WICKED: FOR GOOD Review

With a More Interesting Narrative Perspective and Higher Stakes, Jon M. Chu's Follow-Up is a Meaningful and Compelling Conclusion to the Saga of the Wicked Witch.

RUNNING MAN Review

Despite Glen Powell's Star Power this is Director Edgar Wright's Least Distinctive Effort to Date as it's Never as Biting or Specific as His Riffs on Other Genres.

PREDATOR: BADLANDS Review

Dan Trachtenberg Continues to Expand on the Predator Franchise, this Time Making the Titular Antagonist a Protagonist we Root For and Want to See More Of.

AFTER THE HUNT Review

Director Luca Guadagnino's Latest May Not Have Been Made to Make Audiences Feel Comfortable, but it Might Have at Least Alluded to Something More Bold.

ONE BATTLE AFTER ANOTHER Review

Paul Thomas Anderson and Leonardo DiCaprio Team-Up for the First Time to Deliver a Thrilling, Timely and Ambitious Film that Delivers on Every Front One Might Hope.

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Showing posts with label John Mulaney. Show all posts
Showing posts with label John Mulaney. Show all posts

SPIDER-MAN: INTO THE SPIDER-VERSE Review

In the sixteen years since Sam Raimi's Spider-Man first debuted we've had seven different Spider-Man films featuring four different incarnations of the webslinger. And while each of those incarnations have their own unique qualities that make each effort commendable (even the less successful ones-I'm a fan of the Marc Webb Amazing films, even), with Spider-Man: Into the Spider-Verse we get something that would seemingly be the nail in the coffin as far as originality in blockbuster cinema goes. I mean, "Seven Spider-Man films in sixteen years? That's a new Spider-Man every four years and didn't we just get a new Peter Parker last summer? Why do we need another Spider-Man let alone another Spider-Man movie?" These are all valid questions and concerns, but somehow-rather than being the tipping point that sends audiences over the edge into full-on superhero saturation directors Bob Persichetti, Peter Ramsey, and Rodney Rothman have crafted a superhero film that does the complete opposite and reinvigorates the genre over and over again with its brisk two-hour time frame. What Spider-Verse does to separate itself from the past incarnations of the character is not only introduce a new Spider-Man in the form of Miles Morales (DOPE's Shameik Moore), but to also offer a completely new origin story that also offers a new perspective on what it's like to be a superhero. The movie, which comes from producers Phil Lord and Chris Miller (The LEGO Movie, 21 and 22 Jump Street) with Lord getting a sole screenwriting credit, knows exactly what it is and if you've seen any of Lord and Miller's previous work then you know how aware and how smart they are about recognizing the genre they're operating within, completely lampooning that genre, and then creating an experience of a movie that exists within that genre that is somehow simultaneously one of the best examples of that genre. For instance, if you were to pool this year's list of superhero films (a very strong year to boot) Spider-Verse would still be among the very best of them despite the fact superhero fatigue and references to past missteps in the series are explicit within the film's DNA. By executing the tropes audiences have become accustomed to in such expert fashion and placing this fresh twist on our expectations of the genre, Spider-Verse is able to stake claim in the fact that while viewers have seen plenty of superhero movies before, they've never seen one quite like this.