Category Archives: Movies

A Thematic Problem with The Red Shirt Issue

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Yesterday evening, I came across a post from a friend online that expressed their middling reaction to del Toro’s Frankenstein prompting a return of my own thoughts that del Toro had worked so hard to make his monster sympathetic that no one of consequence died at its hands, a major deviation from the source text.

del Toro’s use of nameless crew to be killed in a thrilling and exciting opening combat scene with an unstoppable monster makes for a great opening to his luscious film but becomes hollow when the rest of the time the monster is presented melodramatically sympathetic and without emotional or ethical flaws. One could be forgiven for forgetting that the movie opened with mass murder. After all, they were literally nobodies.

Now, I have written about this before calling it his ‘Red Shirt’ problem. For those who are unaware, ‘red shirts’ refers to the often unnamed and wholly uncharacterized extras presented as security officers in Star Trek. These day players came onto the scene and in popular (but exaggerated) opinion died in droves.  The essence is still on target, they were essentially nameless characters brought on to dramatize the danger of that episode, a necessary evil of the time as no network program could go about killing its major and central characters. (This was decades before Game of Thrones would make it a drinking game.)

Western literature and oral tradition stretching back into prehistory is corrupted with a nasty little idea, that some people are simply born better than the rest of us. The nobility deserves their castles, their rich food, and the product of our labor, our bodies, and our lives because of the blue blood that courses through their veins. The ‘Chosen One’ narrative so popular in everything from religion to Star Wars is a product of this form of thinking. Luke and Aragon are good people because they were born to it, not from choice, not from making a decision to be good, but by their very blood. The force and the right to rule flows from their heritage and not their choices. We, the non-chosen, need to step aside and let out betters make the choices that will rule our lives. Our duty is to serve and to be thankful.

And here is the poisonous subtext in the ‘red shirt’ problem, it perpetuates this division of people into those worth and deserving of sympathy, consideration, and ultimately power from those lower, nameless people of the great ‘unwashed masses’ whose existence only matters in the moment that it impacts the monied and good-blooded people worthy of names. There are your ‘betters’ to whom you must defer with titles such as my lord, sir, mister — and to whom you must pay your obedience or suffer the lash and then there is everyone else, ‘red shirts’ to be used and discarded either on the battlefield or the factory to advance the lives and lifestyles of their ‘betters.’ The subtext of nameless victims in horror and action movies is that some lives are inherently more valuable than others.

“Red shirts” are not only a lazy and cheap play for a short cut to dramatic stakes, the practice subtly subverts the egalitarian ideals that all lives are valuable regardless of the accident of their birth or their importance to any particular narrative by regulating some characters to nameless and forgettable disposal.

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A New Motion Picture From the Creator of ‘Chernobyl’

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Craig Mazin, the writer, producer, and show runner of the hit shows Chernobyl and The Last Of Us who has proven his ability to shock, horrify, and unsettle even the most steadfast of viewers with stories of humans caught in circumstances that test them to the limits of their endurance, often with dreadful deaths along the way.

The podcast Scriptnotes is hosted by John August and Craig Mazin and is  heaven for scriptwriting and things interesting to scriptwriters. It actually covers much more than that. I have set aside any dreams of scriptwriting but still I am devoted to the podcast as a weekly dose of sanity in my ears.

For years Craig has mentioned obliquely a script he and a producer have been working on, a challenging one to crack its story and its voice. This week the man who gave us the technological terror of Soviet Nuclear design and the uncanny horror of fungal possession released the first look at his newest project.

Here is the trailer.

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Wicked: The Jenga Tower of IP

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While I was unwell this past weekend and too dizzy for my usual activities, I sat in my large recliner and watched Wicked on Amazon Prime.

Now, Wicked, the 2024 film, is an adaptation of Wicked the Stage Musical, which itself was an adaptation of the 1995 novel Wicked, which was a retelling of the classic book The Wonderful Wizard of Oz, but reimagined with the “wicked witch” of the West as its protagonist.

I am not a great fan of musicals, though there are a few in my library of DVDs and Blu-rays, so I had no burning desire or need to rush out last year and see this in the theaters. That said, it made a perfectly fine way to pass the time as my head spun with some sort of sinus issues.

Universal Studios

The story centers on Elphaba, a young woman born with two very powerful traits: one, a wild magical ability that manifests when she is emotionally upset—not quite a wizarding Hulk but close—and the second, bright verdant skin. Scorned by her father for her complexion, though the suggestion that she is a bastard is slid into the story, it is not made explicit. Ridiculed by everyone, Elphaba develops into a withdrawn and defensive young woman played by Cynthia Erivo. (Personally, I found the overt and powerful prejudice towards Elphaba a little difficult to square in a land with such a variety of strange and unusual lifeforms as Oz possesses.)

Elphaba’s life is turned around when, escorting her younger and disabled sister Nessarose to Shiz University, her untrained magical talent is noticed by an instructor, Madame Morrible (Michelle Yeoh), and she is instantly enrolled and forced to room with the popular and utterly self-centered Galinda (Ariana Grande). The two women start off with a strong dislike towards each other but become friends. Elphaba comes to the attention of and is honored with an audience with The Wizard of Oz (Jeff Goldblum), where the two friends learn a terrible and life-changing truth about the land of Oz.

Wicked in all its iterations has a large and loyal fanbase, but I have never counted myself amongst them. Now, having seen the film, I can say that I liked it but did not love it.

The central performances are compelling enough, with Ariana Grande’s coming as a bit of a surprise to me. Pop stars and singers are often thrust into acting roles, and far too often they have neither the temperament nor the skills for nuanced acting performances. Some may think that because Galinda is a vain, self-centered, and not-too-bright woman, that it would be an easy role to play, but it is a truism that playing dumb is much more difficult than playing smart. Add to the challenge that all the characters, save Elphaba who anchors the production, play heightened and exaggerated versions of themselves, and Grande’s challenge is magnified.

Cynthia Erivo delivers another stunning performance both in her singing talents and in her acting ones. She is the emotional heart of the story, and if her performance doesn’t work for you, then the entire film will not either.

Wicked is colorful, over-the-top, and fun, but it is also, not barring that this is only half of the stage musical, overlong, with beats and songs that could be excised without any appreciable change to the film.

For example, when Prince Fiyero (Jonathan Bailey) convinces the student body to break the rules and visit the club “Oz Dust,” there is a substantial and elaborate number. The Prince is a “bad boy” and they are breaking the rules. However, nothing comes of the rule-breaking, not even when “caught” by Madame Morrible, as the plot needs to progress. What matters in the club is the beginning of Galinda’s and Elphaba’s friendship. The entire song and dance served no narrative purpose.

That said, even though the film is too long, it was fun to watch, and I do not feel that I wasted my time with Wicked.

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My Weekend, My Fears, and Rob Reiner

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I spent the weekend with a mysterious sinus condition that, while principally asymptomatic, left me with loss of appetite, light-headedness, and a touch of vertigo whenever I walked or stood or even sat up straight at my desk. This was nasty enough that I called in sick Monday and lost out on 2 hours of overtime. Luckily, the novel was done and I could coast being a waste in my easy chair while the issue ran its course.

I became aware of Rob Reiner’s death in bits and pieces over the course of a few hours on Sunday. First, tweets from the film side of my Twitter feed started posting RIPs and other acknowledgements of his passing. When they popped up, I noted them. It was sad to lose a talent such as his, but I had no particular reaction of concern—not because I was heartless or opposed him for some political or artistic stand, but because I tend to have no parasocial relationship with celebrities. The people we see on our screens are not who they truly are; it is their public face. Mourning, for me, is for those close to me personally and for the truly tragic.

Then more details began surfacing: Reiner and his wife had been murdered in their home.

Fear crept into my thoughts.

In these terribly heated, hateful, and charged political times, it was not at all beyond the realm of imagination that some demented, disturbed, and misguided individual had taken some form of revenge on perceived enemies. I posted nothing though, because early reports are the least reliable and it was always best to wait for more information.

Fear transmuted into sorrow when news emerged that the couple had been slaughtered by their adult son, whom the authorities then pursued and captured Monday. The murder became a terribly tragic affair that echoed the murder of performer Phil Hartman, also killed by a family member. Naturally, our egotistical and childish president could not resist making such a tragic event about himself, but fortunately he appears to be the exception and not the rule.

I came to Reiner as a director through his debut feature film, This Is Spinal Tap. Despite my indifference to heavy metal, I found the film fantastically funny and accessible. His next feature, The Sure Thing, though under-loved among his catalog, is another of my favorites and one I may watch this week both as tribute and as my holiday film.

Reiner was by far not a perfect director—the faults in The American President are Sorkin’s, not his, and the sexism in Sleepless in Seattle is mild but could have been easily avoided. When we paint traits for people with a wide racial or sex-based brush, it is nearly always an ‘-ism.’ (Hint: a movie that “no man gets” was written, produced, and directed by men.)

I have a number of Reiner films in my library, and in all our collections, he continues to live.

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Movie Review: Wake Up Dead Man

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Wake Up Dead Man, the third Knives Out mystery, opened to a limited theatrical release on Thanksgiving, the day my sweetie-wife and I saw it, and will be available on Netflix, the service that produced the project, on December 12th.

Netflix

Daniel Craig once again stars as Benoit Blanc, a private detective noted for solving perplexing and intricate cases of murder. Blanc has been drawn to a small New York town where the local Catholic priest, Jefferson Wicks (Josh Brolin), was murdered, with suspicion falling on the parish’s junior priest, Jud Duplenticy (Josh O’Connor), whose troubled past—which includes a short, fiery temper and killing a man during a boxing match.

As is standard for murder mysteries of this sort, there is a large cast of characters all with seeming motive to murder Wicks, despite at one time being devoted to him. Being a Knives Out mystery, the case is stacked with notable names all thoroughly enjoying themselves.

I enjoyed the movie, felt it clipped along at a decent pace, but my sweetie-wife felt there were moments in the middle where it slowed too far and that it could have been cut. The story does present a number of reversals where you believe a solution has been presented and then that answer is demolished. Perhaps one of those false resolutions could have been removed without damaging the film, but if so, this is a very minor fault in the production.

It is a shame that Netflix won the bidding war 5 years ago after Knives Out surpassed $300 million at the box office and thus required that the sequels be primarily streaming affairs with brief—too brief—runs in actual theaters. Wake Up Dead Man, unlike Glass Onion, is much more of a traditional murder mystery and doesn’t engage in a restart of the story halfway through the run time like Onion did. (Do not get me wrong, I loved Glass Onion, but I don’t feel it’s really all that much of a mystery as it is Johnson having fun playing with the tropes of a sequel.)

If you get the chance to see Wake Up Dead Man in the theater, take it; otherwise, it will make a fine evening’s viewing at home on Netflix starting December 12.

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Streaming Review: Eye of the Devil

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I was listening to one of my many horror movie podcasts the other day when during a discussion of folk horror films one of the hosts mentioned such a film starring David Niven.

David Niven? Horror movie?

That’s a pairing of words I had not expected at all. This was one folk horror I had to see. Unfortunately for me in their discussion the podcast did give away the turn in the movie so it was less impactful than it might have been.

MGM

Adapted from the novel Day of the Arrow, Eye of the Devil stars David Niven as Philippe de Montfaucon the Marquis de Bellenac at an old and isolated French estate where the people hold strange rituals and customs. Philippe is called back to the estate as the grape harvest has failed for the third year in a row and he implores his wife, Catherine (Deborah Kerr) to stay behind in the city. Catherine, of course, does not stay behind but follows her husband, bringing along their two children, to the estate. Almost immediately upon arrival Catherine is terrorized by a pair of apparently psychotic siblings, Odile (Sharon Tate, here credited as ‘Introducing Sharon Tate) and Christian (David Hemmings). With her husband’s behavior growing odd and the country folk of the estate apparently intent on frightening her away, Catherine engages in an investigation to discover the truth behind those strange customs and secrets of the ancient estate.

I did not dislike this movie, but it is very hard for me to judge the film since the secret that Catherine, our true protagonist, is seeking to discover is the very thing revealed by the podcast. This is a movie whose engine turns on a single question, What is Going On, and if the answer is known ahead of time, or guessed accurately too soon, then there is little to no narrative weight or momentum keeping the viewer’s attention.

Niven and Kerr are fine in the film, turning in decent performances, but Kerr’s Catherine begins to have repeated scenes making the film feel dull and expanding the sense of its running time which is a mere 96 minutes. Sharon Tate is quite good here as the mysterious and dangerous sister. With very little dialogue Tate conveys menace with a look and her bearing.

I find it hard to recommend Eye of the Devil but it’s also hard to disentangle how much of my non-enjoyment stemmed from the ‘spoiler’ versus how much the film’s pacing simply plodded.

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Movie Review: Sisu: The Road to Revenge

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I am taking a break from working overtime at the day-job this week, and so I have a little more time to write for my blog.

2022 saw the release of the Finnish action flick Sisu, which followed the story of Finnish gold prospector and former special forces commando Aatami Korpi slaughtering a number of fleeing war criminal Nazis during the ending days of World War 2. The action was comically over the top, defying physics and reason but immensely satisfying. Apparently satisfying enough for a second movie, Sisu: The Road to Revenge.

Screen Gems

The sequel ignores Korpi’s (Jorma Tommila) lucky gold strike and takes place in 1946. Following the end of the war, Finland surrendered significant land to the Soviet Union. Korpi has returned to his home, now in Soviet territory, in hopes of bringing his simple cabin that he shared with his deceased wife and child back to Finland to rebuild it. Having killed numerous Soviet soldiers during the war, the Red High Command has decided that the living legend should live no more and pulls one of their war criminals out of Siberia, the military man responsible for the massacre of Korpi’s family, and assigned him the task of killing Korpi The Immortal.

What follows can best be described as a Finnish Fury Road but with far less adherence to any recognized laws of physics or biology. Korpi, with a large flatbed truck, attempting to return to Finland with his disassembled home, encounters numerous Soviet units intent on killing him.

How over the top is Sisu: The Road to Revenge? Well, the 1985 action movie Commando is a grounded and gritty portrayal in comparison.

If one can suspend all their understanding of the physical world and accept that this is a live action but bloody cartoon, then Sisu: The Road to Revenge is a very enjoyable feature, a perfect popcorn movie for a brainless bit of fun watching impossible action as vengeance is visited upon well deserving monsters.

If you cannot set aside physics, then the movie will only be a series of ‘oh, come on!’ exclamations as more and more impossible feats are performed by Korpi The Immortal.

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Movie Review: Frankenstein (2025)

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There was no way I was missing my shot at seeing Guillermo del Toro’s Frankenstein on the big screen, even if it wasn’t showing at an AMC theater and therefore I couldn’t use my subscription benefit.

Netflix

Frankenstein by Mary Shelley has been directly or indirectly adapted countless times and has been a staple of the silver screen for over a hundred years. (There is a silent version made by Edison, so it’s at the very start of movies.) I do not think any adaptation has retained every element of Shelley’s sprawling novel, with most productions picking and choosing the parts and themes that they most want to enhance and explore. Universal in their classic film played to the God vs. Man themes while Hammer focused on the evils of a scientist obsessed with his own pursuits.

With del Toro I went in with a fairly strong set of expectations based on the director’s body of work. This production would emphasize the creation’s humanity, shower it with sympathy, and tread on the ground questioning who is the tale’s real monster.

I was not wrong.

Frankenstein (2025) is a luscious feast for the eyes in its production. Nearly every new scene or sequence not only presents production design that dazzles and captivates and also brings in numerous beloved actors. The script, for the most part, dodges the deadly dull trap of overexplaining Victor Frankenstein’s obsession and its origins, but neither does it skate past them unmentioned.

Oscar Isaac turns in a wonderfully calculated performance which echoes without repeating the traits he employed for Ex Machina. (Another story clearly derived from Shelley’s original novel.) Jacob Elordi is sublime in his performance as the creation, certainly capturing the initial innocent, childlike nature that del Toro wanted and managing the transformation to enraged, implacable beast quite handsomely. If there is a weakness in the cast, and I realize the horror community will violently disagree with me on this point, it is Mia Goth as Elizabeth. I never believed that Elizabeth lived and breathed as a character but rather seemed to exist as a collection of traits and phrases meant to impel others along their courses. I have witnessed Goth’s performance in other projects and even when I detested the movies, I found her quite good in them. I suspect the challenges of both an accent and pseudo-period dialog sapped too much of her energy. There is a school of thought in film production that accents can get between an actor and their performance. On the other hand, I found Chistoph Waltz’s Harlander, Victor’s financier and research associate, thoroughly engrossing with more than a hint of The Bride of Frankenstein‘s Doctor Pretorious.

del Toro clearly is a fan of numerous previous productions of this tale and throughout the film makes sly references to them. I appreciate that the references are subtle enough that for the casual viewer they will pass by unnoticed. There is not ‘look at this’ in the cinematography letting you know that the decrepit mill set mirrors the windmill from Universal’s production nor when the creation is shot in the face is there a cue highlighting that this came from the Hammer films.

There are elements eliminated entirely from Shelley’s text. William is no longer a child of six or seven to be murdered by the creation as a revenge plot but is now an adult and is complicit in Victor’s crimes against nature. Elizabeth’s close, though not by blood, relation has been eliminated so any romance between her and Victor no longer carries the aroma of incest.

This is a lovely film, and I thoroughly enjoyed it. It needs to be seen in a theater if you can swing it, but at the very least on Netflix next month. Should it come to an AMC in the next couple of weeks I may venture forth for a second in-theater viewing.

However, I wonder if anyone is ever going to do a production that depicts the creation as the monster it is in the text. A vain, narcissistic incel that believes its own pain and agony justifies murderous rage upon innocent victims.

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Remaking Amadeus? — Heaven Help Us

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Until the trailer popped up in my social media feed yesterday, I had no idea that someone was remaking the amazing and award-winning film Amadeus.

Orion Pictures

For those not in the know, 1984’s Amadeus, screenplay by Peter Shaffer and adapted from his stage play, recounts a wholly ahistoric feud between the Italian composer Antonio Salieri (F. Murray Abraham) and the brilliant but abrasive Wolfgang Amadeus Mozart (Tom Hulce.) It is ahistoric in that Shaffer himself referred to the play as a historical fantasy and used the two well-known and famous composers to explore themes of envy, genius, and madness. The 1984 film is a masterpiece, winning Oscars and many other awards. It is a beautiful work capturing the glory and despair of creativity in a manner that few cinematic projects have even attempted, and now the play is once again being adapted, this time in a mini-series for Sky Television.

 

While the cast looks quite talented, I shudder at the prospect of someone tackling a project that has already been done with such artistry and brilliance. There is little that does not work in the 1984 film, and what there is is of such small consequence as to be not worth mentioning.

A few online trolls have voiced terribly serious artistic concerns because the actor playing Mozart is not white. Opinions from closed and little minds such as these are unworthy of inclusion in discussions of art.

I hold to my two core principles when it comes to remakes. A remake should either tackle a film that was made poorly, that produced a bad film, or if it is a remake of adapted material, it should seek to hew closer to the source material, and this production is neither.

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Movie Review: Tron: Ares

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The third film in the Tron franchise, Tron: Ares, flips the script and instead of spending its time with humans trapped in an alternate universe of cyberspace dealing with self-aware computer programs, computer programs come into the ‘real’ world and deal with us.

Walt Disney Studios

The principal technological advancement in this feature is the creation of digital objects and people in reality, much like Star Trek’s replicators from the later series. The creations, however, can only last 29 minutes before evaporating painfully back into nothing. The McGuffin of the film is the ‘permanence code,’ a bit of software that would allow created material to exist sans any time limit.

Fighting to possess this software is the evil Julian Dillinger (Evan Peters), grandson of the original film’s villain, seeking the power for military purposes and his own aggrandizement. Julian is countered by the movie’s protagonist, Eve Kim, CEO of ENCOM, the firm that was formerly headed by Kevin Flynn, Tron’s original protagonist. She, of course, is tortured by emotional trauma of the past but seeks the code for the betterment of humanity.

Pursuing Eve in the real world to seize the code from her is the military program Ares (Jared Leto), self-aware and slowly becoming more than his code defines.

Tron: Ares holds no real surprises. Every plot point is one that can be expected to take place, every character revelation is something well-trod in the annals of scriptwriting. The callbacks to the original film are delivered as expected, and this is a film that presented nothing in deeply shaded complexity.

All that said, sometimes all you need is a ‘popcorn movie.’ Something that makes little to no demands on the intellect and instead simply invites you to sit back, enjoy your popcorn, and lose yourself in a grand and well-executed spectacle. That is Tron: Ares. I watched the movie in 3-D, and this paid off handsomely—the visual effects were dazzling in 3-D, and the director, Joachim Rønning, resisted the urge to thrust too many things directly at the camera.

If you are looking for a bit of fun and can switch off any nagging issues of physics, then you could do worse on a Saturday afternoon than Tron: Ares.

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