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Teen Titans GO to the Movies Film Review

   D.C. Comics seems to be banking on the Teen Titans franchise as of late.  They have released the first look for "Titans" on the DC Universe network, announced the re-birth of the Young Justice franchise and within the same month released "Teen Titans GO to the Movies".    The Cartoon network-based, animated series has seen two separate iterations, with the second almost being a tongue in cheek parody of the first.  Many fans of the series abandoned the show after the tone and illustration style changed from semi-serious adventure to an all-out Saturday morning manga.  Despite the mass exodus of viewers, the franchise retained a large enough fanbase to warrant a full-length theatrical release.    From the opening scene, the first thing that stands out about this film is that it's REALLY funny.  The humor may be manufactured for pre-teens and younger, but anyone who has a funny bone will get a good guffaw from some of the one-liners.  The movie presents over the top silliness as the norm and the writers are not afraid to make fun of themselves and the characters alike.  One strange and very noticeable part of the dialogue that stood out immediately, was the repeated use of Marvel Studios' character names, cameos, and references.  It literally feels like Disney executive produced this movie.  The Marvel touch may be one way to connect with fans, but an ample use of 80's and 90's references was another.  In one scene Raven shouts out the Animaniacs, there's a Back to the Future sequence, and A-Ha's "Take on Me" provides the soundtrack to another part of the film.  Clearly, these moments were made for adults, as no one under the age of twenty, (maybe even twenty-five) would understand these nostalgic nods.    As a whole, the movie delivers on what's expected from a "kids" film and despite having an elementary level plotline; There's plenty of content for adults to enjoy. Rapper and mogul, Little Yachty even makes a cameo appearance as the voice of Green Lantern, John Stewart.  Some critics complained as the entertainer is known for his trademark wobbly voice.  Although, when speaking in a serious tone; Yachty pulls it off!  Teen Titans is not a must-see movie, but if you want to spend an hour or so escaping reality and having an innocent laugh, this film is for you.  If you partake in recreational marijuana use, this film may be for you even more.  "Teen Titans GO to the Movies" receives 3/5 cool points.

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The Death of Superman Review

*Spoilers Ahead (seriously).

There are a few things that need to be said about DC Comics' "The Death of Superman":

1:  The writers from the DC Animated Universe should write the films for the DCEU (Extended Universe) exclusively. 2.  This film serves as a heartfelt apology to the fans for the pile of Doomsdoody the was Batman V. Superman. 3. This movie is close to perfect.

The word "perfect" should not be used lightly, but this is a film worthy of that praise.  Helmed by comic book author extraordinaire, Peter Tomasi, and directed by  Jake Castorena with Sam Liu; The Death of Superman delivers an action-packed, knuckle-dragging, brawl for the fans.  Even the IMDB page for the film has this very apt plot description, "Superman battles against an insurmountable foe named Doomsday."  That's all it is.  The movie is a battle, a fight, it's Hagler Vs Hearns.  It is what the fans deserve!  Why can't the feature films get this right?   "TDOS" even shows the DCEU how to properly introduce other characters in a way that actually makes you want to see their solo films.  Having the Doomsday asteroid land in Aquaman's turf serves as the perfect McGuffin, providing a legitimate reason for the Atlantean and therefore the Justice League to become involved in the storyline.  The quick-witted banter of The Flash is a perfect characterization.  The movie also shows just how much damage a speedster can inflict in battle.  His round with Doomsday was an incredible feat of animation that will have you screaming in excitement.  This scene also doubles to exhibit the nature of Doomsday's abilities in a brilliant manner, without using an ounce of exposition.  Again, Kudos to Mr. Tomasi.  Each character faces off with the film's foe and uses the height of their abilities.  Hawkman tees off on Doomsday's jaw.  The Green Lantern uses the full extent of his corps ring.  But much how Doomsday breaks Hal Jordan's will;  He literally breaks the other leaguers.  Cyborg is torn apart.  Wonder Woman although, valiant in her effort gets beat down.  The Martian Manhunter is of no use, and somehow Batman comes out the least scathed.  This would be one of the only points of contention in the film, as it seems that a villain so powerful, who mindlessly kills anything in its path (including bears) would've turned the Dark Knight into a dark smear on the pavement.  Aside from this one gaffe, the Doomsday/Justice League rumble provides each character the opportunity to shine...which would have been a perfect way to set up spinoff films in the DCEU. The non-powered cast shines on screen as well. The storyline balances out the hopes, aspirations, and characterizations of anyone who gets screen time.  We meet Cat Grant, Bibbo Bibbowski, John Henry Irons (voiced by Black Lightning's Cress Williams), Jimmy Olsen and others.  The people of Metropolis grounds the story, in reality, providing stakes worth fighting for.  Tomasi even uses astronaut, Hank Henshaw to present a philosophical point that the DCEU films alluded to, but managed poorly.  A figure as powerful as Superman would definitely be regarded as an omnipotent God by some here on Earth.  Supes failure to save Henshaw also sets up his motivation for his appearance in the 2019 follow-up film, "Reign of the Supermen".   The "Superman is Jesus" motif also pays off in the final scene of the film.  Although and appropriately not the main villain, Lex Luthor shines in this movie as well.  His screen time is brief, but every moment counts to show his true character.  He is always the smartest man in the room.  He always has an ulterior motive.  Lex, is callous and he hates Superman.  There are no quirks, no maniacal laughs and no gimmicks *ahem Batman V Superman.  It is also hard to fumble the characterization of the intrepid reporter, Lois Lane, and the movie does a great job of delving deeper into Lois & Clark's romance.  The relationship issues that plague the average man also bothers Clark and these issues double as a plot device which reiterates his human desire to belong.  At the same time, Lois can serve as a weak link (in Clark's life and the film itself).  The gaping hole in any Superman story is that despite having the exact height, build and facial features...no one, including an award-winning investigative reporter, can tell that Clark and Superman are one in the same.  (Lois also should have been obliterated in the shockwave that ends the fight, due to her proximity to Doomsday alone) These are just petty gripes in an otherwise absolutely perfect film.  2007's animated Superman: Doomsday tried, but that film is more like Marvel's first Spiderman movie in comparison to Spiderman: Homecoming.  The 2018 Death of Superman is definitive.  The events in this film should be added to DC Comic's canon.  The DCEU should only make live action adaptions of the animated films from now on.  This film receives 5/5 cool points.

*Stick around for the mid-credits scene(s). *For Extra Credit watch Justice League: Flashpoint Paradox and Suicide Squad: Hell to Pay

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Sorry to Bother You: (Spoiler Free) Review

   There are horses involved.  Without context, this means nothing.  After watching the Boots Riley's "Sorry to Bother You", the horses will mean everything.  Original ideas are so rare on television and film.  When one emerges; It is so important to support these ideas at the box office.  This way we can have more and more content that adds to the cinematic lexicon.    In 2018, there isn't much content centered around black characters, that doesn't focus heavily on social justice issues.  As the trailer suggests, there are some surface-level cultural themes about "code-switching" (changing one's mannerisms in an attempt to un-offend or blend in with the culture at large) and gentrification.  But, the film has a much broader purview that should pertain to the masses.  The issues of corporate structure, classism, and capitalism are the focus and they are explored in a Black Mirror-esque reality.     From the onset of the film, it would be hard not to compare the awkward reality of Cassius Green's universe to that of a series like FX's Atlanta.  If the mood feels familiar, it may be because Donald Glover was meant to play the protagonist, but reshoots with Disney's Solo kept him away.  This is for the best as Stanfield was able to fill in and portray a character more grounded in this film's universe, opposed to Donald Glover just playing Donald Glover.  Riley, Terel Gibson (the editor) and Doug Emmet do a great job of making their cinematic world unique by using a lot of practical effects, creative transitions and color motifs.  The color yellow often pops up to remind the audience that this is an avant-guard comedy, opposed to a realistic depiction of the world.  The alternate universe theme is reinforced with an absurd reality show reminiscent of  Trey Parker/Matt Stone's "Idiocracy" and Spike Lee's "Bamboozled".    The acting in the film is superb as each actor/actress brings the appropriate amount of weight to their role while possessing flourishes of the absurd.  Kate Berlant's Diana steals the show in the few scenes that she's in.  Danny Glover has a strong performance and should honestly act in more comedies.  Omari Hardwick's character is extremely mysterious but serves as a great guide to Cassius later in the film.  Steven Yeun is a standout as Squeeze from the moment he appears on the screen and Tessa Thompson is typecast as Tessa Thompson...until the VERY uncomfortable art show scene, where she shines. Adjusting to uncomfortable situations may be an underlying theme to the characters in the movie, in addition to the motive of the director/writer Boots Riley.  The score is uncomfortable, Lakeith Stanfield is uncomfortable from beginning to end and even the resolution to the plot is very uncomfortable.  And this is a great thing!  The film is not perfect and there are some definite pacing issues.  But this is a must-watch movie.  In a generation wuss world, where everyone gets a trophy, speech is policed in real life in addition to social media and being offended seems to be a federal offense; We need movies like this, that push the boundaries of social acceptance.  Grab a friend, grab a ticket and get ready to go left.  "Sorry to Bother You" gets 4/5 cool points!

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bCool Reviews: Dave Chappelle: Equanimity & The Bird Revelation

Part 1: Equanimity

   It feels great when an artist just stops caring.  It is clear that Dave does not have a single concern about his critics, public opinion or the potential reception of his latest standup.  This is also why we get some of his funniest material to date.  Chappelle's latest release is a twofer, with Equanimity being formatted traditionally and The Bird Revelation feeling more like a sparring session as we get an intimate look at Dave working out new material.    Five minutes into Equanimity, Chappelle is on fire.  The efficiency and effectiveness of his storytelling make you feel like this is the coup de grace to Dave's great comedic career.  This is his Black Album (rapper Jay-Z's first retirement album).  Instead of overly prepared comedy that works for any audience; Dave's set is loose and effortlessly flows from one topic to the next.  It feels as if you are having a close conversation with a friend, opposed to watching a comedian on stage.  When Dave veers off on a tangent, the banter is just as funny as his prepared speech.  Some comedians and writers spend years honing their craft but in this special, it is clear that Chappelle is a natural talent.    His latest work has already received critical praise, in addition to a few critical reviews.  Any negativity could stem from the fact that if you do not share similar life experiences, some of the jokes may not land as effectively or make any sense at all.  There is such a socio-economic and political foundation that goes into all comedy.  If any viewer does not relate to the writer, it is likely that they will not appreciate the punchlines as much.  Regardless, of one's background, Dave closes the show with a monologue that is actually not that funny, but it is incredibly smart.  *Spoiler Alert*  Chappelle uses the allegory of Emmett Till to make a unique point about perspectives and coping with today's problematic society.  This story, much like the special itself is brilliant.

Part 2:  The Bird Revelation

   The second part of Dave Chappelle's latest Netflix special may be the rawest we have ever seen a comedian.  Dave is hilarious although no traditional jokes are being told.  He drinks, he smokes indoors and he does not hold back.  The content is once again refreshing as Dave doubles down on his freedom of speech.  The intimate setting reinforces the notion that Dave wants to feel comfortable expressing himself in a social media world that jumps on anyone who mistakenly offends anyone else.    Despite the raw nature of the setting and material, some excellent directorial decisions are also made which brings the audience into the room.  The second camera is handheld, sometimes out of focus and shaky.  It feels like there is just someone in the back of the crowd filming on their smartphone, giving the show the feel of bonus DVD content.    It is early in this second special where Dave unleashes his commentary on the transgender community.  A lot of media outlets are discussing it, but the negative backlash solidifies the very point that Chappelle was making: People need to toughen up.  There is no excuse for abuse or the mistreatment of any human being.  Although as a society we have to look inward and ask; If a comedian and furthermore an artist, cannot express themselves without fear of an immediate backlash...then who can?  Where do we draw the line between political correctness and outright censorship?  As people with different life experiences, we all have different opinions about life.  Communication of these opinions leads to a better understanding of one another.  The over-policing, over analyzing and overreacting at every word that anyone says, takes authenticity out of the human experience.  This is perhaps the reason why Equanimity & The Bird Revelation feels like the last time we will see him on stage.  Dave’s (hopefully not last) special receives 4/5 cool points collectively.

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In case you don’t want to read the full review below, this video pretty much sums up how I feel about Netflix’s “Bright”.

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Reviewing Will Smith's Blight...I meant Bright.

  Marketing matters.  Will Smith knows this and producer, David Ayer knows the same.  The promotions for this film began six months before it's release on Netflix...and they worked!  This film was seen by millions of people, based on generated interest alone.  The premise is simply complex and refreshing.  There are orcs fighting police, who are fighting elves.  Innovation in cinema is extremely rare nowadays, with most films rehashing archaic franchises for those familiarity dollars.  The great part of this concept is its originality.  It may be the only thing going for it.    "The Avengers" are to blame.  Yes, those Avengers.  With 2008's Iron Man,  Marvel resurrected an old concept which propelled Universal Studios to the top of the box office in the 1930s: A cinematic universe.  During this time, they released Frankenstein, The Wolfman, and others in a world where the actions in one movie saw consequences in another.  Marvel brought this form of storytelling back to the forefront and back to the bank.  Several production studios have greedily tried to replicate this method, with most of them falling short (ahem, DCEU).  The first misstep is often to push out an introduction film in which all parties involved know that a sequel is imminent.  The producers force the writers of these "franchises" to address story elements that unbeknownst to the audience, will be further investigated in a later film.  Production houses foolheartedly use this approach as a business strategy, assuming audiences will continue to spend their money on an equally unresolved follow-up.  Micheal Bay can be blamed for that.  This tactic introduces setups that do not pay off, unnecessary character introductions and gaping plot holes.  In other words, purposely setting up franchises often makes for a bad movie.    There used to be a time where budgets for feature films were much bigger but still distributed with discretion.  With a large budget came feelings of pride and responsibility for the opportunity to be any part of a Hollywood production.  Most of the players involved knew that this might be their one and only chance to do so.  The quality of pictures in the past reflected this notion from the gripping storylines to nuanced and powerful acting.  Writers and production studios had to take artistic chances and most importantly had to try hard to deliver a great film... the first time.  Imagine what the appearance of Darkseid in the first Justice League movie would have done for fans everywhere.  The stakes would have been raised, the battles would have been epic.  The heroes would have had a comparable villain worthy of them joining forces.  A sequel would have been demanded from the fans, instead of predetermined by the studio.    Time could be spent discussing the specifics of why Bright, is dull at best, but there are several reviews online that fill those gaps.  Honestly, the problems are not with the film itself, more so with a Hollywood system committed to profit over quality.  Fans don't deserve McDonald's.  They deserve steak.  It can be overcooked, undercooked, well done or raw.  We just want the attempt.  Bright receives 2/5 cool points.

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The Gifted, Season 1: Ep. 11 “3x1″ Review

   Today, we are talking about season 1, episode 11 of Fox's "The Gifted".  After a holiday break that introduced the complete Stepford Cuckoos, we return to a flashback of Blink's dating life.  It was intriguing to see the terroristic Purifiers leap off the comic page onto the screen, although the scene had a very weak payoff via one line of dialogue later in the episode. Returning to present day, the audience is embedded inside two different funerals for Agent Weeks and Dreamer respectively.  Despite Agent Turner's long-winded allegory about the fall of  Lucifer; The parallel edit was an effective technique which humanized both factions of this war while raising the stakes just a notch.    A tepid second act is where the Cuckoos aka the "Frost Sisters" rear their pretty head again.  The triplet dialogue, visual effect composite and use of doubles were executed flawlessly.  It is hard enough to pull off a clone shot on the screen, so to pull off triplets was a feat.  The parallel edit motif returned in this sequence, as Dr. Campbell offered a proposition to Turner encouraging him to utilize the new "Hybrid Hound" program.  It was interesting to see a mutant with inertia abilities, as there have been rumors of a New Warriors series.  The way The Gifted displayed this power set could be similar to how Speedball's powers would practically look on screen.    We finally get to some action in the last act of the show.  The Cuckoos are working overtime to influence both Andy and Lorna.  Esme's tactic of bringing up Magneto and the Hellfire Club was a great tie-in to the Fox cinematic universe and a nod to the fans.  At the remote Underground camp, we see the return of Wes.  It is a welcome revelation, as he has some of the most useful abilities of the entire resistance.  The drawn-out buildup of the episode finally pays off, as we get explosive set pieces that put the resolve of our heroes to the test.  It is also important to note Andy's desire to fight.  He has shown signs of aggression throughout the series and the audience has to wonder if these acts are a sign of heroic bravery or encroaching villainy.    Many critics have panned The Gifted for its pacing and story beats, but it feels to be the most faithful adaptation (in spirit) to the source material.  The themes of persecution, prejudice and the moral decision to use violence are front and center of every episode.  There is nowhere to go but up as the season approaches its conclusion.  The Gifted could and should finish strong.  This episode receives 3/5 cool points.

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Black Mirror, Season 4: Ep. 1 “USS Callister” Review

*Spoilers Ahead

Black Mirror season 4 is here, encouraging us to take another hard look at ourselves. The new season on Netflix starts out with a bang, as we are transported to the familiar trope of a “Star Trek-esque” crew assembly. Jesse Plemmons of Breaking Bad familiarity is our intrepid captain, joined by, Chewing Gum’s super talented, Michaela Coel as “Shania”, filling in the Uhura-like role. They are joined by a diverse crew of supporting players on the brig. Despite being reminiscent of Fox’s “The Orville” in tone, the opening sequence proceeds as expected, only for us to learn that we are witnessing a simulated sequence in the neurally enhanced mind of Callister Inc’s executive, Robert Daly. Once we are back in “reality”; The setup begins.

The writer of this episode, Charlie Brooker, does a fantastic job of piling on the initial empathy for our lead, Daly. The receptionist can care less about his existence. His employees are not malicious, but definitely disrespectful and the company co-founder, Walton, is just an outright tool. As viewers, we can all relate to similar experiences, so now; We care about Daly. The introduction of “romantic interest” Nanette serves as an optimistic beat, but an overheard conversation between her and Shania becomes the MacGuffin which flips our perception of Daly immediately.

In the second act, Brooker elegantly utilizes the response of a scorned Daly and subsequently the simulated crew, to present a complex issue: How do humans cope with lack of control? In the real world and simulation, Daly’s recourse is to violate privacy. On the USS Callister, this violation is transformed into power used to subjugate and belittle. Daly goes as far as removing the crew’s genitalia. He figures that if he isn’t getting any nookie; No one’s getting any nookie! The crew, on the other hand, responds to lack of control by acquiescing. This action is tantamount to how most employees act in the workplace every day. We complain by the water cooler but smile when the boss walks by. For most of society, survival is the only priority.

The third act of this episode is the strongest by far. The initially timid, “love interest” Nanette has become our full-blown protagonist, as she is the only crew member willing to resist. She won’t back down and she won’t give up, using her intelligence to find a solution. However; It was disappointing to see that eventually, the writer reduced her to using her physical appeal to help solve the problem. That beat could have easily been left out of the story. The stakes are raised as the Callister crew races to reach a closing wormhole, with Daly in hot pursuit. Then the story takes a turn for the worse as the writer injects a deus ex machina. It is all too familiar and very disappointing when an antagonist is introduced with God-like abilities and then conveniently forgets them when these very abilities should be used the most. In the simulation, which Daly created; He removed Nanette’s face on a whim, he turned Shania into an alien bug. He even imported and then quickly exported a small child for the sake of compliance. Now suddenly, when chasing down his rebellious crew; Daly is at the mercy of a malfunctioning spaceship. This makes no sense in the scope of the story. It felt good to see Daly fail, in the fantasy and in the real world, but the failure could have been executed in a more creative manner. For the first episode, “USS Callister” was very enjoyable, including quick cameos from Kirsten Dunst and a vocal cameo from Aaron Paul, which brought the Breaking Bad tie in full circle. If not for the lazy denouement, this episode would have been perfection. Black Mirror, season 4: Episode 1 receives 4/5 cool points!