A wizard is never late, nor is he early. He reviews stuff precisely when he means to.
Born of cold and winter air and mountain rain combining, the man called Scott is an ancient sorcerer from a long-forgotten realm. He’s more machine now than man, twisted and evil.
Or, you know, he could just be some guy who loves video games, animations and cinema who just wanted to write about such things.
What better time to name my favorite film of 2018 than in the deep end of August 2019?
Okay, okay, you’re probably wondering “why even do this at this point?” and that’s fair. The reason I’m still bothering to write this is quite simple…
Because I want to.
You may now be wondering why I didn’t do it sooner, and the truth of the matter is, there is no particular reason other than I’ve just been busy (hence my slower updates over the last couple of months) and when I have had the chance to update this site, I’ve been preoccupied with other things, like reviews and such. And I would have got to this sooner, except there were still some 2018 films I had wanted to get around to seeing the past few months before I made anything “official” (at least, as official as things can be on a site where I can edit things later to reflect changing opinions). And well, it took me longer than expected.
I have a confession to make: I’m not that big of a Lion King fan.
Don’t get me wrong, Disney’s 1994 animated feature is a good movie, to be sure. But as a Disney fan, I never understood why it was held on a pedestal as one of the best films to come out of the studio. I would say Lion King fits somewhere in the high middle-tier of Disney’s animated feature canon. It showcases captivating animation and some truly emotional moments, but it also feels like it adheres too strongly to the studio’s conventions, as opposed to transcending them.
The characters fit squarely into Disney’s archetypes, with Simba being a cookie cutter main character (with Simba’s adult form being particularly boring thanks to Mathew Broderick’s phoned-in vocals), the comic relief characters can be a little too overbearing, and if I’m being perfectly honest, I don’t particularly care for the songs, with the exception of Be Prepared (songwriter Elton John felt he had hit a career low when writing Hakuna Matata, and though he’s long-since change his mind, I’m inclined to agree with his original stance).
Despite my feelings of the original Lion King being “good but not great,” its overall reception has made a remake inevitable in this day and age where Disney is seemingly remaking their entire back catalogue of animated classics.
There’s only one issue: while most of Disney’s recent remakes have been live-action, The Lion King’s all animal cast makes that an impossibility (certain animals can be trained to act – such as dogs or apes – but I think it’s safe to say that meerkats and warthogs don’t share that emotional range). So the remake of The Lion King is, like the original, an animated film. Only this time around, the animals are animated through photorealistic CGI, which ultimately works against the movie’s favor, as it removes the majority of the charm, personality, and overall visual appeal of the story at hand.
There was some semblance of hope going into The Lion King remake. After all, it’s directed by Jon Favreau, who previously directed Disney’s 2016 version of The Jungle Book, which seems to have the warmest reception of all Disney’s recent live-action remakes (though I thought the new Aladdin was just as good). But there are a few key differences between Favreau’s Jungle Book remake and his version of the Lion King that helped the former and hinder the latter.
The first is that, although the 2016 Jungle Book was also primarily created through CG, it had a human actor in the lead role of Mowgli, so the idea of photorealistic animals interacting with him made more sense. The other big difference is that, while the original Jungle Book contains a few songs, it would be hard to refer to it as a musical. The characters simply sang a number or two here and there, so the photorealistic animal characters in the remake could get away with being a bit expressionless when they were singing (Balloo simply sang Bare Necessities as if singing in the shower, and King Louie was voiced by Christopher Walken, so it was to be expected that he would more talk I wanna be Like You than sing it).
2019’s version of The Lion King doesn’t have such benefits. It’s an animated film that doesn’t want to be an animated film. So while the CG used to bring these animals to life may be impressive, the movie loses its soul in the translation.
Without a human to interact with, making the animals look realistic in an animated film comes across as pointless, as their limited expressions can’t convey the range of emotion that their personalities require, a feat which comes without any hiccups when making the animals look animated. And seeing as The Lion King is a full-fledged, Broadway-style musical in the same vein as the other 90s Disney films (and some of their modern ones), it really works against the film that the animal characters can barely emote. You can’t have a big musical number like those found in the original, and have realistic looking animals be the ones to sing it without it coming across as awkward and lifeless. It’s a case of having ones cake and eating it too.
Another issue is that 2019’s Lion King is a bit too similar to the 1994 original. Some have had similar complaints with Disney’s other recent remakes, but those films still featured changes that felt meaningful when they were present (the newer Aladdin, for example, gave Jasmine a much stronger character arc, complete with a badass new song). The new Lion King, on the other hand, is a whole half hour longer than the original, but I’m having trouble thinking of how that is, since it follows so closely to the original.
Yes, the story is as it always was, which is to say it’s pretty much Hamlet but with animals.
Simba (DJ McCrary) – a lion cub – is the prince of the Pride Lands, being born to King Mufasa (James Earl Jones, reprising his role from the original) and Queen Sarabi (Alfre Woodard). This proves to be a deep cut for Mufasa’s younger brother, Scar (Chiwetel Ejiofor), who was first in line for the throne.
Scar plans various means to retake his place as future ruler of the Pride Lands, manipulating young Simba’s ego so that the young prince – trying to prove his bravery – makes his way to an elephant graveyard, with his friend Nala (Shahadi Wright Joseph) in tow. Scar intentionally kept one important detail about the elephant graveyard from Simba: it’s home to an army of hyenas who have a vendetta against Mufasa. Simba and Nala avoid a gruesome fate when Zazu (John Oliver) – a hornbill and Mufasa’s majordomo – informs the king of Simba and Nala’s whereabouts. Mufasa fights off the hyenas, leading a disappointed Scar to concoct a new plan; kill Mufasa.
I don’t think it’s much of a spoiler if I reveal that Scar’s plot to murder his brother succeeds (seriously, if you don’t know that by this point, where have you been for the past twenty-five years?). Scar, in collusion with the hyenas, orchestrates a stampede of wildebeests to kill Mufasa and Simba. Mufasa rescues his son and nearly escapes, before Scar personally throws his brother to the stampede below. Despite the remake’s issues, this iconic scene is still appropriately emotional.
A devastated Simba witnesses his father’s death (though not Scar’s involvement with it), with Scar planting the idea in Simba’s head that his father’s death was his fault. Simba runs away from the Pride Lands, falling under the care of Timon the meerkat (Billy Eichner) and Pumbaa the warthog (Seth Rogen) two slackers who, while well-meaning, are basically negative influences when it comes to teaching responsibility. Meanwhile, with Mufasa gone and Simba presumed dead, Scar takes control of the Pride Lands with the aide of the hyenas, sending the kingdom into disarray.
Honestly, if you’re among those who absolutely adores the original Lion King, you may like this remake for its faithfulness to said original. Of course, I think fans of the 1994 feature are just as likely to wonder what the point of this remake is.
Again, Disney’s other remakes have played things close to their source material, often feeling like love letters to the originals as opposed to full-on remakes. But they still found time to make changes to set themselves apart. It seems like the only major change to The Lion King is that the hand-drawn, stylized animal characters bursting with personality have been replaced with realistic-looking animal characters who, by default, can’t showcase any of that personality they had in their more vibrantly-animated past lives.
That’s not to say that there haven’t been any changes made, just none that really amount to anything. Shinzi (Florence Kasumba), a hyena who was part of a comedic, villainous trio in the original, has been promoted to the leader of the hyenas. Not that it ends up amounting to much, since the change doesn’t really affect the plot at all, and she doesn’t get much screen time anyway. The remaining members of said trio, Banzai and Ed, have been replaced by Kamari and Azizi (Keegan-Michael Key and Eric Andre), who are still kind of a comedic duo so I don’t really see the purpose of the change.
These changes are few and insignificant. Most of the dialogue, and even camera shots, seem barely altered from the original. Though I will admit, bringing back James Earl Jones as Mufasa is a respectable decision (it’s one of those roles that simply can’t be recast, like J.K. Simmons’ portrayal of Spider-Man’s J. Jonah Jameson). Though at least one other actor from the original should have reprised their role, as Jeremy Irons is sorely missed as Scar. Chiwetel Ejiofor does his best to make Scar menacing, but his performance lacks the elegance, regality and vanity of Irons’.
Speaking of Scar, here’s where we get to the remake’s one big change from the original’s soundtrack… Be Prepared has been butchered! The once iconic villain song has been reduced to a single verse, with Chiwetel Ejiofor talking through most of it in place of singing. Rumors suggest that Jon Favreau wanted to cut the song altogether, before settling on “merely” gutting it. Of all the songs to cut/edit, why was Be Prepared the one considered for the chopping block? In the original film, it’s the song that best expresses the character singing it. Personally speaking, I would have labelled Hakuna Matata – the song in which a warthog sings about farting – as the one musical number most in need of reworking.
Other than that baffling change, most of the songwork is more or less the same as it was in the original, with the obvious difference of them being sung by their new actors. There is one new addition to the soundtrack during the course of the movie (plus one during the credits) in the form of “Spirit” by Beyoncé Knowles-Carter. While the new musical addition to the live-action Aladdin, Speechless, was a real show-stealer (I would even say it’s my favorite Aladdin song, despite not being in the original), Spirit is kind of forgettable. And despite the fact that Beyoncé voices the adult version of Nala, Spirit is merely a background number, and not actually sung by the character (which always seems kind of underwhelming in a musical).
While the voice work is mostly solid (despite my complaints with Ejiofor’s Scar mentioned earlier, they are only relative to Jeremy Iron’s performance from the 1994 film), the film actually repeats one of the shortcomings from the original in that Simba’s adult self (voiced this time by Donald Glover) is the most boring performance in the film. Both versions of The Lion King are filled with so much great voice work, yet the main character (at least in his adult form) is the one who stands out as bland in both versions!
I will say, much to my surprise, that I really enjoyed Billy Eichner and Seth Rogen as Timon and Pumbaa. Both actors reportedly ad-libbed many of their lines, and seem to be playing the characters in a way that suggests both Timon and Pumbaa are aware they’re in a remake (at least to some degree). The film also gives Timon and Pumbaa something of a nihilistic element, with their “life is a straight line” outlook directly clashing with the “Circle of Life” philosophy Mufasa taught Simba.
Normally, I’m dead against nihilism, but what worked here is that – while many works in this cynical time depict nihilistic concepts as some kind of profundity or intellectualism – Timon and Pumbaa’s new worldview is the butt of a joke, one that highlights the shallowness and simplemindedness of nihilism (in one particularly funny scene, a naive Pumbaa, after hearing how Simba was taught about the Circle of Life, retorts with something along the lines of “That’s nonsense! If everything I did affected that guy, and that guy, and that guy, our carefree, do-what-we-want lifestyle would be pretty selfish and terrible”).
2019’s Lion King definitely has its merits. But of all Disney’s recent remakes, it also feels like the most unnecessary. The other remakes were live-action tributes to their animated counterparts, maybe tweaking certain story elements here and there, adding new dimensions to characters, or simply finding meaningful ways to mix things up a little. But 2019’s Lion King is as close to simply giving the original a new coat of paint as Disney could have gotten. If you’re among those who adores the original Lion King, that might not be so bad. But it goes without saying that this is the inferior version of Disney’s beloved classic. Yes, the CG used to bring these animals to life is impressive, but in focusing too much in emulating real life, this Lion King remake misses the point of animated storytelling and – ironically enough – robs the story of life.
Some of the positive elements of the original still shine through, the voice work is mostly solid (Donald Glover and Beyoncé being the exceptions), and I might actually like Timon and Pumbaa more after this remake. But despite being a half hour longer than the 1994 film, it’s hard to say what exactly pads this 2019 version’s runtime, as the changes made seem so minimal.
If the original Lion King had a voice, Jon Favreau’s version is merely an echo.
First of all, a thousand apologies that my updates have been so slow as of late. We’re almost halfway through August, and I’ve only written a single review so far this month (for Quentin Tarantino’s Once Upon a Time in Hollywood). For that matter, I’ve been pretty infrequent with the updates all Summer. Again, a thousand apologies. Here’s hoping that, in the months ahead, I can pick the pace back up. Who knows, September is the month that features my birthday. Maybe I’ll crank out a bunch of meaningful posts in September as a gift to myself.
To make up for some lost time, here’s something…that isn’t just another dreadful filler post!
So here’s the codes for my first bath of created levels in Super Mario Maker 2! Admittedly, I’ve only made a handful of courses so far, as most of my hours in Super Mario Maker 2 have been dedicated to the Endless Mario Challenge. But hopefully I’ll get to making even more stages, and I’ll be sure to continue posting their codes here on my site.
So if you have a Switch, and Mario Maker 2…play my levels!
“High Tide Wine River”
For this stage, I utilized the Super Mario World aesthetics, and built it around two new gameplay mechanics introduced in Super Mario Maker 2: The On/Off switches, and using the Dry Bones shell as a boat.
I used the forest theme, with the nighttime element to change the rising water into deadly poison. Because said poison is purple – and as a nod to Super Mario RPG – I added the “Wine River” bit to the title. And the “High Tide” portion of said title is both in reference to the fact that the poison rises, and a little nod to the ‘High Tide Ride’ stage from Donkey Kong Country: Tropical Freeze.
To top it off, the stage features that soothing music/sound effect throughout. So even if you find the stage difficult (though it’s only categorized in the “normal” difficulty range), hopefully the calming music will help make things seem not so bad.
“Chuck E. Skipsqueak’s”
This stage uses the Super Mario 3D World style (I assume most my stages will be either SMW or 3D World), using the airship theme.
As you may have guessed from the name, the stage is something of an homage to the arcades of Chuck E. Cheese’s. More specifically, it’s a tribute to the classic “Whack-A-Mole” games you often find there (and basically any arcade).
Yes, I am aware I could have used any of the other game styles and used Monty Moles to more accurately replicate the game, but the 3D World style is the only one that includes the new Construction Mario power-up, which uses a hammer. On top of that, the Skipsqueaks come in a spiney variety, which can’t simply be jumped on to be defeated. Thus, by removing the ability to use Mario’s jump as an attack, and requiring the use of a hammer, I feel it better captured the feel of a Whack-A-Mole game.
Those are the only ‘real’ levels I’ve made so far (I’ve made one other stage, but it’s more of a joke and I’m not sure if I’ll keep it, hence why I haven’t discussed it here). Hopefully you enjoy these levels, and hopefully I’ll be making plenty more Super Mario Maker 2 stages soon.
Talking of Super Mario Maker 2, I hope to have my review of the game up soon, as well as my review of the recent Lion King remake. So you see, I still have reviews and other such “real” posts in the pipeline.
*Caution: This review contains major spoilers! Though I usually try to avoid spoilers in my reviews, I feel that the very nature of Once Upon a Time in Hollywood, and how its ending rewrites history, makes it an incredibly difficult film to discuss without talking about said ending. So again, big spoiler warning here!*
Quentin Tarantino has certainly earned his reputation as one of cinema’s premiere directors. His indelible vision is unique among his peers and contemporaries, with his excessive style feeling downright hyperactive when compared to pretty much anyone else in the industry. Tarantino is known for his unconventional narrative structures, over-the-top characters, and flamboyant aesthetics. But for all the wonder Tarantino’s style is capable of creating, it can also get the better of him at times. For every Tarantino film that is helped by his insistence on style, there’s one that’s hindered by it, with stories that feel disjointed as a consequence of putting said style over all else. Unfortunately, I believe Once Upon a Time in Hollywood, Tarantino’s newest feature, falls into the lesser half of the Tarantino echelon for these very reasons.
Ten years ago, Quentin Tarantino released Inglourious Basterds, a film which rewrote history by means of ending WWII quite differently than how things went down in real life. Basterds received widespread acclaim, with many hailing it as Tarantino’s best film that isn’t Pulp Fiction.
Alas, this is where I must confess an unpopular opinion: Inglourious Basterds may very well be my least favorite Tarantino film up to this point (sure, Death Proof is usually considered the director’s weakest effort, but at least that film was supposed to be a cheesy B-movie). Despite the originality Basterds brought to the table thanks to its narrative structure and the fact that it, y’know, rewrote the final days of World War II, the film ended up suffering just as much (if not more) from it.
In its insistence on turning WWII into, well, a Tarantino film (excessive, stylized violence, an irreverent, smartass-y attitude, etc.), Inglourious Basterds ultimately felt like two different movies crashed into each other, and desperately scrambled to put all the pieces together into a singular film. The end result was a film that featured many scenes and characters who felt pointless to the overall narrative (remember how Michael Fassbender’s character was introduced in one scene, only to be killed off in the next?), and two overarching storylines that felt more conflicting towards one another than anything.
Why am I going on about my unpopular opinion of a decade-old Tarantino film? Because the very things that made Ingloruous Basterds feel so clunky come back in full force in Once Upon a Time in Hollywood. Like Basterds before it, Hollywood rewrites real world history. And also like Basterds, Hollywood seems to have a difficult time staying focused on a particular scenario, and features a number of scenes and characters that feel pointless to the overall narrative. And both films also have Brad Pitt in a prominent role.
Once Upon a Time in Hollywood is, in many ways, the spiritual sequel to Inglourious Basterds. Admittedly, Hollywood doesn’t feature the same Tarantino hallmarks of excessiveness in the same way Basterds did (this movie staves off the violence until the last few minutes of its nearly three hour runtime, though they’re also probably the most violent moments in any Tarantino flick). So even those who who loved Inglourious Basterds might get a wee bit antsy at times with Once Upon a Time in Hollywood. Though personally, I might give Hollywood the slight edge over Basterds, for two simple reasons.
The first reason is that the main characters of Once Upon a Time in Hollywood are much more interesting than those of Inglourious Basterds. Hollywood stars Rick Dalton (Leonardo DiCaprio), a once-prolific television actor who, in 1969, is struggling with his career when he tried to make the leap to the big screen, which resulted in the cancellation of his show in the process. Dalton is often accompanied by his former stuntman and best friend, Cliff Booth (Brad Pitt), who keeps Dalton’s behavior in check amidst the actor’s emotional struggles.
The other reason I would bump this film slightly ahead of Inglourious Basterdsin the Tarantino canon is that, while Basterds’ rewriting of history was a fun twist, it did come off as more of a stunt. An extension of Tarantino’s overall lavish stylization, if you will. It was a means for Tarantino to metaphorically jump out and say “Surprise!” to the audience. With Once Upon a Time in Hollywood, Tarantino rewrites history in a way that he takes a horrific, tragic event that it’s clear the director has strong feelings about, and gives it a happy ending instead. A kind of ideal fantasy version of history that only the arts could make possible.
Once Upon a Time in Hollywood tackles the tragic 1969 murders of actress Sharon Tate (portrayed in Hollywood by Margot Robbie), her unborn child (Tate was eight and a half months pregnant at the time), and four other adult visitors in Tate’s rented home at the hands of the Manson “family” cult, specifically members Tex Watson (portrayed by Austin Butler), Susan Atkins (Mikey Madison) and Patricia Krenwinkle (Madisen Beaty).
Suffice to say, things play out a bit differently in Tarantino’s universe. In Once Upon a Time in Hollywood, Rick Dalton happens to be Sharon Tate’s neighbor. Cliff Booth lives in a trailer with his pit bull, Brandy, but is just as often found hanging around at Dalton’s. In Tarantino’s universe, the Manson cult (fittingly portrayed as bumbling, incompetent dumbasses) run afoul of Dalton as they’re making their way to Tate’s house to commit the murders. The cult members are temporarily spooked off, until deciding to kill Dalton before moving on to Tate’s house. Once they break into Dalton’s place, however, the evil cult is greeted by Cliff and Brandy. Cliff is not only a stuntman (thus knowing how to take a hit), but also a war veteran, so he has had more than a little combat experience. Though the Manson “family” members have murderous intent, they are ultimately a bunch of drugged-up cultists who probably wouldn’t stand a chance against a war veteran and his attack dog in a fight.
Spoiler alert: they don’t stand a chance.
Booth and Brandy violently kill Tex and Patricia with ease, while Susan Atkins (who, by accounts, is the one who personally took the life of Sharon Tate) is given a drawn-out, over-the-top death, with Dalton himself ultimately finishing her off with a flamethrower of all things. It’s a brutally violent sequence, but when you remember that the characters getting killed in the film are based on some of the evilest monsters in real history, it makes it a much easier pill to swallow.
Some critics have lambasted the final moments of the film for altering history with a “fairy tale ending” in which evil is vanquished and the innocent victims are allowed to live on and see a bright future. But the ending is possibly the film’s best aspect. It comes across as cathartic for Tarantino, to take a tragic event that affected an art form he’s loved his whole life, and to undo said tragedy entirely. The ending’s naysayers accuse it of being “wish-fulfillment,” but the way I see it, if it entails giving murder victims the chance to live full lives and for their murderers to get their comeuppance, that’s wish-fulfillment I can get behind.
More importantly, however, is that Sharon Tate’s surviving sister Debra – who for decades has been preventing Hollywood from exploiting her sister’s murder – approved the film, giving Tarantino her blessing upon reading the script. If someone so closely affected by such a tragedy can see the beauty in Tarantino’s “wish-fulfillment,” well I think that says it all.
I may be raving about the ending of Once Upon a Time in Hollywood – and while it’s great that the film goes out on a high note – I still ultimately feel that it fails to reach its full potential, because the road to get to that ending is so bumpy. It’s a great final act that seemingly comes out of nowhere, since so much of the film seems to forget what it’s all building up to (at its worst, Margot Robbie’s Sharon Tate – arguably the best character of the film – is largely forgotten for long stretches of time).
There’s so much about the film that comes across as filler. One scene involving Cliff Booth having a confrontation with Bruce Lee (Mike Moh) seems to serve no purpose other than to establish Cliff as a capable fighter as he one-ups Bruce Lee (though the film establishes Cliff’s toughness in other ways, making the scene in question seem all the more superfluous). The scene is also questionable for its depiction of Bruce Lee, who comes across as an arrogant hack who can’t back up any of the things he brags about. It just seems like a pointless defamation of Bruce Lee on Tarantino’s part.
You could argue that the film is more of a character study of both Dalton and Booth than it is focused on its rewriting of history, but that in itself creates a similar problem to Basterds in that Once Upon a Time in Hollywood is torn between two different stories it wants to tell, with neither narrative interacting in any meaningful way. Dalton and Booth are never seen doing so much as conversing with Sharon Tate until the last frame of the film, and even then, the conversation is inaudible to the audience.
When Once Upon a Time in Hollywood is working as a character study, it’s a bit of a mixed bag. On one hand, both Dalton and Booth can be interesting characters, and the relationship between the two is pretty unique. At first it seems that the film is going for the deadbeat friend angle, with Booth holding Dalton’s career back, due to the stigma against Booth (there’s rumor that Booth murdered his wife, a rumor that the film neither confirms nor denies). No one but Dalton will dare hire Booth, initially leading the audience to believe it’s his presence that’s getting in the way of Dalton’s once-promising acting career. But it doesn’t take long to see that without Booth, Dalton would be even more of a wreck, with Booth preventing Dalton’s demons from getting the better of him (well, any more than they do) through his level-headedness and friendship.
Both main characters have the potential to be some of Tarantino’s all-time greats, due to a few great character moments sprinkled throughout the film, their unique friendship, and the fact that Leonardo DiCaprio and Brad Pitt have surprisingly good chemistry. Unfortunately, because Hollywood gets so sidetracked so often, they don’t quite reach their full potential.
One of Tarantino’s trademarks may be sharp dialogue that’s often removed from the plot. But here, if the characters spout any “removed from the plot” dialogue, it’s only because the plot is so loose and shaky to begin with, as opposed to giving us a deeper insight into the characters’ personalities, lives and interests. Dalton and Booth get a few good moments, but not enough to make the loose narratives feel like a justified excuse for the film to focus solely on their personalities.
The film also deals with the emergence of the “New Hollywood” era. Once Upon a Time in Hollywood simultaneously seems to celebrate the New Hollywood era for the autersmanship that came with it, and lamenting some of Hollywood’s more simplistic tendencies that may have been lost in the transition (as reflected in Dalton’s struggling career, with Dalton becoming typecast as one-off villains in TV series, repeatedly falling to the up-and-coming actors who portray the heroes). It’s an interesting take on one of cinema’s biggest revolutions, and it’s obvious Tarantino has a lot of strong feelings about the era. So the film has a very personal retrospective feel to it in this regard.
Once Upon a Time in Hollywood is certainly a unique film, even by Tarantino’s standards, considering it keeps most of the director’s tendencies at bay until its final moments. I figure some of Tarantino’s fans will absolutely love it, and others (such as myself)… not so much. I still think it’s definitely worth a look if you’re a fan of Tarantino’s work, but I wouldn’t be surprised if my mixed feelings towards it are reflected on a larger scale.
Suffice to say, I don’t think Once Upon a Time in Hollywood is among Tarantino’s better films, as it has too many concepts it wants to tackle without having the ability to dedicate enough depth to enough of those concepts, despite being three hours long. And unlike a few other Tarantino films with long running times, Once Upon a Time definitely feels long.
Once Upon a Time in Hollywood definitely has its merits and its moments (with particular praise going once again to Margot Robbie’s portrayal of Sharon Tate). But for every moment of Tarantino brilliance found in Once Upon a Time in Hollywood, there are more than a few that will try the patience for even the great director’s more diehard fans.
*Caution: This review contains spoilers to Avengers: Endgame’s plot. Though the fates of certain characters from that film will be absent*
Avengers: Endgame may have concluded the Marvel Cinematic Universe so far, but Spider-Man’s second MCU solo outing, Far From Home, serves as something of the epilogue to Marvel’s “Phase Three,” and everything in the MCU up to this point. Far From Home obviously doesn’t share the sense of finality that Endgame had, but the effects of Endgame reverberate throughout Far From Home, letting audiences know that the MCU will never quite be the same again.
This is admittedly a little bit of a doubled-edged sword for Far From Home. It’s certainly a capable sequel to 2017’s Spider-Man: Homecoming, but with the exception of Peter Parker/Spider-Man (Tom Holland) himself, no one in Spider-Man’s corner of the world seems to acknowledge the severity of everything the world (let alone the universe) is recovering from post-Endgame. Far From Home is a good Spider-Man movie (though it’s no Spider-Man 2 or Into the Spider-Verse), but it can at times feel like its scrambling to remember its placement in the wider MCU.
While past MCU films have, for the most part, taken place in or around the year they were released, Spider-Man: Far From Home marks the beginning of a new trend, as the MCU timeline currently sits in the year 2023 post-Endgame. Thanos wiped out half of all life in the universe using the Infinity Stones in Infinity War, before the Hulk used the stones to bring back everyone snapped out of existence into the current day in Endgame.
Far From Home does have some good fun with the premise, with a school news reporter mentioning how he was among those snapped out of existence for half of a decade, while his younger brother remained during those five years and is now his older brother. Some of these jokes land, but it is a little off-putting that Thanos’ cosmically catastrophic actions are almost exclusively referenced in a comedic sense. In Endgame we saw the devastation and tragedy of it all, with many people (including Captain America) seeking counseling because of the continued grief the world was suffering.
On one hand, Spider-Man: Far From Home has a Get Out of Jail Free Card for the consequences of Infinity War and Endgame being brushed to the side: Peter Parker and his friends are still in high school. If anyone is going to shrug off the fact that half of the entire universe was turned to dust and subsequently resurrected five years later, while still worrying and prioritizing their daily drama, it’s high schoolers. So the film can be forgiven when Peter Parker’s friends still go about their usual routines despite the fact that they were among those snapped out of existence for five years by Thanos. Less forgivable, however, are when characters like Aunt May (Marissa Tomei) crack jokes about the whole situation at fundraiser events. Some lightheartedness following-up the drama of Endgame is fine, but if you get too jokey with it, you risk undermining the ongoing narratives of the MCU (no one in Star Wars, for example, cracked jokes about Alderaan getting blown up by the Death Star).
Even though Far From Home’s placement after Endgame could have been handled better, its placement as a sequel to Homecoming is much more successful.
Far From Home sees Peter Parker and his classmates heading on a two-week field trip of Europe, where Peter hopes to take a break from super hero-ing as Spider-Man and confess his feelings for MJ (Zendaya), his classmate and crush. But seeing as a movie solely about Peter Parker on a field trip would probably be a bit of an underwhelming Spider-Man feature, things naturally don’t go quite so smoothly.
Agents Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders) of S.H.I.E.L.D. have been investigating the sudden emergence of Elementals – monsters who are, naturally, based on the elements of earth, fire, water and wind – who threaten the balance of Earth. Normally in a situation like this, Fury would call on the aide of the Avengers, but in this post-Endgame time, the Avengers aren’t so easy to call upon. While the answers to the whereabouts of each Avenger will probably be revealed in their upcoming sequels, the simple fact of the matter is they are outside of Fury’s contact. Spider-Man is the only available Avenger, and so Fury, using his influence, has pulled the strings to set up Parker’s field trip to Europe, where the Elementals are spawning.
A super-powered man from another dimension named Quentin Beck (Jake Gyllenhaal), has fought the Elementals in his own world, and is determined to prevent the creatures from causing the same levels of mass destruction to this world as they did to his. Beck has been working with Fury, and needs help if he is to stop all of the elementals, hence the need for another hero like Spider-Man.
The film does a good job at dealing with Peter Parker’s double life, as any good Spider-Man film should. Sure, not all of the comedy works, and I still find this interpretation of MJ as well as Peter’s best friend Ned (Jacob Batalon) to be pretty annoying. But Tom Holland still makes for a great Peter Parker/Spider-Man, giving the character the right blend of humor and likability. Additionally, Jake Gyllenhaal’s presence enhances the film much in the same vein (but in a completely different way) that Michael Keaton did in Homecoming.
The story does have a few rough patches. Again, how Far From Home continues from where the MCU left off in Endgame could have been handled better. But as a Spider-Man sequel, Far From Home does another great job at telling entertaining, sometimes compelling stories through both of Peter Parker’s personas.
Spider-Man: Far From Home does feature a little bit of a twist involving Mysterio later in the film. Those who know about the character from the comics and other materials will definitely see it coming, but I can also imagine the nature of the twist might be divisive for some audiences. The MCU is no stranger to divisive plot twists, with Iron Man 3 in particular being a polarizing film due to its midway narrative shift. I can imagine some might feel Far From Home’s twist may bring that of Iron Man 3 to mind in some respects, though I believe the twist to be handled much better here, since it ultimately connects with established elements of the MCU and doesn’t undermine the themes the film had built up until that point like Iron Man 3 did.
Spider-Man: Far From Home is another solid installment in the unprecedented mega-franchise that is the Marvel Cinematic Universe. The comedy might not always hit the mark, especially when it comes at the expense of the rather serious events of the past two Avengers films. But it makes for a worthy sequel to Homecoming. Far From Home is consistently entertaining, with great action set pieces for Spidey and some good character moments for Peter Parker. And while many MCU films can feel like their events are merely stepping stones on the way to the next big crossover, Far From Home tells a nice, self-contained story, and ends with a fun tease as to where Peter Parker/Spider-Man’s story will go next (with a mid-credits sequence that includes a cameo that I won’t dare spoil here, but that I will say is the single best piece of fanservice I think the MCU has provided so far).
The film may present Spider-Man as a smaller-scale super hero (which seems a little questionable by this point), but Far From Home is another testament that our friendly neighborhood Spider-Man may just be the heart of the Marvel Universe.
That’s right, Kevin! I am now the proud owner of the Japanese version of my favorite retro console, the Super Famicom!
With this purchase, I can now play (and subsequently review) SNES games that were only released in Japan. Not sure I’ll be doing RPGs though, considering the story focused nature of the genre means reading the on-screen text is pretty important, and I can’t read Japanese so…yeah, you see the dilemma there. Though I have long-since owned a copy of the Japanese version of Super Mario RPG, so I might have a go with that one, since I love/know the game so well anyway.
My long-time readers may remember that I have reviewed a Super Famicom title in the past in the form of Tetris Battle Gaiden. But to clarify, it was my brother’s Super Famicom and game I played. Now I have my own Super Famicom, which means I can review more of such games.
Will I be getting the Japanese versions of any other retro consoles? Probably not anytime soon. Like Super Mario RPG is to its genre, the Super Nintendo holds a special place for me in terms of retro consoles. So this is something I made an exception for. I’m not ruling out the possibility of buying more Japanese retro consoles, but it’s not on the cards as of now. The Super NES is just a timeless masterpiece of a console, so it gets the special treatment.
So yeah, on top of all the other reviews I’m falling behind on, I now have a whole other category added to my lineup…
Oh no! It can’t be? It’s…It’s…It’s…. The return of the filler post!
I thought they were all dead! That we had killed them!
But no… At least one filler post still lingers, and it has now revealed itself for the month of July.
I promise I’m not trying to make these a thing, but whenever I’m having trouble writing something proper, but need to fill in the gaps, I resurrect these monstrosities so that, well, I’ve written something. And well, I had said I wanted Wizard Dojo’s July to be more productive than its June, and so far, that only applies to the video game reviews. And even then, it’s still been slow in that department.
So to make up for lost time, I’m writing this unnecessary little post, as a means of reassuring myself I’ve written something, I suppose.
But fret not, sweet, beautiful reader, for there are actual writings coming to the Dojo in the near future. These include…
Movie reviews for Spider-Man: Far From Home, The Lion King (2019) and Once Upon a Time in Hollywood. My upcoming 350th video game review (my next one), and a couple of long overdue top 10 lists. Also, there are a small handful of other articles I’ve been meaning to get around to, and some older movie reviews as well. So I hope you look forward to those.
So yeah… This is a thing. Sorry.
I’m sure I’ll do better next time. It was my first flight and I’m still getting used to my programming! Hey! Hey!