The webhead makes a global return literally as Spider-Man: Far From Home takes Peter Parker to Europe. Tom Holland’s second outing as the teenage web-slinger stands out with ranging the dramatic stakes he faces and shows a settled and maturing into the role. If anything, Far From Home proves a true coming of age tale for Tom as Peter Parker/Spider-Man. Coming into the new age of superheroism is Jake Gyllenhaal as Quentin Beck/Mysterio and he brings such a great contrast with many likeable moments between he and Holland on screen that it comes off as a “brotherly/uncle relationship” echoing Holland and Downey’s connection from Homecoming. Continuing ahead, Beck’s intention’s ring out and Gyllenhaal blares his Donnie Darko-esque level of natural acting and provides the aforementioned stakes for Holland. The dynamic feels provides greater urgency to the story and rise to the challenge. With Samuel L. Jackson and Cobie Smulders (reprising as Nick Fury and Agent Maria Hill respectively) added into the mix, Peter has constant reminders of the world’s “next Iron Man” and finds his life in disarray trying to step up to the role.
Far From Home takes a well needed approach not seen in the previous Spider-Man films by allowing Parker to exist outside of New York for the first time and give praise to its international audience without having to grasp at straws. Making the supporting cast with their side stories (Ned and Betty’s relationship, Michelle “MJ” and her interest in Parker, and sidetracks from Flash Thompson, Happy Hogan, May Parker, and the school teachers) allows for a new, lighthearted approach after the events of Avengers: Endgame was much needed. Although there were some hit and miss jokes, the film still lands on its feet for being a refreshing reset to the Marvel Cinematic Universe.
Providing surprising revelations and laughs for all, Far From Home makes for a brilliant and exciting adventure for the superhero genre and allows a hopeful future post-Iron Man/RDJ era by assuring Peter Parker as the new face of the MCU means we have a bright future ahead.
Around the release date of International Women’s Day, Captain Marvel soars in as the the first super heroine in the Marvel Universe to have a stand alone film. With Avengers: Endgame tip toeing right around the corner, there were plenty of backlash comments and social commentary on where a film like this should stand. Coming to grips, Captain Marvel upholds itself in a formula we’re all now familiar with, but gives a sense of fun and nostalgia back to the 1990’s. Performances by Samuel L. Jackson (Fury) and Brie Larson (Carol Danvers) are top form and the two hold a strong chemistry when they’re on screen together. Although, we don’t see or HEAR much from him, Phil Coulson (Clark Gregg) has his sense of who he is and gives us a fresh reminder of some of the SHIELD status before it truly became SHIELD. On this note, the film is an origin story and we clamor to a cold open that rises to a solid expositional mark. There are moments where the film fell flat such as jokes and editing on cuts deemed unnecessary, but the film stands out as giving us enough back story and introduction for Larson’s first steps into the MCU. Another piece to the performance is Jude Law (playing Yon-Rogg) and other cast members performances feeling nice for the moments, but shouldn’t overstay their welcome. The supporting cast should’ve been more interactive and given more into Carol’s past history. As most films go, the idea was to start off with who we are dealing with and Captain Marvel doesn’t shy away from these notions. Larson’s strong-willed, quirky, and soft heart streams in each scene she’s in and she brings a sense of sarcasm that could be perfect and a breath of fresh air for the likes of other Marvel heroes such as Captain America and Iron Man. The Skrulls and Kree serving as the bridge for Carol’s world balances out the choices and makes us wonder why and how she was seen as hope from each spectrum. There’s not much else to go on except for some throwaway jokes, out-of-character moments (mainly from Fury since this was him in his earlier days), but where it stands, the film has many fun moments and doesn’t slack in its action department.
Becoming the first film in the ending of Phase 3 and being a kick-off before Endgame challenges us, the audience, to see what the future of Marvel hopes to bring and that’s a message that staggers along in each of its films: what’s going to happen next?
My final rating of this film is 6.3/10 for its adventurous and fun-filled approach. Ideally, the film could have reached new levels if not for the community backlash, but in today’s society, that’s a hard lump to swallow. For an origin film, no less, Captain Marvel succeeds in fulfilling the quota of bringing in a new hero and telling us where we will be seeing the future of the MCU and the change it will bring.
If you haven’t gone to see it, I suggest you get out of your chair, workplace, grab your best friend, girlfriend, etc. and have a nice night out with some super heroism from a female perspective…not that Wonder Woman isn’t regarded.
Captain Marvel Trailer:
As it stands, I haven’t had much time to get back to writing reviews, so for the next while, I’ll be playing catch up with plenty of films I’ve watched over the last few months. If there are any suggestions to what I should watch, leave a comment and don’t forget to subscribe for more to come! – O.
Within the past couple of years, a rise in black superhero portrayals has become an iconic normality in the entertainment industry, yet has received some backlash from consumers who seemed to not have accepted these characterizations of fantasy, science fiction, and reality. Black icons have always gone through particular struggles in different platforms of media such as music, theatre, film, broadcast news, or television. The media’s acknowledgement has given a one-track perspective of how black characterization should be over the decades, but now with comic book mediums, does this begin impact some viewer’s perception? An example of television shows and films that have highlighted on this are Luke Cage, Static Shock, the upcoming Black Panther, Frozone from the Incredibles, Blade, Storm from X-Men, and Falcon from Captain America: The Winter Soldier/Civil War, respectively, as they have translated from the comic book medium into live-action portrayals. The shows have talked about their stark and bold nature to open the eyes of consumer and give a different effect of superheroes of African origin within media. The purpose serves as a platform of the influence and importance within the superhero phenomenon stretched through eras and pantheons in society around the world, but the still has begged the question: Is the public eye aware of the immoral black portrayals within the comic book medium?
HI: The study hypothesizes how black superheroes have garnered a public response that could be highlighted as positive/negative reactions and what the public’s perception can impact on the younger generations that are growing up with today’s comic book icons.
RQ: How do black superheroes effect the public perception?
Literature Review
The superhero status quo has existed prominently since the 1940s to give inspiration and imagination to future generations, so it should come as no surprise that there would be a hero meant for not only every Caucasian American, but black Americans as well. For the black superhero would represent the ideals and the struggles of what many black Americans had and are currently going through today. It’s one of the top reasons that an elusive number of articles has been produced on this study.
The research came from the precedence of black Hollywood’s rise to prominent status and began seeing a shift in the diverse ingenuity and creativity that is coming out of Hollywood. According to author King (2017), the media has been stated to be one of the world’s most powerful entities through making innocents look guilty and vice versa. The discussion pursues when applied to blacks, the statement rings true and by examining the recent deaths of Trayvon Martin, Michael Brown, and Eric Garner, the incidents sparked up conversations of race relations in America and the role and responsibility in media. This sentiment carries into the legal system on how they have treated blacks in the public perception of these young men (King, 2017). The idea of racial contract, contributed by Charles Mills, comes into play, where examination of racial dimensions of civil democratic societies where the whites control the morality, policy, and dynamics of their supremacy. This contract streams as nonconsensual of an agreement for non-whites since the racial contract believes that they are “simple objects” (King, 2017). In order for this contract to work, rules are set in motion for different situations and principles. King (2017) elaborates how this apparatus is a tool to organize principle categorizing and collecting various institutional, physical or administrative mechanics and knowledge structured around exercising power and oppression over racial bodies. Ultimately, the media’s role to enlighten on cultural representation of people, particularly Blacks, shows the alignment of social constructed daily attitude of race (King, 2017). Scholars Derek Bell and William Crenshaw (1992, 2011) employed methods to study, challenge, and influence a change on legal systems becoming neutral and more color blind. CRT scholars use five key principles to assist individuals in the nuances of race v. racism: centrality of race and racism, dominant discourse challenge, social justice commitment, centrality of experiential knowledge, and transdisciplinary perspective (King, 2017).
One object about superheroes is they repeaters and recyclers, in regards to their audiences for both inhabiting their stories and those whom are audiences to the stories. This brings to the table a recently popularized hero and film, Django: Unchained. Coetzee (2016) disseminates on director Quentin Tarantino’s right to tell a “black story” by using Wall Street Journalist Ishmael Reed’s point of view. Calling it a discomforting description, Coetzee elaborates that Reed’s “alienated and critical response” of the film came from his personal understanding to “Who should tell the black story?”. Coetzee notes Reed’s resistance on the rights tell black stories on different layers and that represent black-centered responses to the film. However, the audience must be “unchained” as to react in ways exceeding the narrow minded responses Hollywood attempts to produce (Coetzee, 2016). While works from author Manthia Diawara touch on “blacks’ representation in Hollywood omitted…spectators will renounce results and refuse to forget their disbelief”, the typical “black spectators” should not be guaranteed nor limited to one’s ability to take a stand on the position (Coetzee, 2016). Django is considered actively as an Afro-superhero for black audiences despite Tarantino to keep an open mind. Being the superhero trope specifics of reinventing, reinterpreting, and tuning to political context, African pop culture has stood out for the high political profiling of its superheroes. As the audience’s demands and needs change on a whim and the historical definition of a superhero shift are reimagined, most consumers have regards and their own responses and hesitation on what a superhero is. In truth, Django may not appear a superhero to Tarantino, yet it does not mean anything except to the public what a superhero is (Coetzee, 2016).
Results/Discussion
In more ways than one, black superheroes have reached audiences in ways people never expected them to: coolness. The first study shows author Nama (2012) discussing America’s transformation in the rise of racial justice from the 1960s and early 1970s when a character named Tyroc was introduced. With civil rights and black power movements at play in reality, Tyroc was a significance as his ability to alter reality with his voice and various screams were the thin line between how vocal black activists and organizations pushed to make America accepting (Nama, 2012). Early indications represented the new wave through social trends, culture themes, and political outright that stemmed from civil rights and Black power movements. Nama (2012) quotes a true shift that was significant as black representation in the film industry through Blaxploitation cinema and, as time passed, many of the black superheroes had rooted from this commonality.
Instead of B-rated superhero films and television adaptations, the plentiful black characters from comics began to leak onto various shows and films as supervillains. Although 1960s network television allowed interpretations outside of the superhero genre, it wasn’t until actress Eartha Kitt’s portrayal of DC comics Catwoman stood as a testament to cultural viewing of superheroes and their over layered enjoyment from power (Nama, 2012). The performance was becoming so grandiose, it set a template for future portrayals of the cat burglar and how subsequent her tempting nature could attract viewers. Without this performance, Halle Berry’s nine lives interpretation would never see major motion picture viewing (Nama, 2012).
Nama’s (2012) analogy on the black superhero standard rings through where she points to Christian Davenport’s article stating if a black superhero is too black, then they become irrelevant to whites, but if they aren’t black enough, they cannot validate the rationale for “black” superheroes to begin with.
Nama (2012) discussed further how the popularity and significance of comic book character, Spawn, a former CIA agent murdered by his own government and is a black character had less to do with his race and focused more on the artwork and goth pulp fiction of Todd McFarlane’s noir narrative. In this case, the significant key was timing for the character’s success with Spawn being ahead of its time and being visually cool, strange, yet cutting edge that mass audiences garnered the status to critical acclaim (Nama, 2012). However, aside from the racial image of a black man portrayed as a demon, the character’s symbolism of discovering “true” identity, struggling contradictions, love for his wife, and ethereal powers from heaven and hell to help save humanity give him a niche other superheroes never compared to (Nama, 2012).
In the second study, it can be noted that even through media’s prominence in providing inspiration, morals, and do right attitudes in the superhero medium, there are still audiences who have yet to grow into black superheroes on the big screen today. Hoeberek (2016) provides some discussion to how superheroes are have had to adjust to social modernism. Since comics began appearing during successful wave of attacks on the welfare state, the ideals of superheroes working for the public have changed the perspective of audiences and its creators. Although it embraced social norms of reality, comics have become lost and a new wave of cynical superhero stories came to light, but found ways to inspire people to work towards the greater good (Hoeberek, 2016).
The third study discusses Nama’s (2009) perspective on how the black superheroes have a lack of recognition as science fiction objection is not surprising due to black comic book images categorized into racial caricature and has less analyzation of the ignorant history of black representation in comic books. Nama (2009) admits in the discussion black superhero presence in a dominate white comic book universe of DC and Marvel had strengthened from the sociopolitical and racial times of the 1960s and 1970s, but underneath these layers of dark figures was not only race introduced, but a reimagining of black people soaring as science fiction spectacles of advancement and scientific metamorphosis. Culturally, black superheroes are not mere side show products, but have signifiers that touch on racial subjectivity, bring attention to racial equality and diversity, and holds considerable commentary of racial politics in not just America, but the world (Nama, 2009).
The fourth study comes from Sparks (2014) and Singer (2002) where the cultivation theory is the prime example of how consumers/audiences do not mention outwardly racial discrimination, profiling, or other biased and prejudice statements. Sparks (2014) alludes to cultivation theory, proposed by George Gerbner, the likelihood that the more people have consumed media then the more likely they are to be influenced by its messages from television. Thus, bringing to forefront some degree of stereotyping that occurs within media. Singer (2002) explains that critics have associated comics with perpetual racial stereotyping and quoting Frederic Wertham’s argument on comics “exposing children’s minds to endless stream of prejudice-producing images” where white superheroes are heroic and handsome whereas ethnic characters are subpar and suffer from inferiority. Believing race in comics needs a less overzealous approach, Singer (2002) notes by setting aside claims and opinions of stereotypes governing readers’ psyche should still hold comics accountable for ideological assumptions.
Conclusion
The theory stands on the perception of black superheroes remains true and people do not judge today’s characterization’s as strongly as they did in the past. Critics have made their primary focus to askew from the general prejudices, but there are still some researchers who believe the impact on the audience, has weighed heavy on black people and the stereotypes they portray from DJ to hoodlum. As the research has stated what type of men and women the media portrays, the ideologies are still a reaction and albeit showcase personal beliefs over the person. Furthermore, if the research’s biased testament, proves from exposure and influence what a person of color within a medium goes through and the media’s effects that blend into the medium’s storytelling. Finally, black superheroes are an inspiration to children of all races and paved a way for audiences’ awareness and beliefs as more iterations of the black superheroes come to the big screen.
References
Boyd, R. L. (2015). The ‘black metropolis’ in the American urban system of the early twentieth century: Harlem, Bronzeville, and beyond. International Journal of Urban and Regional Research,39(1), 129–144. doi:10.1111/1468-2427.12048
Gateward, F. K., & Jennings, J. (2015). The blacker the ink: constructions of black identity in comics and sequential art. [N.p.]: Rutgers University Press.
Coetzee, C. (2016). Django Unchained: A Black-Centered Superhero and Unchained Audiences. Black Camera: An International Film Journal, 7(2), 62-72. doi:10.2979/blackcamera.7.2.62
Hoberek, A. (2016). ‘But–what can anyone do about it?’: modernism, superheroes, and the unfinished business of the common good. Journal of Modern Literature, (2), 115. doi:10.2979/jmodelite.39.2.09
Nama, A. (2012). Super black: American pop culture and black superheroes. Choice, 49(9), 1630. Retrieved from doi:10.1080/01419870.2012.688994
Nama, A. (2009). Brave black worlds: Black superheroes as science fiction ciphers. African Identities, 7(2), 133–144. doi:10.1080/14725840902808736
Ryan, M., & Thon, J. (Eds.). (2014). Frontiers of narrative: Storyworlds across media: toward a media-conscious narratology. Lincoln, US: University of Nebraska Press. Retrieved from http://www.ebrary.com
From the perspective of someone who loves kung fu, Iron Fist makes sense to me as a whole. However, there are moments the show falls short of itself and it’s where the building block Marvel has put up for their last 3 Netflix shows seems to have a Jenga impact on this. The relationships that are established within the show have reigned themselves in and then seem to have lost control of the horse. As each episode pursues, as a viewer, I found myself wondering when the connection the bigger universe would begin to happen.
Now, I, being a fan of Game of Thrones, am a fan of Finn Jones and his other works (Sarah Jane Adventures, Doctors, Holly Oaks) and can state his performance as Danny Rand gives a bit of confusion with his difference between Marvel’s more darker toned shows. Overall, if I had to narrow down the perspectives of the show, Danny’s character is broke just as much as the other Netflix heroes, in his own right, but what people are neglecting to acknowledge is the light-hearted innocence of Rand. Jones layers this innocence to a point you want to feel sympathetic for his character and helps produce one of the reasons why he was chosen for the role.
Besides the doe-eyed youth we find in Rand, the biggest takeaway of the show is realizing the show’s ability to showcase what’s truly defined: the women. Jessica Henwick, Rosario Dawson, and Jessica Stroup are a more than just some sidekicks or one-offs we have seen within the Marvel Entertainment. Unlike Jessica Jones, the show highlights the definition of what these women’s power is as they aren’t grasping at straws like their male co-stars, but have a deeper understanding of humanity and position. Although Jessica Jones provides a strong female lead and co-stars, Iron Fist seems to illicit the status and ideals of what women in this world are. Joy Meachum (portrayed by Stroup) has the smart, business savvy attitude that can be found in someone who has climbed to the top, Colleen Wing (portrayed by Henwick) gives us the heart-to-heart and concern from the outside-in of a person, and Claire Temple, our biggest connection through each and every show who has offers wisdom and experience this time around for young Rand.
Besides action sequences and standard dialogue, Iron Fist opens up the integral drama that most of the other Netflix shows are not willing to show some times. Furthermore, as the audiences will draw their own conclusions, I can say Iron Fist is, in its own right, a show that speaks on its own level and draws one in as a moth does to a flame.
Marvel’s Iron Fist is now available for streaming on Netflix.
Get Out has to be one of the truest to reality films I’ve viewed in the last several years that made me feel nervous and fearful of the situation. Throughout the film, I saw many elements at play with Jordan Peele’s wit and it goes hand in hand with his writing on his former show, Key and Peele. However, the film touches on the deepest fears for many of the audience who are present, namely African-Americans or black Americans. The spectrum of fear ranged from the idea that a situation of this caliber can possibly happen.
This is where I believe the law of apparent reality set in as the film progressed. By starting off, there are moments where I believe this coincides with differential brain processing. The law of apparent reality states how viewers may know that the content isn’t happening actually at the time whilst watching the film and can recognize the depiction as a dramatic one that only involves thespians, but the perception could be based upon belief that the situation could still happen. The protagonist goes through a degree of foreshadowing that happens within each beat of the film; raising the awareness level of the audience to heightened alarms. As being a part of the general audience, I took to caution for the character myself and seemed to be embellished by the fact the protagonist and I had shared beliefs. This can be subject to a certain way of thinking and how situations black Americans deal: racism, police superiority, tell-tale signs, and intuitive nature.
Since, as a viewer, the perception did entice the reality in any case and set higher levels of fear and worry, I came to the conclusion on how the film left a lingering sensation. As the brain processes at a different rate, my reaction was brought up from explicit memories over implicit memories. The explicit memories formed from one of the scenes that involved a sense of “be very careful of what you think you saw”. Furthermore, the high demographic of college students proved that the film caused symptoms (notably fear of dying, feeling of paralysis, fear of losing control, shortness of breath) similar to what the protagonist faced. By providing a matter of what Get Out provides as a level of spectrum, the perceptions seemed to differ greatly between the ethnic and non-ethnic class of viewers present in this film. The distortion of reality to the non-ethnic groups relayed emotions of comical effect. Although there are moments that are critical to the comical situation, one can’t help but wonder: would I really ‘get out’ or should I stay?
It’s been a while since your average teen did the most reckless things that would get them a 10-day suspension.
(Shout out to Chance the Rapper)
All in all, however, when a tale of street life, school kids, and what it means to be grown-up comes at play, Kidulthood has the elements that call out to many Londoners who have felt and experienced the social norms and ghetto based lifestyle that could knock at your front door. In one way, I examined this film similar to John Singleton films such as Boyz N The Hood, Baby Boy, Poetic Justice, Four Brothers as they are popular films of pure observation in the coming-of-age tales I’ve witnessed.
Story
The film opens with the focus on the lives of teens Trevor “Trife” (played by Aml Ameen) and his girlfriend, Alisa (Red Madrell). The two are driven apart due to rumors that have floated around that Alisa slept with Sam (played by Noel Clarke), the film’s antagonist, and we see how the kids before school behave with a level of disrespect, attitude, and a fire in the eyes you would find in adolescence. Trevor denies the allocations that he is the father of Alisa’s baby and this leads him to break away from her and fulfill his fatherly duties.
In the midst, a student named Katie who is consistently bullied hangs herself after Sam’s bullying, both emotionally and physically, that leads her brother to seek revenge on Sam. As the students are given a day off for mourning, all of whom proceed to get ready for a house party later that evening, we see Trevor and his best mates, Jay and Moony (played by Adam Deacon and Femi Oyeniran, respectively) , hanging out with one another, stealing, getting drunk, smoking cannabis, and hitting on women in an very sexual manner.
During the same day, Becky, Alisa’s best friend, decide to get drunk and high despite Alisa’s pregnancy. As Alisa has discovered she is recently pregnant, she becomes unsure of how to cope with the news. Becky takes Alisa out to an older man’s place where they perform sexual favors for he and his friend in exchange for drugs. Becky instigates this as a ploy to get her drugs and Alisa, feeling wrong about the situation, follows through with her friend’s action.
Meanwhile, the boys go to Sam’s house in order to retrieve a Gameboy he stole from one of them earlier in the film. Furthermore, they steal his cannabis and Jay proceeds to have sex with Sam’s girlfriend, Claire. However, Sam returns and threatens them, but soon is struck with a keyboard by Trevor as they beat him up, steal Sam’s stuff, and take Sam’s girlfriend with them. In the process, Sam’s mother is knocked to the floor by the boys as they run away, giving Sam motive for vengeance later.
During a train ride, Alisa and Becky run into some of the girls who bullied Katie earlier in the beginning of the film. Alisa confesses how she felt bad about not being able to help her friend. Soon after, she scolds the girls and gets off the train immediately with Becky after experiencing morning sickness as she throws up. Ultimately, she decides that she will keep the baby.
They arrive later at a shopping centre, after selling the drugs prior, to buy new dresses. Later, the girls meet up with Jay and Moony. Jay, after hearing the information, rudely tells Alisa Trevor isn’t interested in her or the baby and she should move on; which ironically plays on Trife’s ignorance to his fatherly duties. Alisa decides to go home alone as Becky chooses to stay with the boys. In the meantime, Trevor meets up with his Uncle Curtis (played by Cornell John). He sees Katie’s brother, Lenny (played by Rafe Spall), but they say nothing to either person. Trevor tells Curtis he wants to work with them, and is given a revolver, the same used in the film’s introduction he made himself by drilling. Being led downstairs, Trevor sees a man tied to a table, Andreas, who was tortured for failing to live up to payment agreements. Andreas was seen earlier purchasing drugs from Curtis in the film’s introduction. Trevor is ordered to cut the man with a knife he’s given. Trevor, out of fear, does so, but then, runs away. After a traumatizing experience, he throws away the gun and proceeds to find Alisa. Alisa, proceeding on her way home, is stopped by a classmate who invites her to the house party to cheer her up, and after some convincing, agrees to go.
Trevor arrives at the party, finds Alisa, and confesses her love to her. She tells him that she never slept with Sam and that the baby is his. He proceeds to cry out of happiness and jokes about his mother finding out. Sam arrives soon and beats Trevor up with a bat. Alisa runs to the house to get Jay and Moony, who showed up at the party with Becky, and they rush to help Trevor. Alisa screams for Sam to stop and as Sam begins to leave, he picks up the bat and critically injures Trevor after being struck. Soon, Lenny arrives with a gun and threatens to shoot Sam for his sister, but with Trevor’s last breath he states “he isn’t worth it”. Lenny begins to walk away, but after Sam insults him, he fires the gun, which backfires in his hand, and drives away. As the ambulance and police arrive on the scene, Trevor dies in Alisa’s arms.
Theme
The film’s central aspects came down to the social class of its citizens, the coming-of-age syndrome, and psychological and emotional state of the average punk.
The social class shows how they are from the middle to lower class kids in the city. With a run around seen from the eyes of both male and female, Trevor and Alisa experience daily life of cruel obscurity. This clip here is an example of Trevor’s social definition and how cops see not only him, but a view of society for all black London boys.
I am convinced that most people do not grow up…We marry and dare to have children and call that growing up. I think what we do is mostly grow old. We carry accumulation of years in our bodies, and on our faces, but generally our real selves, the children inside, are innocent and shy as magnolias.
Maya Angelou
Truer words would not be spoken. The idea of growing up is a central theme anyone and everyone can relate to that will change the pace of one’s life. The film centers in on some of those aggressions and feelings, paced throughout casually, explaining what it is like to be grown and what it is like to ACT like one is grown. For example, there is a scene with Trevor where he tries to flirt with an older woman. She implies that although Trevor is pretty cute, she can tell that he’s too young and doesn’t have the same level of “sweet talk” that she generally hears from older men.
The biggest theme I found both a necessary flaw of the film was the manner of touching on the psychological and emotional volumes you see in a boy trying to be something he is not. These social misconception can lead one into dangerous tirades of life. Trevor plays the outward nice guy, but has tendencies of being a delinquent in the making, as his antagonist, Sam is the polar opposite, playing the bully with a timid heart and afraid to show he isn’t a “badman”. This theme is later touched upon in Adulthood. Both on the powerful fences of youth, Trevor and Sam are a yin-yang contradiction to each other but represent what life is for them in the streets of London and what it means to prove yourself in the social dynamic.
Finally, I’ll mention the dynamic of responsibility that levels out the relationships of Trevor and Alisa. There isn’t much a present dynamic once introduced on-screen other than what the characters gossip about to one another at school. Facing points of views from both Trevor and Alisa, it is possible any young person/adult who would watch this film is going to have feelings whether it is “I’ve been in that situation before” to “I know a friend of mine exactly like him/her!”. Trevor and Alisa are a prime example of a cinematic relationship gone awry that bridges back together to create a Romeo/Juliet ending with outside forces being the antagonist just as much as Sam is.
Music
Kidulthood’s Official Soundtrack is by far one of the most interesting albums I’ll ever hear. Earlier, I compared the film to other cinematic American classics popular among a middle class community (ex. Boyz n the Hood) and I can state this is more of a projectile forward for the film. The music was in your face from beginning to end. It has endeavors and macabre I wouldn’t find in a typical Black Cultured American film. I’m bringing the BCA-type of film into play because unlike stereotypes being fulfilled, no matter how the reality is affected, Kidulthood allows itself to stand out as a masterpiece among British cinema for its clarity. The music, in truth, is just a bonus. I’m a fan of many of the tracks.
For example, this scene is one of my favorite scenes in the film.
and this song sets up the general premise as well as being a promising and message-based song.
Closer
My overall rating for this film is a 4.8 out of 5 stars. The film had strong resolution and resolve that plays and tugs on the emotions of the viewer since it relates back to their teen years. One would call this an “honest-to-God mix between Boyz n the Hood and Do the Right Thing with a splash of British finesse. Noel Clarke’s script is one to be favored, by yours truly, because of his touch of dynamics and reaching out for people to understand the world he or some other person have come from.
Here is the trailer for Kidulthood:
Thanks for reading. Stay tuned for more!
P.S.- I’ll have Adulthood (the sequel) posted up by next week.
For the time I’ve been in a bit of limbo, all I have done is look at nerd culture and observed the heavy dose of what was to come this coming year. In terms of cinema, it has been a monumental year for many films that have released and, while I need to still review other films I promised I would, there can be none more enticing than waiting on the biggest film of the year of 2015: STAR WARS.
Nice fan art eh? I thought so.
We have many things to go on seeing as this is the first in a new trilogy (one I would love to be an extra in if some mystical Force let’s me. <-See what I did there…?) and as many things go, there’s a lot to talk about and get your head wrapped around. Centrally, for the sake of where we are headed and of what is to come later. Such as a revelation I kind of predicted with thanks to Internet geeks who stay at home plotting movie theories that could exist. THANKS GUYS!
Story Introduction
The film opens up with a mysterious message being given to a pilot by the name of Poe Dameron (played by Oscar Isaac) as the empire descends upon an outskirt junkyard planet known as Jakku. As they are attacked, Poe sends away his “buddy”, BB-8 (voice modulated by Ben Schwartz and Bill Hader [HUGE SURPRISE I didn’t see coming]) as he is taken prisoner by Kylo Ren (played by Adam Driver). As BB-8 is wandering the desert, he is almost caught but is saved the film’s female protagonist, Rey, who is a scavenger who is waiting on her family (more on that later…).
Once tortured by Ren, Poe is rescued soon after by a Stormtrooper who goes by the name FN-2187 aka Finn (later dubbed by Poe) and as they try to escape, their TIE fighter is damaged as they crash land onto Jakku. Finn, in response to the situation and sees he’s the only survivor, searches for a way to get off the planet and soon comes across Rey and BB-8. The two end up in grave danger once spotted by Stormtroopers and flee to find a ship to pilot away from the First Order.
Sorry, I just realized I never told you their name. Like I said, we’ll break down the nitty gritty later.
As they got away, the three are captured by an unsuspecting ship to where we see the return of two of the original trilogy characters Han and Chewbacca (played by Harrison Ford and Peter Mayhew respectively). As Han returned to smuggling after the war for unbeknownst reasons (family issues…ahem), they get caught in the crossfire of dealing with the Rathtars and some of Han’s “partners” who have come to take him out. Once free of the situation, Han assists the three in taking them to the Resistance to get the message safe and sound to Prin-General Leia Organa.
Apologies again, I keep forgetting “nitty gritty”. Dammit! Anyway…
Once the group lands on the planet, they meet Maz Kanata (played by Lupita Nyong’o) and she explains the situation to the new guys and tells them the Force needs to be placed back into balance. Finn and Rey, both afraid of their destinies, find alternate ways of trying to run away (a big focus of theme I’ll put into perspective in a moment). Before they had a chance to accept their taken path, The First Order immediately disposes of the Republic (a nod to the prequels in some shape) by using Starkiller Base’s destructive power to wipe out the system. Following this, the First Order come’s to Maz Kanata’s and seeks out the BB-8 droid that contains the map to Luke Skywalker who has since disappeared for the last 30 years prior to the events of the new trilogy.
How I neglected THIS importance is beyond me
Thanks, Sir Alec Guinness. Touched the soul there….waaaah.
Back to the story.
A fight ensues in the area as Kylo Ren lands and searches, only to find Rey on her own and discover she has seen the location of the map to Luke. This prompts a kidnapping and immediate escape as the Resistance began to overpower the small faction of Ren’s group. With a reunion of some characters (Leia Organa, played by Carrie Fisher, C-3PO, played by Anthony Daniels, and R2-D2, played by Kenny Baker), the Resistance, with Finn’s help and desire to rescue Rey, proceed to infiltrate Starkiller Base. This allows Rey some time prior to learning about the Force and using her powers to escape Kylo Ren’s torture. As Ren fears she may be MORE powerful than himself, he reports this to Supreme Leader Snoke (played by Andy Serkis) seeking to manipulate the girl to the Dark Side.
During the implications of everything, General Hux (played by Domnhall Gleeson) makes the stand to destroy the remainders of the Resistance and charges the base to destroy their system they have been hiding at. Once Captain Phasma (played by Gwendoline Christie) lowers the shields, Finn, Han, and Chewie use this time to save Rey and find the location to destroy the base from the inside. This leads to Han’s confrontation with his son, Ben Solo or known as Kylo Ren. As the father and son reunion looks almost plausible and able for their apologies, Ren stabs Han and thanks his father for “helping him”. Rey and Finn, in flustering anger, respond to this as they flee the scene by shooting down Stormtroopers as Chewie wounds Ren and blows up the base.
While running through the snow-ridden forest, they are confronted by Ren. Ren uses the Force against Rey, fueling Finn with anger, to fight back and protect her. Although the fight was a tough one, Finn was, unfortunately, defeated and is knocked unconscious by the lightsaber’s slash up his spine. Once Ren thinks he is free and tries to claim back Luke’s lightsaber, Rey’s Force powers come to light and the two duel it out in the crumbling base. As the Resistance fights hard with their squadron, Poe makes the decision to fly into the base and destroy the location within. Rey and Ren’s fight reaches the conclusion with Rey defeating the “monster” and escaping back to the unconscious Finn. With just enough time, Chewie flys in to rescue the two and they return to the base to care for Finn.
Finally, R2-D2 awakes from his powered down slumber and aids the Resistance by providing the full map, excluding the missing piece, to finding Luke. Rey and Chewie take the Millennium Falcon to a planet in the outer rim and discover the remains of the First Jedi Temple where Luke has been in solitude. As Rey climbs the steps, she discovers the Jedi and proceeds to hand him back his lightsaber in gesture. Luke’s expression leads to his questioning whether or not to return as the film ends.
Phew. Best summary I’ve ever written…somewhat.
Why am I watching this film?
As a timeless classic, Star Wars is a film franchise that has LITERALLY found its way throughout generations of fans, aspiring filmmakers, movie-goers, and potential future stars. The credibility within Star Wars is monumental and cannot be denied, whether good or bad.
Personally, I have 3 main reasons why I chose to watch this film:
JJ Abrams
New Trilogy with New Cast
Cinematic Evolution
I’ll start with JJ. As a personal fan of his films Super 8, Forever Young, Armageddon, Star Trek, Cloverfield, and Mission Impossible III, the actor-writer-producer-director has made some leaps and bounds of his own as a fan-boy. I think in some ways that The Force Awakens was more of JJ’s film than just an homage to the original cast.
Second, a brand new trio with somewhere to go! I am a fan of new beginnings, probably because I want one…desperately…
In terms of the films, the actors, Daisy Ridley, John Boyega, and Oscar Isaac, had a few well spirited moments in the film that gave their impression.
Finn is scared, witty, and tends to be energetic in moments of crisis. He, more or less, mirrors how Luke began in A New Hope. In an instant, Finn’s character is driven by emotion and is straight to the point, although he has a few flaws as his character should such as courage and responsibility. Still, he stands out as someone who isn’t judged by his SKIN like most people complained about for the last year, but is in his own right starting to come into his own, similar to Luke. I make the comparisons to Luke since he had a plentiful amount to learn before becoming who he is now.
Rey is the uncanny young woman who strives to be independent and shows off her prowess through mutual goodness and the ability to befriend someone in need. She could, in fact, be a better half to mirroring that of Leia and Han when we first meet them. It’s been exciting to view someone who is brand new to the universe and is ALSO a Force-Sensitive user. It’s great to see the story being told through her eyes and goes to show that we are about to begin an incredible journey with this new young lady. Plus, I’m sure the sex appeal is added for the fan boys…ahem.
And finally, Poe Dameron. His character is just, friendly, and willing to lay down his life for the greater good. Complete opposite of how we first me Han but I think he’ll have more to say in the upcoming Episode VIII since he was limited to starting off Finn and Rey’s adventure more so. His beginnings can be explained in the Shattered Empire comics for those who wish to read them and learn how he is connected to Leia, Han, and Luke. If he gets some cool, extended story, I would like to see his development and what he’ll offer to Finn, seeing as they are SUCH good buddies. Ah? AH? AHHHHH you get it.
In terms of cinematic evolution, as the span of many films have come to acknowledge, that JJ’s vision was with the times, however much of a classicist he is terms of filmmaking. From the span of the camera work to its special effects, JJ highlighted on the witty dialogue well with Lawrence Kasdan, who co-wrote the script with JJ. While the CGI work is noticeable in certain scenes, it was good to see that he invoked as MANY practical effects throughout the film’s entirety and wished for the fans of Star Wars themselves as well to understand how big a project it was not only for him but for the fans themselves. There’s a beautiful dolly shot during the battle at Maz Kanata’s that is certifiably amazing to see Finn run through the rubble even with the TIE fighters and X-Wings having a shootout right above him. Another shot I took into consideration was the chase scene with Finn and Rey. A magical rapid motion from their meeting to escaping on the Falcon was in itself wonderful to encapsulate what “DANGER” really means.
WTAF Moments
Of all the moments in the film, the biggest one was CLEARLY what happened to Han and yet, I definitely saw it coming…
I can’t explain why, but I just did…odd right? Whatever.
Another scene I think was as much a WTAF was more a HELL YEAH moment was Rey using the Force on the Stormtrooper to unbind her restraints and escape the cell Ren kept her in.
Rey: You will remove these restraints and leave this cell with the door open.
Note: The Stormtrooper was played by Daniel Craig (currently James Bond aka Agent 007)
Does the music keep up with the film?
I’m not even going to answer this because it was Sir John Williams. I have been listening to the soundtrack while typing this and he’s still got it. Pulling on emotion and giving that rapid orchestral flare when necessary. This dude is forever OG status in terms of composer. Flawless.
Watch the Oscars suck it this coming year. Bastards.
Final Words
When it boils down to it, the film itself is definitely one of my favorite ones out of the whole series (the other being Empire Strikes Back). In terms of rating The Force Awakens, I’ll give it a 4.85 out of 5 star rating. The only few issues I can stomach on the film was a few scenes I can tell JJ cut out (would have made the film longer but eh…) and the overall abundance to focus on only the protagonist more than the antagonist such as Kylo Ren, General Hux, Captain Phasma, Snoke, who all seem interesting and definitely deserve a grand return with more use to them.
(I secretly want Finn and Phasma to go toe-to-toe with one another).
Finn: I’m sorry, Han. Mr. Solo. You should know I’m a big deal in the Resistance, which puts a real target on my back. Are there any conspirators here? Like First Order sympathizers?
Han Solo: Listen, “big deal”. You got another problem. Women always figure out the truth. Always.
[Poe is captured and brought to Kylo Ren who kneels down and stares]
Poe Dameron: …Do I talk first or you talk first? I talk first?
Han Solo: [stepping into the Millennium Falcon] Chewie, we’re home.
First, I would like to point out that a movie with the capability to make me almost cry is a well done movie in its own right. There are things that are so suggestive about Spike Jonze’s script that put me in a complex situation and kind of shifted my view on how a relationship can be perceived, to which I say I think that was the point obviously. Jonze had an array of characters introduced throughout each piece of the film or as I call it the four layers of cinema pie: the story’s introduction, why am I watching this film, does the music even keep up with the film alone, and, my personal favorite, what the actual fuck moments. This will be the first film I’ve put into my style of reviewing films and other forms of cinematography, so here goes a critique from a dumbass. Let’s start with the story’s introduction. Story Introduction
Characters with a solid background are vital as a vitamin is to a five-year old kid who just caught his or hers first cold. The story of Theodore Thombly was one I heard numerous times in a vastly amount of cinematic dramas with a romantic placement. Theodore had been a strong introvert, a brilliant performance as usual from Joaquin Phoenix, with tendencies to have not as many interactions with his soon-to-be ex-wife laying out the layers of what he thought and saw as romance. Theodore’s character is utterly established not for merely the audience and critics sake but it is important to know about his thoughts on the egging question: What is love to you? Why am I watching this film?
From the point I heard the woman on the earpiece moaning about phone sex and her dead cat in her room to Joaquin’s reaction to the situation, I was almost tempted to just stop the movie…literally. I couldn’t imagine feeling an overabundance of laughter ready to swoop in and just completely ruin the scene. One might say even Joaquin and Jonze plotted out this scene in hopes of viewers to turn a head and ask “Is this the shit I paid for?” I jest, but as the film continues on, his relationship with the OS Samantha intrigued me. The relationship is the core of the entire film aside with supporting actors Chris Pratt and Amy Adams in the fray. We have to see everything play out and what bonds it takes for a film of this magnitude to receive acclaim for diverse performances and intriguing ways of how 21st century technology furthers our way of thinking. Samantha, voiced by God’s nerd gift to the world, Scarlett Johannsson, had me smirking and throwing out a few “rewind” and “play” moments for the film. Even with no ACTUAL appearance within the movie (although, I’m positive that was her body and silhouette at the film’s climax) she delivers stellar voice-over acting with emotion to make one weep, feel, and process the situation of each scene she is involved in. Chris Pratt is the guy you want to have as a best friend no matter what film he may be involved in. He has been given the usual typecast comical role but has flexed his dramatic side to his acting (Zero Dark Thirty, Moneyball, Delivery Man, Guardians of the Galaxy) with each performance. This put Chris as one of my favorite actors, who I claim, is finally getting the recognition he deserves (Shout out to Parks and Recreation, you are going to be missed after next year!). Amy Adams is the girl who gets left at prom and has nothing to do but ask for a ride back to the creepy guy no one talked to in school. I felt bad for her character and as she delivered her lines, emotional trauma seemed to leak out from the actress herself. This alone sold me on her character and caused me to wonder how someone would abandon a wife like Amy and live to tell the tale (Sort of kidding…no, I’m not). Other fine actors are Olivia Wilde, Portia Doubleday, Rooney Mara, Kristen Wiig (she’s the Sexy Kitten voice where I’ll elaborate in my WTAF moment) and Spike Jonze himself (I didn’t know the little alien kid was him the entire film until I googled it). Does the music even keep up with the film?
I have to say the musical score for this film was breathtaking and utterly calming to the mind. With a peaceful capture of the scenes by cinematographer Hoyte van Hotema, the parts were played along to the characters brooding mood of an introvert and stemmed into the nature of the human psyche a bit. Arcade Fire did an excellent exposition of Theodore and how he looks at life with each piece of the score giving a “walk in his shoes” type of feeling as we continue to coast along. The film kept me on my toes with each dramatic piece involved and the surprising nature of things to enjoy were the character’s comedic interactions (including lead, supporting, and voice-over) and the groove was shifted by just one sample of Theodore’s look, Amy’s concern, a laugh, a tear, etc. Arcade Fire’s acoustics could mellow out the most unstable and loudmouth baby in the crowd. What the actual fuck moments
Finally, I would deem a plenty of WTAF moments into a book of insane possible things I’ve most likely seen with locals around the block but phone sex has not been on my list of things to start up (or consider, honestly, no.) Kristen Wiig may not have had anything to say but it doesn’t mean that the effect didn’t stick with me throughout the film. The film had those key ingredients mixed into the already ridiculous sci-fi romance and then with a hint of realistic comedy, you have what I have now to begun deeming for future writing “Wiiging Out”. Another WTAF moment for the film with me was the fact Theodore shutting down Catherine and making himself out to look as a weirdo in her eyes. The process was almost a literal two minute mark and I can already still feel mad at Joaquin Phoenix denying Olivia Wilde. Dammit! It’s OLIVIA FUCKING WILDE! If the opportunity arose where I had the chance to take that woman on a date and she asked about our kissing, my response is a clear “TRY HARDER, BITCH!” to my conscious. Now, reasonably as a future filmmaker, I would like to go on record and state that Wilde is not a bitch BUT her character shot down a nerd. A little stereotypical, eh Jonzey? (See what I did there?) Final Words
My overall analysis of Her is the film enlightens us to the beauty of what we perceive as a race for what love stands for and endures and, I promise I’m not sugarcoating this statement, how we might find “love” in twenty to thirty years from now. God bless the world and its problems to come. The film in my book will be regarded with high marks and I would recommend watching for your own appeal and formula of how you may enjoy love and its complete maniacal concepts.
P.S.- Yeah, for guys/girls who have boyfriends/girlfriends and you are a closet nerd, NOW would be the time to show her this movie in case she tries to pull one over on you…I mean it! (Laughs)
It’s been a while since your average teen did the most reckless things that would get them a 10-day suspension.
allnightcinema 