symbol of heroism who is unfailingly perfect. I don’t mind Superman killing occasionally if he sees the need, though the need has to be overwhelming and clear and earned by the storytellers (there’s at least one big failure on this point in the film).

Overall, I’d give Man of Steel a very shaky B-. I’m glad they’ve done well with it, because I mostly like the elements in the mix and am glad they’re getting to continue with those elements. I just hope that next time they address some of their failures and make a movie I’ll actually want to watch a second time.