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ljones41 · 1 year

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“SHANG-CHI AND THE LEGEND OF THE TEN RINGS (2021) Review

"SHANG-CHI AND THE LEGEND OF THE TEN RINGS" (2021) Review

I might as well put my cards on the table. I have not fully admired the Marvel Cinematic Universe (MCU) since the beginning of its third phase. Nor do I believe that its Phase Four had improved matters. With the exception of a handful of movies and television series. One of those exceptions proved to be the franchise's 25th film, "SHANG-CHI AND THE LEGEND OF THE TEN RINGS".

The 2021 movie is not an exact adaptation of the Marvel Comics superhero, who had debuted in the comic books back in 1973. However, director-screenwriter Destin Daniel Cretton and his fellow screenwriters, Dave Callaham and Andrew Lanham, used elements from the comic books to create not only an interesting backstory for the leading character, but also a solid narrative for the film. "SHANG-CHI AND THE LEGEND OF THE TEN RINGS" began with a warrior named Xu Wenwu, who discovers a set of ten mystical rings that gave him power and immortality. Utilizing the rings and his army, Wenwu (who acquired the name of "the Mandarin") created the Ten Rings criminal organization that conquered or toppled many governments throughout the centuries. In 1996, Wenwu engaged in a search for Ta Lo, a village said to harbor mythical beasts. While traveling through a magical forest to the village entrance, he was stopped by one of the village's guardians, Ying Li. The two fell in love, and when the Ta Lo villagers rejected Wenwu, Li chose to leave with him. They married and conceived two children, Shang-Chi and Xialing. Wenwu abandoned his organization and locked away the ten rings. The Xu family's happiness did not last very long. Wenwu's old enemies, the Iron Gang, murdered Li in an act of revenge when Shang-Chi was seven years old. Wenwu used the ten rings to massacre the Iron Gang members and resumed leadership of his old organization. Then he forced Shang-Chi to undergo a brutal training in martial arts but prevented Xialing from being trained. When Shang-Chi was fourteen, Wenwu sent him to assassinate the Iron Gang's leader. After completing his mission, a traumatized Shang-Chi ran away to San Francisco, California and adopted the name "Shaun". During his time in the United States, "Shaun" learned English, and eventually became a valet at an exclusive San Francisco hotel along with his best friend, Katy aka Chen Ruiwen. While riding a local bus, Shaun and Katy found themselves under attack by members of the Ten Rings organization. Wenwu had ordered them to steal Shaun's pendant, given to him by his late mother. Despite a brutal fight that left most of the assailants unconscious and the bus seriously damaged; one Ten Rings warrior, Razor Fist, managed to steal Shaun's pendant. Suspecting that his father might also want the pendant given to Xialing; Shang-Chi and Katy travel to Macau to warn his sister. And the trio eventually found themselves swept into a situation in which a threat larger than Wenwu, loomed ahead. Many fans have declared either 2022's "SPIDER-MAN: NO WAY HOME", "BLACK PANTHER: WAKANDA FOREVER" or "SHANG-CHIAND THE LEGEND OF THE TEN RINGS" as the best movie of the MCU's Phase Four. My choice? None of them. But I will admit that I enjoyed all three films. Especially "SHANG-CHI AND THE LEGEND OF THE TEN RINGS". The latter film struck me as a poignant family drama at the heart of a movie filled with humor, pathos, action and magic. In fact, it occurred to me that the movie reminded me of the STAR WARS saga's Skywalker Family Saga - at least the six films produced and directed by George Lucas. Seriously. The Xu Shang-Chi character is basically Luke Skywalker, his sister Xialing could be Princess Leia Organa (only not adopted) and his parents Wenwu and Li - Anakin Skywalker and Padmé Amidala. Only the Xu family's family narrative differed . . . somewhat. Wenwu's inability to recover from his wife's death led to the family's breakup, and an even more dangerous Big Bad to exploit his grief. Sounds family? However, the poignant flashbacks of Wenwu and Li's courtship, those happy years before Li's death, along with the drama that surrounded Shang-Chi and Xialing's resentment and fear toward their father really cemented "SHANG-CHI AND THE LEGEND OF THE TEN RINGS" as a family drama. However, the movie did have its share of action sequences. I had nothing against Shang-Chi's reunion with Xialing, which resulted in a funny fight scene inside her Macau fight club; or the siblings' attempt to prevent the Ten Rings from taking her pendant on the construction site outside of her club (a scene that produced memories of another from the 2001 movie, "RUSH HOUR 2"). Also, Shang-Chi's fight against Wenwu in the movie's final action sequence struck me as pretty solid. But I had to choose two sequences that really impressed me, they had to be the one in which Wenwu and Li first met, when she prevented him from entering Ta Lo; and Shang-Chi's fight against the Ten Ring operatives aboard a San Francisco bus. What I really enjoyed about Wenwu and Li's fight is that it started out as a serious confrontation and slowly developed into a sly, yet romantic dance between two people who had become attracted to one another. I believe Tony Leung and Fala Chen's performances made this transformation both believable and very entertaining. For me, the movie's most thrilling fight scene - hell, action scene - was Shang-Chi's fight against some of the Ten Rings operatives aboard a moving San Francisco bus. I would say it was one of the best action sequences I have ever seen in a MCU film. Not only did leading man Simu Liu and the fight choreography team led by Andy Cheung and the late Brad Allan created an exciting fight, but leading lady Awkwafina and cast of supporting performers, cinematographer William Pope and especially director Destin Daniel Cretton all contributed to the sequence's action, thrills and some very sharp humor. I certainly do not have any complaints about the performances in "SHANG-CHI AND THE LEGEND OF THE TEN RINGS". The latter featured solid performances from Randolph Fields, Charlotte Leonie, Jodie Long, Jayden Zhang, Arnold Sun, Wah Yuen, Kunal Dudheker, a very imposing Florian Munteanu and Stephanie Hsu. The movie also featured cameos from the likes of Benedict Wong (as Wong), Tsai Chin (whom I have not seen since the Marvel series, "AGENTS OF S.H.I.E.L.D."), Tim Roth (or perhaps I should say a CGI image of Abomination aka Emil Blonsky), and a surprising and funny Ronny Chieng. It was nice seeing Michelle Yeoh, who portrayed Shang-Chi and Xialing's aunt Ying Nan. But if I must be honest, I found her performance solid and serviceable - and nothing else. The performances that stood out for me came from the likes of Meng'er Zhang, who portrayed Xu Xialing, Wenwu and Li's only daughter. I thought Zhang did a first-rate job of conveying Xialing's anger and resentment toward both her father and older brother. She also did an excellent job of revealing how the Xu family's break-up had affected her family. Not many people approved of Ben Kingsley's return as Trevor Slattery, the actor who had been hired to impersonate the Mandarin in 2013's "IRON MAN 3". I had no problems seeing Kingsley in the role again. He was funny as ever and it felt nice to see Slattery express remorse for his false portrayal of Wenwu and come out of his situation as a better man. Fala Chen gave an elegant, yet slightly sly performance as Ying Li, whose warmth and strong will kept the Xu family together, while she lived. Awkwafina proved to be as hilarious as ever with her portrayal of "Katy" Chen, Shang-Chi's somewhat witty best friend. Not only was Awkwafina funny, I thought she did an excellent job of conveying Katy's difficulty in finding a solid direction in her life and reactions to her friend's past and the world of the Ten Rings and Ta Lo. If I had to give the award for the film's best performance, I would hand it to Tony Leung's portrayal of Xu Wenwu, Shang-Chi's father and leader of the Ten Rings. Leung did a masterful job of portraying a complex man, whose decisions led him toward a path of a loving family man, feared parent, villainy and convenient tool for a bigger villain. More importantly, I found Leung's performance skillful, subtle and worthy of a major acting award. You know, looking back at Leung's portrayal of the "Mandarin", I found myself wondering why Marvel Films/Disney had originally thought that casting an European actress was the only way to avoid any Asian clichés of the Ancient One character in 2016's "DOCTOR STRANGE". Some film critic had expressed disappointment that actor Simu Liu's portrayal of Xu Shang-Chi was not as charismatic as his true self. I found this criticism rather ridiculous, if I must be honest. Since when was Shang-Chi supposed to be a "charismatic" or extroverted personality in the first place? I certainly did not get that impression of the character as a young boy. Following my viewing of "SHANG-CHI AND THE LEGEND OF THE TEN RINGS", I came away with the impression that Xu Shang-Li was a reserved child forced to tap into his aggression by a grief-stricken father, obsessed with revenge. I also came away with the impression that Shang-Chi's time in the U.S. and his friendship with Katy gave him an outlet to forget his past and just enjoy life. But the return of Wenwu and the Ten Rings in his life forced him to realize he had to face his past. THIS is what I came away with Simu Liu's portrayal of Shang-Chi. And I thought he did an excellent job in conveying every emotional beat of the character's adult life through most of the film. I wish I could end this review with a declaration that "SHANG-CHI AND THE LEGEND OF THE TEN RINGS" was a perfect movie. Or even one of the best in the MCU franchise. But I believe the movie possessed enough flaws for me to not come to that conclusion. My first complaint centered around the Wong-Abomination fight at Xialing's fight club. What on earth were they doing there? Why did Wong break Abomination/Blonsky out of prison for a match in the first place? The Disney-Plus series, "SHE-HULK: ATTONEY-AT-LAW" actually provided an answer and it proved to be pretty lame in my eyes. However, I believe most of the film's problems had materialized in the film's second half - when Shang-Chi, Katy, Xialing and Slattery arrived at the mystical realm of Ta Lo. At this point, the film into the typical MCU film finale. The major protagonists prepare for a fight against a deadly foe. A battle ensues - first against the Ten Rings and later, against the film's real Big Bad. And yes, the battle had its moments of the usual MCU humor - especially from Ben Kingsley and Awkwafina. I am only thankful that audiences were spared the usual Marvel wit. There is the issue of Katy's participation in this battle. The movie had hinted her talent as a skillful driver. But can someone please explain how she had become a talented archer within a space of a few hours (or days)? You know, a part of me wishes Wenwu had turned out to be the film's main villain. Unfortunately, the "the Dweller-in-Darkness" (which had originated in Marvel Comics) was no Emperor Palpatine. Instead of a demon, the Dweller-in-Darkness turned out to be a mystical soul-consuming dragon that used Wenwu's grief and ten rings to break free and enter Ta Lo. And the battle between Dweller-in-Darkness, the main protagonists and another dragon called the Great Protector. Needless to say, I was not impressed by this final action sequence. I found it clumsy, overwrought and at times confusing. You know . . . the typical MCU grand finale. I would never regard "SHANG-CHI AND THE TEN RINGS" as one of my favorite comic book movies or MCU films. But I still believe it was definitely better than average, thanks to director Destin Daniel Cretton. After all, the film did feature some top-notch action sequences, a decent narrative and first-rate performances from a cast led by Simu Liu.

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callsign-bubbles · 6 months

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driver's seat - madds buckley (2024)

photo creds - christian petersen / claus andersen / andré ringuette / dave sandford / bruce bennett / scott rovak / andré ringuette / mark buckner / bruce bennett / dave sandford / unknown / andré ringuette / dave sandford / mark buckner / bruce bennett / chris tanouye / drew leung / unknown / china wong / bruce bennett / dave sandford / andré ringuette / bruce bennett / ezra shaw

(car metaphors always fuck me up, but especially this one)

(thank you dave bruce mark andré for the chuck photos !)

#bumbles #hockey #web weaving #matthew tkachuk #brady tkachuk #keith tkachuk #baby photos of matty will always fuck me up like. he was so sweet and innocent #and the narrative of brady being the first one to give keith a grandchild....... the scriptwriters planned that one!!!!#'eldest child being career-focused with no plan on a partner/kids/etc anytime soon' and 'youngest/middle child providing the family' roles.

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nellasbookplanet · 4 months

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Book recs: Queer science fiction, part 2

There is a lot of queer sf out there, and I read a lot of sf. When I started working on this list, I quickly realized it was impossible to include all that I’ve read and enjoyed in one single rec post. Thus, this is my second queer sci-fi book rec post. For queer sci-fi part 1, click here!

A note: queer here does not necessarily mean “guarantee of an f/f or m/m ship with a happy ending”, but rather simply a significant presence of queerness. Some of the books feature no romance but has a same gender attracted/trans/a-spectrum lead, or features an m/f relationship with bisexual, trans or aro/ace characters, or simply features a world-building which is heavily queer inclusive in ways that don’t always compare to our own ideas of sexuality and gender. I have however disqualified works where the only queer presence is along the lines of “gay best friend”, word of god, and a blink and you’ll miss it confirmation that never comes up again.

For more details on the books, continue under the readmore. Titles marked with * are my personal favorites. And as always, feel free to share your own recs in the notes!

If you want more book recs, check out my masterpost of rec lists!

Empress of Forever by Max Gladstone

Vivian Liao is a highly successful innovator, but she may have bitten off more than she can chew and fears the government may be coming for her. As she goes into hiding, she attempts to pull off one last stunt that could fix everything - but something goes wrong, and suddenly Vivian finds herself waking up in the far future, under attack by an army of robots in space. Hoping to find her way back home, Vivian must assemble a crew of dangerous outlaws to help her hunt down the Empress of Forever, the all-powerful entity who pulled her into the future. Lesbian main character.

The Mimicking of Known Successes by Malka Older

Novella. On the outpost of a human colony by Jupiter, a man has gone missing. On the case to find him - and figure out why he disappeared in the first place - is enigmatic investigator Mossa. Her search leads her to the colony's university, and with it, her ex-girlfriend Pleiti, expert on Earth's pre-collapse ecosystem. Together they come to realize that the case is much larger than just a missing man, and could decide the outcome of humanity's very future. Sapphic.

My Heart is Human by Reese Hogan

Nine years ago, all complex technology was made illegal. This complicates life for Joel, young transgender single father, as a bionic just uploaded itself into his brain without consent. Scared of losing his daughter, Joel tries to keep the bionic secret while using it to fix his life, but things quickly get more complicated as the bionic gains more and more control of his body. A bit simplistic in writing style but makes a lot of cool parallels of bodily autonomy to Joel’s experiences as a transman. M/M romance.

The Vanished Birds by Simon Jimenez*

A strange child lands on an isolated planet, scaring its inhabitants into handing him over into the hands of Nia Amani. As captain of a transport ship, Nia is not only the planet's only contact with the outside world, she is also a woman out of time, years compressing into months as she travels through space at high speeds. Now responsible for a child who doesn't speak and in a galaxy that wishes them ill, she must rethink exactly what she wants to do with her life, and what she's prepared to give up. Features multiple major queer characters.

The Abyss Surrounds Us (The Abyss Surrounds Us duology) by Emily Skrutskie

Young Adult. Tumblr classic back in the day! Cassandra Leung's family are keepers of sea monsters, genetically engineered and trained to protect ships from pirates. On her first solo mission, Cas finds herself kidnapped by pirates seeking to obtain their own monster. Now they need her help to train it. As Cas seeks to regain her freedom, she must also reckon with unfortunate growing feelings for one of the pirates keeping her under guard. Sapphic.

Ancestral Night (White space series) by Elizabeth Bear

Haimey Dz is part of a three-man salvage crew in space (one of the crew being the sentient spaceship himself). When the small crew comes across a derelict ship that proves the scene of a horrible crime, they must go on the run as they seek to uncover a conspiracy that involves both ancient secrets older than humanity itself, and Haimey's own hidden past. On their tail is a dangerous space pirate, convinced that Haimey is the key to it all. Lesbian main character.

Ancillary Justice (Imperial Radch) by Ann Leckie*

A space opera in which sentient spaceships can walk the ground in stolen human bodies, so called ancillaries. One of these ancillaries, the sole survivor after the complete destruction of her ship and crew, is one the hunt for revenge against the most powerful woman in the empire. This series does very cool things with gender!

The City We Became by N.K. Jemisin

Five New Yorkers find themselves experiencing strangness as the city itself begins to wake up. They are its soul, its avatars and its protectors, and now they must keep it safe as it wakes as something alien and monstrous attempts to kill it before it's even fully alive. Mix of sci-fi, supernatural, and lovecraftian horror. Multiple pov characters of varying queer identities.

Gideon the Ninth (The Locked Tomb series) by Tamsyn Muir*

Gideon, raised as a swordswoman by unfriendly nuns, would rather run away and make her own life, but her services are needed. The Reverend Daughter, Gideon's childhood nemesis, has been invited to a trial to win a place as an immortal by the Emperor's side, and she's in need of a bodyguard. Listen, if you’re on tumblr I probably don’t need to explain this book to you. Trust me when I say it’s exactly as good as people claim. Humorous and spooky but also absolutely gut wrenching and clever with a lot of political commentary. There are also, indeed, lesbian necromancers in space.

A Big Ship at the Edge of the Universe (Salvagers trilogy) by Alechia Dow

In a universe run on science and magic working hand in hand, Boots Elsworth makes a living selling fake treasure maps and Nilah Brio is a racer. When one of Boots' maps turns out to be more real than expected and Nilah has to go on the run after having been framed for a murder, the two find themselves on the same spaceship, working with Boots' old captain to find the rumored treasure and reveal the conspiracy its hiding before the people hunting them catch up. Features a main f/f relationship.

The Company of Death by Elisa Hansen*

A wild mix of genres, where a zombie apocalypse has struck and vampires gather up humans to keep their food source from going extinct, a robot travels across America with a young man she’s tasked to keep safe, and former-vampire-hunter-recent-zombie Emily teams up with Death himself to stop the apocalypse. Features bi and ace characters! Bonus rec: the author also runs the youtube channel Maven of the Eventide, where she talks about various vampire media. Check it out!

Light from Uncommon Stars by Ryka Aoki

Shizuka Satomi is a violin master who made a deal with a devil, and who must now save her soul by delivering the souls of her students in place of her own. Lan Tran is a mother and a refugee of an alien war, hiding on Earth with her children in a donut shop. Katrina Nguyen is a trangender runaway and violin player, in the need of a mentor. As their paths cross, their lives change forever. I would categorize this as cozy, however it does also deal with some pretty heavy themes.

The Summer Prince by Alaya Dawn Johnson*

Young adult. Young artist June Costa lives in Palmares Tres, a beautiful, matriarchal city relying heavily on tradition, one of which is the Summer King. The most recent Summer King is Enki, a bold boy and fellow artist. With him at her side, June seeks to finally find fame and recognition through her art, breaking through the generational divide of her home. But growing close to Enki is dangerous, because he, like all Summer Kings, is destined to die. While the main relationship is m/f, it features a worldbuilding where bisexuality is the norm, which is portrayed in its major characters.

The Gilded Abyss by Rebecca Thorne

Nix Marr is a soldier and damned good at it, but that doesn't prepare her for her next mission: bodyguard for Subarch Kessandra, beloved royal and Nix's bitter ex, as she ventures into the underwater city of Fall to seek the cause of a bloody murder spree and a possible deadly contagion. But Kessandra has enemies, the answers she seeks marking her as a possible threat for the nation's rulers. On their way in an isolated and enclosed underwater ship toward Fall, the contagion catches up, and Nix will have to put her hurt feelings aside if the two are to arrive alive. Sci-fi with flavors of horror and the supernatural.

Adaptation (Adaptation duology) by Malinda Lo

Young adult. Strangeness is afoot: all over America, birds are hurling themselves against airplanes and causing crashes. As flights are canceled and travelers stranded, Reese and her debate partner and longtime crush David are forced to head home by car. Accident strikes, and the two wake in a military hospital with no memory of the last month. Returning home, strangeness follows the two, especially as Reese encounters the mysterious and beautiful Amber Gray, who may know more than she lets on. Features a bisexual love triangle.

Lizard Radio by Pat Schmatz

Young adult. Fifteen-year-old Kivali, abandoned at birth and adopted by the nonconformist artist Sheila, has as a girl in boys clothes never fit in with the other kids. Sheila has always been supportive, until she one day sends Kivali off to CropCamp. While Kivali chafes at the strict rules of the camp, she also finds herself making friends, and maybe more, for the first time. Strange coming of age story, featuring exploration of gender and sexuality in a dystopian setting.

Isle of Broken Years by Jane Fletcher

Young spanish noblewoman Catalina thinks she’s done for when the ship she’s traveling on is attacked by pirates and she’s captured. Things gets worse when the entire crew is stranded on an inhospitable island where time works strangely, dangerous monsters terrorize the woods and something alien stops them from leaving. Strong Lost vibes. Lesbian romance. Admittedly quite indulgent but very fun and creative.

All Systems Red (The Murderbot Diaries) by Marta Wells*

After having hacked its own governor module, SecUnit uses its small amount of new freedom to secretly download and watch as much media as it can between doing its job guarding humans. But when the scientists it’s been charged with keeping safe come under attack, it must make a choice about whether to continue keeping its freedom secret or risk it all to save them. The series features both novellas and full length novels, and balances humor with scathing critique of capitalism. While it can be debated whether SecUnit counts as agender, asexual and aromantic, as it is a robot (I leave this up to individual judgmenet), however the series also has a diverse cast overall.

The Quiet at the End of the World by Lauren James*

Young adult. After the spread of a global virus causing infertility, teenagers Lowrie and Shen are now the youngest humans alive as the adults around them race to find a cure. As they investigate the ruins of the world, the two come across records from the past, of how grief stricken people turned to raising artificial children in apps and how these 'children’ developed, and through these records the two learn of their history. Bisexual main character.

Chain-Gang All-Stars by Nana Kwame Adjei-Brenyah*

In a near future America, inmates on death row or with life sentences in private prisons can choose to participate in death matches for entertainment. If they survive long enough - a rare case indeed - they regain their freedom. Among these prisoners are Loretta Thurwar and Hamara “Hurricane Staxxx” Stacker, partners behind the scenes and close to the deadline of a possible release - if only they can survive for long enough. As the game continues to be stacked against them and protests mount outside, two women fight for love, freedom, and their own humanity. Chain-Gang All-Stars is bleak and unflinching as well as genuinely hopeful in its portrayal of a dark but all to real possible future. Sapphic.

The Disasters by M.K. England

A decade ago, the massive ship House of Wisdom was abandoned in orbit after its entire crew was killed in an outbreak in a matter of hours. Now, Zahra and her people hope to claim the ship as their own by kidnapping the sole survivor to gain access to its systems. But the danger of the House of Wisdom is far from gone. Horror, no major romance but has a major gay character.

Nax Hall may be a hotshot pilot, but that doesn't stop him from being expelled from the prestigious Ellis Station Academy in less than 24 hours. But as he's to be transported back to Earth alongside other failed students, the school is viciously attacked. Nax and the three other students only barely escape, and are left as the only witnesses - and the perfect scapegoats. Now they must go on the run together and find a way to clear their names. Bisexual main character.

Dust (Jacob's Ladder series) by Elizabeth Bear

In a dying spaceship, orbiting an equally dying sun, noblewoman Perceval waits for her own gruesome death. Having been captured by an opposing house, her wings severed and life forfeit, Perceval’s execution is imminent - until a young servant charged with her care proves to be Perceval’s long lost sister. To stop a war between houses likely to doom them all, the two flee together across a crumbling, dangerous spaceship. At its core waits Jacob Dust, god and angel, all that remains of what the ship once was. And he wants Perceval. Sapphic and asexual characters, however be prepared for kinda fucked up relationships.

Under Fortunate Stars by Ren Hutchings

Two ships have gotten stuck in a rift in space, isolated outside of time. One of them is the Jonah, a ship dodging a generations long war against an alien species, carrying a small crew of smugglers, an unintended passenger, and a hijacker. The other ship is the Gallion, which arrived from 150 years in the future carrying an alien ambassador - and whose crew is awestruck at meeting the heroes of the Jonah, known to have ended the war. As the two crews struggle to understand each other's timelines, they must also work together to leave the rift before they're stranded forever. Multiple queer characters, however the main romance plotlines are m/f.

One Last Stop by Casey McQiston*

Twenty-three-year-old August has a lot to deal with. She just moved to New York, got new job at a pancake diner, and acquired several slightly chaotic roommates. So what if she likes to flirt with the pretty girl on her subway commute? But Jane turns out to be more than just a charming stranger: she's lost in time, displaced from the 70s, and unable to leave the subway. Romance with a dash of timetravel sci-fi, One Last Stop is a delightful story of love and queer community.

The Women Could Fly by Megan Giddings*

In an alternate version of our present, the witch hunt never ended. Women are constantly watched and expected to marry young so their husbands can keep an eye on them. When she was fourteen, Josephine’s mother disappeared, leveling suspicions at both mother and daughter of possible witchcraft. Now, nearly a decade and a half later, Jo, in trying to finally accept her missing mother as dead, decides to follow up on a set of seemingly nonsensical instructions left in her will. Features a bisexual lead!

Salvation Day by Kali Wallace

A decade ago, the massive ship House of Wisdom was abandoned in orbit after its entire crew was killed in an outbreak in a matter of hours. Now, Zahra and her people hope to claim the ship as their own by kidnapping the sole survivor to gain access. But the danger of the House of Wisdom is far from gone. Horror, no major romance but has a major gay character.

Alien: Echo by Mira Grant

Young adult. Twin sisters Olivia and Viola's parents are both xenobiologists, bringing them all over the galaxy. Most recently they’ve settled on a new colony world to study its life, but it proves more dangerous than they could’ve ever imagined. Under attack from alien monsters, the sisters must keep each pther alive while also coming to terms with a dark family secret. Sapphic horror. Part of the Alien franchise but stands well on its own.

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filmy420 · 10 months

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#maggie cheung #Wong Kar-wai #In The Mood For Love #Christopher Doyle #Mark Lee Ping-bing #Kwan Pung-leung

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hinasho · 1 month

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I'll tell you what people's problem with The Crow 2024 is — I'm a longtime fan by the way, I own the comics, I watched all the movies, so on.

The Crow 1994 managed to get the soul of the source material (comics). The Crow is a story about overcoming grief and acceptance of death — the author wrote Eric's story during his darkest periods of grief after his girlfriend was killed. So the story of Eric and Shelley have meaning, they are meaningful characters to a lot of people. Brandon's movie, while with some differences from the original story, still carried the same themes beautifully and the tragedy that happened during the filming made people (me included) turn protective over the memory of The Crow and it’s meaning.

There were three other movies after The Crow 1994 but they never dared to touch on Eric's character, instead they created new ones like Ashe Corven, Jimmy Cuervo and Alex Corvis. And those movies suck, don’t get me wrong, but people don’t have a problem with them because they didn't touch on Brandon's Lee legacy and di their best to stay on theme — grief and acceptance. They are their own thing, and that's that.

So did the comics. Eric story is the first main one, but no one took him and tried to continue it, he's pretty much untouchable, he has his beginning and his end. Instead, they created new Crows for their stories: Joshua, Iris Shaw, Mark Leung...There's a long list of existing Crows with their own stories.

The problem with 2024 The Crow is mostly that they called it a remake and took Eric's names to a character that doesn’t even resembles the original Eric — and I'm not saying in physical appearance, I'm saying his essence because the original Eric is a killer of bad guys, but he's also pretty charismatic; he loved life, he was gentle with the little girl Sarah he was friends with, he was kind, he was thoughtful, he even jokes around! Which, to many people, Bill's Eric does not resembles even a little bit of Eric's other than his name and neither does his story matches the themes and soul behind The Crow franchise.

The main gripe The Crow community has with the 2024 version is them taking Eric's and Shelley story, then changing it so much and losing it's soul when the easiest thing to avoid all this controversy and review bombing would've been just be like "Hey, we're making a new Crow movie, but we have created our own original protagonists for it!" just like people have been doing for years, because that's what 2024 Shelley and Eric feel like to people — original characters who just happen to share the names of the OG's.

Anyway, I watched the 2024 version and while Bill did a phenomenal job as always with what he was given and he looks so damn good, the story just...Didn't get me at all. There's not one bit of The Crow essence in there for me.

Hello, thank you for sharing your thoughts! 💞 I finally watched The Crow 1994 and City of Angels today (still need to watch Salvation & Wicked Prayer) so fortunately I now have a bit more context.

The problem with 2024 The Crow is mostly that they called it a remake

So to begin my breakdown: The 2024 isn't a remake of the 1994 movie. This seems to be a widespread misconception. But in all of the clips and trailers Lionsgate has released, they clarify that it's a "modern re-imagining of the original graphic novel". The movie never claims to be a remake of the 1994 film.

Now a fair debate could be how closely tied (or not) the '24 movie is to the graphic novel, which the two are remarkably different, but based on the reviews and comments I've seen, fans seem more inclined to keep comparing it to the 1994 adaptation despite Lionsgate never claiming they were trying to remake that specific film.

So basically, comparisons between '94 Eric and '24 Eric don't really hold up as valid criticisms in my opinion, because the director had no intention of adapting the '24 film from the '94 movie in the first place.

the original Eric is a killer of bad guys, but he's also pretty charismatic; he loved life, he was gentle with the little girl Sarah he was friends with, he was kind, he was thoughtful, he even jokes around! Which, to many people, Bill's Eric does not resembles even a little bit

'24 Eric is still a killer of killers. He only kills those that attack him first or had something to do with his and Shelly's deaths. He never kills needlessly.

In regards to him loving life, 2024 Eric does in droves! He actively hates having to kill so many people and takes no enjoyment out of it. The opera scene, while fantastic, wasn't a fun moment for him. Since her death, you can tangibly feel that all he wants to do is get back to his simple life with Shelly. He loves her and he loves the life they had.

As for him being charismatic, I can see your point there. In the graphic novels (from summaries I've read), GN Eric does have a morbid sense of humor and at times played around with his kills before finishing the job. His relationship with Sherri was brief but sweet and he gets a cute cat!! He continues to form relationships even after Shelly's death because of his charisma and kindness.

From a writing perspective, I believe all of these moments are intended to humanize Eric given the GN begins with him as The Crow pretty much immediately. We are introduced to him already in the throes of his grief and seeking vengeance.

In contrast, the '24 film paces the transition MUCH slower with the first act being about how Shelly and Eric meet, and the growth of their romance. I believe Director Rupert Sanders used those scenes to humanize the characters instead, which he accomplishes as both Eric and Shelly feel like they're just normal people dealt a shitty hand who only want to live their lives together. You can see the love they shared and how pure it was.

Basically, the core of the characters remain the same, just told in different ways throughout the story. In the graphic novel, James O'Barr humanizes Eric & adds levity in the midst of the carnage, while Rupert Sanders adds it before the carnage. Despite the timeline differences, both succeed in showing that Eric isn't a mindless murdering machine, and is just a regular guy who's been driven to the point of madness.

(It still would've been a nice touch for '24 Eric to adopt a cat for Shelly in the movie though.)

Bill's Eric does not resembles even a little bit of Eric's other than his name and neither does his story matches the themes and soul behind The Crow franchise.

From my understanding, the main themes behind the franchise are grief, the difficulty to move past it, and divine justice.

All three Erics suffer from visions of Shelly, who's memory plays on a feedback loop as they go about their spree. Something both the '94 and '24 films don't do, however, is touch on GN Eric's self harm tendencies. Which isn't a criticism! I'm merely discussing the different ways they show Eric's state of mourning.

The inability to move on is also still prevalent in the '24 movie. It's an active choice Eric makes when Kronos gives him the option to get his life back, and instead Eric submerges deeper and signs away his soul. He steps into it with his eyes wide open knowing he's damning himself forever.

Meanwhile in the graphic novel, Eric is already submerged. He is already a walking corpse, the embodiment of a heart so broken the only way to put himself back together is to weaponize the shards of his loss. I believe this is who '24 Eric develops into after the second act when he signs away his soul.

In the first act, he is human. In the second act, he is transitioning, and in the third act, he has truly become The Crow. Too deep in grief to escape it. The main difference between the '24 version and the GN version is that we see '24 Eric's journey to reach that final stage. It's the difference between character-focused narratives vs parable-like storytelling. Neither is inherently better than the other, just different.

And when it comes to divine justice, hmmm.....

In the GN, Eric and Shelly are killed and brutalized due to a completely random act of evil. The gang that killed them and assaulted Shelly had zero connections to the couple and were just some cruel, awful randos off the street. Based on what I've read, Eric nearly kills all of them without difficulty. Most of his hardship comes from his own bouts of depression and misery.

(By the way, by having the villains all be mediocre average goons, and majority of Eric's troubles be psychological, the GN focuses more on the danger of all-consuming grief, highly likely because of the trauma James O'Barr was experiencing when he wrote it. Meanwhile both the '94 and '24 films have Eric struggle a lot more during his fight scenes, elevating the danger of his physical opponents. But this is a tangent, back to what I was talking about!)

By all of them being average goons, the story gets across that: yes normal everyday people can and are capable of atrocious acts of evil, and yes they deserve to face the brunt of their crimes and divine punishment.

However in both the '94 and '24 movies, Eric and Shelly's deaths are not random and are planned crimes to silence Shelly. And both come up with a "big bad" for Eric to face off against. In the '94 movie, it was Top Dollar, a criminal kingpin, and in the '24 movie it's Vincent Roeg, a rich executive who's also a crimelord.

BUT what the '24 film does differently is that Roeg is also a supernatural being himself, who's made a pact with the devil to trade innocent souls for immortality.

This is probably the only area in which I agree with OG fans on that a central theme was changed. Because by making the main antagonist "unnatural", it's no longer about everyday, normal people committing horrible evils. It's about a supernatural entity on par with The Crow.

I think Rupert Sanders wanted to focus more on the supernatural aspect of The Crow universe. Which isn't necessarily a bad thing and definitely made for a fun movie, but I do agree with OG fans that the "grounded" nature of casual human cruelty was lost in that regard.

By implementing this change, the weight of Eric's vengeance is also changed. Because now it's no longer just personal. As the character of Kronos says in the movie, they need Eric to kill Roeg because he and all the deaths he's caused are unnatural and they essentially need Eric to tip the scales back into balance. While Eric's primary motive is still about doing right by Shelly, there's now an element of saving the world from an unnaturally superpowered tyrant, rather than the everyday cruelties of man.

So in this aspect, I do agree that a core theme was changed between the graphic novel and the 2024 movie. This still doesn't necessarily mean it's a bad story, just that Rupert Sanders had different intentions.

Because this still connects to the previous theme, the inability to move on and cope with death. Except now it's portrayed in the antagonist as well. His power is completely about his refusal to accept his own mortality. However, this does, like I said, detract from the normality of evil theme. So it's basically a gain and a loss 😅

(Plus, as I was writing this, I thought about how Eric's motivation is changed as well. In the '24 movie, Eric's goal is still to do right by Shelly, but it's to save her. Because if he succeeds, Shelly will be resurrected. This adds a noble spin to his killing spree, whereas the GN and the '94 film are solely about overwhelming rage at the loss of a loved one. There is no resurrecting Shelly. It's about enacting divine justice against their killers before traveling to the afterlife together. They're already dead and there's nothing GN Eric can do to change that, unlike 2024 Eric.

On the flip side, while this "nobler" take may feel like a negative change, I think it's countered by the fact that Eric succeeds in saving her, but is still dissatisfied because he's unable to actually be with her. GN and '94 Eric were able to find peace and reunite with their loves. '24 Eric only gets about 5 minutes before she's resurrected and he's stuck in purgatory forever.

At the end of the '24 film, both Eric and Shelly are dissatisfied as they can no longer be together. It's a bittersweet ending that feels more bitter than sweet. So while there is a "nobler" cause behind Eric's actions, the tone of the story is still very grim.

This is also why I believe the way the 2024 movie ended was with the intentions of a sequel where Eric does achieve his own peace. But that's a different conversation!)

...the easiest thing to avoid all this controversy and review bombing would've been just be like "Hey, we're making a new Crow movie, but we have created our own original protagonists for it!" just like people have been doing for years, because that's what 2024 Shelley and Eric feel like to people — original characters who just happen to share the names of the OG's.

Sure! I don't disagree. Well, I don't really think anything deserves to be review bombed unless it's content that's actively harmful. But I don't disagree with the original protagonists angle. Changing the names couldn't have hurt.

That said though, and I say this as gently as I can, Eric's character existed before '94 Eric and does not need to end with the '94 movie. I think it'd be one thing if the 1994 movie created the story of The Crow and that was the first iteration of Eric's character. But... it's not.

Multiple re-imaginings and adaptations of books / comics have been around since forever. The show Smallville and Man of Steel both adapt Superman in wildly different ways. Shakespeare's Taming of the Shrew has had five different adaptations, and yet no one shits on 10 Things I Hate About You (1999) or Deliver Us From Eva (2003) for being modern re-imaginings. Awhile ago, me and my friend were discussing our favorite adaptations of the Little Women novel. Her favorite is the 1994 film while my favorite is the 2022 modern Kdrama!

I bring up all of these examples to say that there is REALLY nothing wrong with doing modern re-imaginings of older works, and tweaking characters and plotlines to reflect the changed style of the story and time period.

What's most important is that the heart of the story is kept. At the end of the day, The Crow is about an innocent man who enacts divine justice against he and his lover's murderers, while struggling to cope with her loss. Based on the graphic novel and what I've seen of the 1994 movie and the City of Angels sequel, the world of The Crow says that life can be fair and that no matter how high, or low, or cruel, or spineless, someone is, that karma is a bitch and it IS possible for them to reap what they sow.

I truly think the 2024 adaptation captured that feeling, even if it may look different than what people might be used to or expected.

Instead of being upset about how unexpected it is, try going in with an open mind and seeing the story Rupert, Bill, and FKA Twigs wanted to tell. I've read and seen a few interviews by now, and these three were genuinely passionate about the characters & story, and you can feel that in the movie.

And even if you still have no interest, the other parts of the franchise you do enjoy aren't going anywhere. The 2024 adaptation doesn't effect them in any capacity. The stories you love still exist and the new addition can't harm or take them away from you.