#this 20 year old trilogy is the best film franchise ever made

[rebeccalouisaferguson]

"I always just rode the waves,” Rebecca Ferguson says with a shrug. The comment hangs in the air, as if the Anglo-Swedish 37-year-old is only now processing that a combination of currents and tides has led her not just to an acting career but to the brink of big-screen stardom.

“I’ve never been ambitious,” she says. “I’ve always thought that that was a bad thing.” She’s seen others in the industry consumed by constant striving and asked herself why she hasn’t hungered for fame since childhood, slept in cars outside castings, barged into directors’ offices or thrown herself in the path of a producer. “But should I not be burning for this? Out meeting people and networking for the next job?” says Ferguson, who has chosen the sort of quiet, private life outside the big city that so many actors claim to crave. “My life just took another turn. But I’ve always thought: Am I where I should be?”

At the moment, on this late July day, Ferguson is slumped in the backseat of a Mercedes-Benz sedan, crawling through rush-hour traffic on the M4 out of London. She is capping off a hectic week during a particularly busy period. Most immediately, she’s coming from a table read for Wool, the Apple TV+ adaptation of Hugh Howey’s bestselling postapocalyptic trilogy. Ferguson is both the star and, for the first time, an executive producer. “I’m sitting in all the different rooms, listening and learning like the students,” she says. She’s filming Mission: Impossible 7, her third tour of duty in the long-running series that first brought her widespread recognition. She’s also promoting the film Reminiscence, the sci-fi noir written and directed by Westworld co-creator Lisa Joy in which Ferguson stars opposite Hugh Jackman. And now she is starting a press push and festival prep for her role as Lady Jessica ahead of the much-delayed release of Dune (in theaters October 22), director Denis Villeneuve’s reimagining of Frank Herbert’s novel. “After this film, I think everyone will see what I see in her,” the filmmaker says. “She has a beautiful, regal, aristocratic presence, elegance. But that was not the main thing: The most important thing for me was that depth.”

After tracing a long, meandering path, Ferguson has landed in a rare and rarified position: ascendant in her late 30s (still an anomaly for women in the film industry) and sought after by some of the biggest names in the business. “When you meet Rebecca, you just see it. She’s very open, candid, collaborative, hardworking, funny—and not pretentious,” says Tom Cruise, who handpicked Ferguson to star opposite him in the Mission: Impossiblefilms, which are known for their demanding shoots. “She just rose to the occasion every single time.”

In February 2020, when the pandemic began, Ferguson left Venice, where she’d been shooting Mission: Impossible 7, and hunkered down with her husband, their 3-year-old daughter and Ferguson’s 14-year-old son from a previous relationship at their farm in Sweden. After four months, Ferguson returned to the M:I set and basically hasn’t stopped working since.

Dune has sat idle for far longer. By the time the movie premieres, more than two years will have passed since it wrapped. Ferguson recently asked to screen the film again: “I miss it,” she says. She ended up bringing along her Mission: Impossible co-star Simon Pegg. After the credits rolled, Pegg broke into a smile and wrapped her in a congratulatory bear hug. “That’s all I needed,” she says.

Despite being a sci-fi epic based on a novel from 1965, Dune feels “very timely,” Ferguson says, pointing to its handling of environmental issues, religious zealotry, colonialism and Indigenous rights. The plot of the film, which cost an estimated $165 million, centers on occupying powers battling for the right to exploit a people and their planet, named Arrakis, for melange (or spice)—the most valuable commodity in Herbert’s fictional universe, a substance that provides transcendental thought, extends life and enables instantaneous interstellar travel. “Spice,” Ferguson says, “is equally about the poppy and oil fields.”

Ferguson’s Lady Jessica is a member of the Bene Gesserit, a powerful secretive sisterhood with superhuman mental abilities. She defies her order by giving birth to a son, Paul (played by Timothée Chalamet), who may be a messianic figure. “She basically just f—s up the entire universe by having a son out of love,” says Ferguson. In her hands, Jessica is equal parts caring parent, protector and pedagogue. Among the skills she wields and teaches Paul is “the Voice”—a modulated tone that allows the speaker to control others.

The movie was shot in Norway, Hungary, Jordan and Abu Dhabi, whose desert landscape stood in for Arrakis. Filming there was particularly arduous, as temperatures exceeded 120 degrees Fahrenheit, limiting the shoot window to only an hour and a half each day at 5 a.m. and again at dusk. “We were running across the sand in our steel suits being chased by nonexistent but humongous worms,” Ferguson recalls, referring to the sand-beasts later rendered in CGI. “To be honest, it was one of the best moments ever. It was the most beautiful location I’ve ever seen.”

Back in London, Ferguson is approaching home. She leaves the following day for a small town on the coast of England, where she plans to spend her first vacation in two years and to do some surfing. “Let’s hope it’s good weather,” she says. “If not, I’ll surf in the rain.” Not that she’s the sort to paddle out into storm swells. “I think I’ve managed to stand on a board once in my entire life,” she says. “But it was quite a high. Complete surrender to the waves and total control all at once.”

Born Rebecca Louisa Ferguson Sundström to an English mother and Swedish father, Ferguson grew up bilingual in Stockholm. She immersed herself in dance from a young age, enjoying ballet, jazz, street funk and tango. Despite being shy and prone to blushing and breaking out when forced to speak publicly, Ferguson found she was at ease in front of the camera. She dabbled in modeling and then, at 15, attended a TV casting call at her mother’s urging. Ferguson ended up getting the lead role in Nya Tider (New Times), a soap opera that became wildly popular, splashing Ferguson’s face into Swedish homes five times a week.

When her role ended about two years later, Ferguson was adrift. She had no formal acting training to fall back on, no clear sense of how to steer a career and no major connections to the industry. She had a short run on another soap and appeared in a slasher flick and a couple of independent shorts, then…nothing. “I was famous in Sweden, but I didn’t really have an income anymore,” she says. “So I went and I worked in whatever job I could get.” That meant stints at a daycare center and as a nanny, in a jewelry shop and a shoe store, as well as teaching tango, cleaning hotel rooms and waitressing at a Korean restaurant. She eventually landed in a small coastal town named Simrishamn, where she lived with her then-partner and their toddler son, content to be a where-are-they-now celebrity.

When fame again came calling, Ferguson ran away. She was at the flea market when she recognized the acclaimed Swedish director Richard Hobert, and he saw her. As he shouted her name, Ferguson grabbed her son, who lost his shoes and sausage, and fled. “I panicked,” she says. “I don’t know why.” When Hobert eventually caught up to her, Ferguson tried to act nonchalant as he proceeded to tell her he’d admired her work and pitched her on the lead role in his next movie: “I’ve written this role, and I think I have written it for you. Do you want to read the script?”

Her work in Hobert’s A One-Way Trip to Antibes earned her a Rising Star nomination at the Stockholm International Film Festival. She quickly got an agent in Scandinavia, then one in Britain. On her first trip to take meetings in London, she read for the lead in The White Queen, the BBC adaptation of Philippa Gregory’s historical novels about the women behind the Wars of the Roses. Ferguson got the part, and her portrayal of Elizabeth Woodville, queen consort of England, earned her a Golden Globe nomination and the admiration of at least one Hollywood heavyweight.

Ferguson was in the Moroccan desert filming the Lifetime biblical miniseries The Red Tentwhen the assistant director whisked her off her camel. “We’re going to have to pause shooting,” he said as he asked her to dismount. “Tom Cruise wants to meet you for Mission: Impossible. We’re going to fly you off today.”

Cruise had seen Ferguson’s work in The White Queen and her audition tape and couldn’t believe she wasn’t already a major star. “What? Where has this woman been?” Cruise recalls exclaiming to his new Mission: Impossible director Christopher McQuarrie. “She’s incredibly skilled,” Cruise says, “very charismatic, very expressive. As you can tell, the camera loves her.” Ferguson landed a multi-picture deal to star opposite Cruise in the multibillion-dollar franchise. He and McQuarrie built out the role of Ilsa Faust for Ferguson, creating the anti-Bond girl, an equal to Cruise’s Ethan Hunt. “We could just see the impact she could have,” he says. “She’s a dancer. She has great control of her body, of her movements. She has the same ability to move through emotions effortlessly.”

Ferguson threw herself into the films and quickly found a shorthand with the cast and crew. “There was a dynamic that worked very well with all of us,” she says. “One of the things I absolutely love is doing all the stunts.” That physicality has given her a reputation as an action-minded actor. “It doesn’t matter that I’ve done 20 other films where I don’t kick ass,” Ferguson says. “Mission comes with such an enormous following. That was what made my career.”

Ferguson’s M: I movies bracket a number of films in which she played opposite marquee names: Florence Foster Jenkins, with Meryl Streep and Hugh Grant; The Girl on the Train, with Emily Blunt; The Greatest Showman, with Hugh Jackman and Michelle Williams; Life, with Jake Gyllenhaal and Ryan Reynolds; Men in Black: International, with Chris Hemsworth and Tessa Thompson; The Snowman, with Michael Fassbender; Doctor Sleep, with Ewan McGregor. And now Dune, opposite Oscar Isaac, Javier Bardem, Zendaya and Chalamet, whom she calls “one of the best actors, if not the best actor of his generation—of this time.” She was similarly impressed by Zendaya, who plays the native Fremen warrior Chani. “She’s quite raw and naughty and fun,” says Ferguson. “She has an enormous f— off attitude.”

When Ferguson first spoke to Villeneuve about appearing in the movie, “he started telling me about this woman who was a protector, and a mother, and a lover, and a concubine,” she recalls. “I was like, ‘I’m sorry. You want me to play a queen and a bodyguard? And you want me to kick ass and walk regally?’ I was like, ‘Denis, why would I want to do that? That’s the last thing I want to do.’ ”

After the call, Ferguson says, “I went downstairs to my hubby and said, Oh, my God, he’s amazing, but I’m not going to get the job. I just criticized the character.” Ferguson worried she was being cast as a stereotypical “strong female character,” where “it’s constantly, ‘She looks good, and she can kick.’ That is not what I want to portray.”

Ferguson hasn’t always been able to work with collaborators who’ve given her the space to question or opine. “I’ve been bashed down. I’ve been bullied,” she says, though she opts not to say by whom. That was never a concern with Villeneuve, who welcomed her critique. He and his co-writers had already decided from the start to make women the focus of their screenplay adaptation, and he promptly offered her the part.

“I want Lady Jessica to be at the center, the forefront. For me, she’s the architect of the story,” Villeneuve says. “I needed someone who will convey the mystery and the dark side of the film in a very elegant and profound way. Rebecca was everything I was hoping for. She’s so precise. She brought a beautiful, controlled vulnerability—it becomes very visceral on-screen.”

Ferguson vaguely recalls trying to watch the 1984 version of Dune, directed by David Lynch, in her youth, but she fell asleep. And she had never opened Herbert’s novel until being offered the part in the new adaptation. As she dug into the book, she says, she learned that her character was subservient and far more like a concubine, forced to eat alone in her bedroom, not spoken to and not allowed to speak. Ferguson ended up relying primarily on Villeneuve for her research and prep—his notes and comments, his references and the pages in the book he suggested she focus on. “I would feel ignorant not to have read Frank’s book at all,” Ferguson says, though she admits there are parts of the sprawling novel (which Villeneuve is splitting into two films) she’s only skimmed. “I have to finish it.” That will not happen on her upcoming vacation, however. “Absolutely not,” she says “I am surfing.”

By the way, if you saw, I am snaking on the ground, snaking around my room to get good Wi-Fi—it’s not some dance or yoga thing,” Ferguson says. “You have to do that in this old house.” It’s a week and a half after our first meeting, and Ferguson is at her new home, a more than 500-year-old property southwest of London that has, over the years, been home to numerous English Royals. It’s more spartan than stately now. “Empty except for a rock star,” she says, turning her phone’s camera to reveal a framed duotone poster of Mick Jagger that’s leaning against the wall. “We haven’t even started renovating.

Ferguson has returned from her holiday fortified and with renewed confidence, thanks in part to her success on the surfboard. “I went up nearly every time,” she says cheerfully, “but the waves weren’t very high.” She shrugs. “I was proud. I was up. I rode them, not the other way around.”

After years of going with the flow, Ferguson is eager to replicate that sense of control in her career. She values her role as an executive producer on Wool, she says, “because I am, for the first time, a part of it from the beginning.” She relishes weighing in on every aspect, from casting (the show recently added Tim Robbins) to cinematography to her character—which has not always been easy for her. “Why do I feel it’s difficult to speak up? I still battle with these things,” she says. Alluding to those times she was pushed around in the past, Ferguson says, “I was angry, but it was more me getting off at ‘How can I let that happen? Why am I letting myself react this way?’ And I take it with me to the next thing where I go, ‘OK, how do I stop that from happening?’ ”

She is learning that she can ride on top of waves without giving up her agency or maybe just let them break against her. “I want to feel I can go home and think, That was a hard day or that pissed me off—and that’s OK,” Ferguson says, with a nod and tight smile. “Because I still stood there as Rebecca. I didn’t shift.”

[aliveandfullofjoy]

Oscar Trivia 2021

A few days late, but here we are!

The elephant in the room is that for the first time in Oscar history, there is more than one woman nominated in Best Director: Chloé Zhao (Nomadland) and Emerald Fennell (Promising Young Woman). As part of their unique roads to their nominations, Zhao is the first Asian woman nominated for the award, while Fennell is both the first British woman nominated and the first woman to be nominated for her directorial debut. If either of them win (which looks incredibly likely for Zhao), they will be only the second woman to win Best Director, joining Kathryn Bigelow who won for The Hurt Locker (2009).

The late Chadwick Boseman (Ma Rainey’s Black Bottom) has become the eighth actor to be nominated posthumously and the first in the Best Actor category since Massimo Troisi in 1995 (Il Postino). If/when he wins, he’ll be the third actor to win after their death, joining Peter Finch (Best Actor 1976, Network) and Heath Ledger (Best Supporting Actor 2008, The Dark Knight). 

In a continuation of the weirdest streak possible, Leslie Odom, Jr. (One Night in Miami) is the fourth artist in a row to be nominated for both acting and songwriting. For over 40 years, Barbra Streisand had the distinction of being the only person nominated for both acting and songwriting. Mary J. Blige one-upped her in 2017 when she was nominated in both categories in the same year (Mudbound), and then Lady Gaga (A Star is Born) and Cynthia Erivo (Harriet) managed to do the same in the following years. Odom is now the fifth person to achieve this distinction in Oscar history and the first man to do so. Barbra still has the last laugh, though: she’s still the only person to win both categories (albeit in different years). 

Steven Yeun (Minari) is the first Asian-American actor ever nominated in the Best Actor category and the third male Asian-American actor nominated ever, joining the ranks of former Supporting Actor nominees Mako and Pat Morita. 

Borat Subsequent Moviefilm’s Maria Bakalova is the first Bulgarian actor nominated for an Oscar. 

With her Best Actress nomination for Nomdland, Frances McDormand has joined Meryl Streep, Jack Nicholson, Laurence Olivier, and Michael Caine as actors nominated in five consecutive decades. Additionally, as one of the producers of Nomadland, McDormand is the first woman nominated in acting and producing in the same year and the third overall (the other two being Barbra Streisand and Oprah Winfrey). 

Glenn Close (Hillbilly Elegy) received her eighth nomination, extending her own record as the most nominated living actor without a win. She is also the third actor to be nominated for both an Oscar and a Razzie for the same performance, and the first since 1983. 

Daniel Kaluuya (Judas and the Black Messiah) is the first Black British actor to receive more than one Oscar nomination. If he wins (which looks incredibly likely), he’ll be the first ever Black British actor to win an Oscar.

With her nomination for Ma Rainey’s Black Bottom, Viola Davis is now the most nominated Black actress in Oscar history, with four nominations and one win. If she wins, she’ll be only the second Black woman to win a Leading Actress Oscar and the first since Halle Berry, who won for 2001′s Monster’s Ball. 

Riz Ahmed (Sound of Metal) is the first actor to Pakistani descent to be nominated in any acting category and the first Muslim actor nominated in Best Actor. His performance is also the first one primarily in American Sign Language (ASL) nominated in this category since Alan Arkin in 1968′s The Heart is a Lonely Hunter. Additionally, Ahmed is one of the only actors of color in Oscar history to be nominated for a role in which his race has no bearing on the story. 

Youn Yuh-jung (Minari) is the first Korean actor nominated for an acting Oscar and the third East Asian woman nominated (the others being Japanese actresses Rinko Kikuchi and Miyoshi Umeki). 

This year also marks the second time ever with more than one Black nominee in Best Actress, with both Viola Davis (Ma Rainey) and Andra Day (The United States vs. Billie Holiday). The only other time this happened was in 1972 when both Cicely Tyson (Sounder) and Diana Ross (Lady Sings the Blues) were nominated. In an incredible coincidence, both Ross and Day are nominated for playing the same role: Billie Holiday. 

Between the five of them, the films nominated in Best Visual Effects have a total of seven nominations, the lowest for that category since 2007, when there were only three films nominated. 

On that same note, Billie Holiday is now the sixth historical figure to earn multiple actors Oscar nominations in different films. The others are King Henry VIII (Charles Laughton in 1933′s The Private Life of Henry VIII, Robert Shaw in 1966′s A Man for All Seasons, and Richard Burton in 1969′s Anne of the Thousand Days), Queen Elizabeth I (Cate Blanchett in 1998′s Elizabeth and 2007′s Elizabeth: The Golden Age and Judi Dench in 1998′s Shakespeare in Love), Abraham Lincoln (Raymond Massey in 1940′s Abe Lincoln in Illinois and Daniel Day-Lewis in 2012′s Lincoln), Howard Hughes (Jason Robards in 1980′s Melvin and Howard and Leonardo DiCaprio in 2004′s The Aviator), and Richard Nixon (Anthony Hopkins in 1995′s Nixon and Frank Langella in 2008′s Frost/Nixon). Holiday is the first Black person to receive this distinction.

At 83, Anthony Hopkins (The Father) is the oldest Best Actor nominee in Oscar history. He is also the first person to get back-to-back acting nominations in his 80s and only the third actor in history to receive more than one acting nomination in his 80s, joining the likes of Jessica Tandy and Christopher Plummer. 

Ma Rainey’s Black Bottom marks the third time ever that Best Actor and Best Actress both have Black nominees from the same film. The other two are Sounder (1972, with Paul Winfield and Cicely Tyson) and What’s Love Got to Do with It (1993, with Laurence Fishburne and Angela Bassett). Of the three films, only Sounder made it into the Best Picture category.

Judas and the Black Messiah is the first Best Picture nominee with an all-Black producing team. 

Thomas Vinterberg scored a surprise Best Director nomination for Another Round, which makes him the first Danish filmmaker to receive an Oscar nomination. Another Round is now only the third film in history to be nominated for Best DIrector and no other non-Foreign Language Film categories, along with Hiroshi Teshigahara’s Woman in the Dunes (1965) and Federico Fellini’s Fellini Satyricon (1970).  

Amanda Seyfried (Mank) is the second Mean Girl to be nominated for an Oscar, joining Rachel McAdams. None for Gretchen Weiners, indeed.

With the nominations for Maria Bakalova and for Adapted Screenplay, Borat becomes the eighth film franchise to ever receive multiple nominations in above-the-line Oscar categories, joining The Godfather series, the Toy Story series, the Before... series, the Lord of the Rings trilogy, the Rocky/Creed series, and the pairs of Going My Way/The Bells of St. Mary’s and Elizabeth/Elizabeth: The Golden Age. 

After the Macedonian film Honeyland became the first film in Oscar history to be nominated in both Best International Feature and Best Documentary Feature, the Romanian documentary Collective became the second film to earn this distinction this year. 

The White Tiger continues the 20-year-old trend of there being at least one film that receives a screenplay nomination and nothing else.

Terence Blanchard (Da 5 Bloods) is the first Black composer to receive multiple nominations. 

Sound of Metal is the third Best Picture nominee in the last 20 years to have its world premiere the year before its American Oscar-qualifying release. The other two are Best Picture winners The Hurt Locker (which premiered at the Venice Film Festival in 2008) and Crash (which premiered at the Toronto International Film Festival in 2004). 

Mank is the third black-and-white film to be nominated in Best Makeup and Hairstyling, and the first since Ed Wood in 1994. 

This is only the third time that all five of the Best Actor nominees were nominated alongside co-stars. This previously happened in 1991 and 2013.

[themattress]

My Top 30 Favorite Video Games

Inspired by @ultraericthered’s Top 30 Favorite Anime post. 

Although I’m doing mine in countdown form, ‘cause it’s more fun that way!

30. Super Mario Bros. - Arguably the first “blockbuster” game to be released, not only does Super Mario Bros. still hold up over 35 years later but it’s a gift that keeps on giving with how many different incarnations, remixes, fan games using its assets, etc. that we have now.

29. Phoenix Wright: Ace Attorney - OBJECTION! While I cherish the entire original Phoenix Wright trilogy of the Ace Attorney franchise, I’ll always be the most partial to the original outing. The sheer audacity and hilarity of the concept, which is grounded by endearing characters and compelling mysteries, shines brilliantly in this little, easily accessible game. 

28. Trigger Happy Havoc: Danganronpa - While similar in many ways to Ace Attorney, Danganronpa boasts a variety of more actual gameplay than mere point-and-click text scrolling. But what really makes this stand out, beyond gameplay or even the strength of its concept, story and characters, is the atmosphere it creates. For good and for ill, traversing the pristine, neon-lit hallways of the abandoned Hopes Peak Academy looking for clues as I’m forced to play by Monokuma’s twisted rules is an experience that will stay with me forever.

27. Star Fox 64 - Beyond all the entertainment this game provides through memes, it’s really just a fun, reasonably simple but just moderately complicated enough game that’s accessible to any player even if they usually don’t go for aerial shooters. It’s also one of the earliest console games that I ever played, so of course it’s going to hold a special place in my heart.

26. Batman: Arkham City - It’s an impressive feat when an open world game can still feel so claustrophobic in all the right ways, and that’s what Arkham City accomplishes. This game is essentially The Dark Knight to Arkham Asylum’s Batman Begins, escalating the action, suspense and sheer Batman-ness, providing unlimited opportunities to enjoy yourself playing as Gotham’s defender and facing down the greatest Rogues Gallery in comic book history.

25. Red Dead Redemption - Look, I know that Red Dead Redemption 2 is technically the superior game. But its complicated story, sprawling cast of characters, and vast canvas of a world can be pretty daunting, whereas I feel like the original Red Dead Redemption struck a much better balance. Allowing open world freedom within the confines of the straight-forward story of John Marston’s redemption really makes you feel like you’re in an old Western film, and the way that choices you make as a player impact the way that film ultimately turns out is one of the strongest arguments for video games being worthy of consideration as true art.

24. The Elder Scrolls V: Skyrim - So, ten years ago an open world adventure video game series releases its fifth entry...and to this day, we’ve had no sixth, in favor of expansions and updated re-releases of said fifth entry. But that’s not a sign of laziness; it’s a sign the developers know they hit such a peak in quality that they have no need to rush anything further out the gate, as Skyrim is a gift that keeps on giving. Addictive in how unlimited in possibilities it is, with each playthrough never being the same as the one before, Skyrim is a gaming masterpiece that I don’t think I’m going to get bored with playing anytime soon.

23. Super Paper Mario - This may be an unpopular opinion, but I vastly prefer this game’s action-platform-RPG hybrid gameplay style to the prior installments’ traditional turn-based RPG style, which feels more at home in stuff like Super Mario RPG and the Mario & Luigi series. But gameplay aside, I think this has the strongest story of any Mario game, trading in the usual “save the kingdom/princess” fare for saving all of reality, with legitimate emotion and drama and even character development. It’s one of the Wii’s shining gems, to be sure.

22. Epic Mickey - This game’s graphics are by and large unremarkable, its gameplay is fraught with issues (that camera is unforgivable), and it’s nowhere close to the best on its system or genre. But Epic Mickey is a case study in where the effort put into crafting the game’s world and story, not to mention the obvious love and respect for the material being worked with, pays off. Any Disney fan will love this game for its story, which puts Mickey front and center as an actual character rather than a mascot and dives deep into his history as he meets his “half-brother” Oswald the Lucky Rabbit, and its mystical, unique atmosphere - what the graphics can’t deliver, the fucking music more than makes up for. All of the game’s flaws mean nothing compared to the sheer heart on display, and I treasure it greatly as a result.

21. Batman: Arkham Asylum - I already mentioned that Arkham City is the superior game, but as was the case with Red Dead Redemption and its sequel, personal preference strikes again. The simpler story and narrower confines of Arkham Asylum just appeal to me slightly more, and I feel like the borderline horror atmosphere this game has could never fully be replicated by all of its sequels and spin-offs. Also, you can play as the Joker in this. WIN.

20. Metal Gear Solid - And on the subject of Arkham Asylum, it owes much to this game, which created the template of a lone badass hero having to use stealth and weaponry to liberate a government-owned island from the lunatic terrorists that have taken over. Hideo Kojima famously never wanted this game to have any sequels, and I can definitely see his point, as it’s a complete and wholly satisfying experience in of itself and I don’t feel like it’s ever been topped. At the very least, it’s certainly the most enjoyable of the series to me.

19. The Legend of Zelda: Majora's Mask - Also, speaking of “borderline horror atmosphere”, we have the freakiest game that the Legend of Zelda series ever put out. What was supposed to just be a gaiden to Ocarina of Time mutated into this beautiful monstrosity that’s become just as iconic. Nobody who plays this game is ever going to forget that fucking moon and all the constant jumping back and forth in time across three days as you try to prevent the apocalypse of Termina. It’s the kind of gaming trauma that’s well worth experiencing.

18. Kingdom Hearts: Chain of Memories - Like Majora’s Mask, this game is a case study where you can take a bunch of recycled assets and gameplay, and then make something unique from it if you have a well-crafted story with a dark and disturbing atmosphere. It’s hard to experience or appreciate the transition between Kingdom Hearts and Kingdom Hearts II without playing this midquel, which takes the narrative and characters to deeper levels without being pretentious about it and sets the stage for the proper console sequel perfectly. And if you can’t get into it being on Gameboy Advance, then just play the PS2 remake (which is arguably the superior version anyway) and you’re good! Just...don’t mind the cards, OK?

17. Sonic CD - And now we have another game about jumping back and forth through time to prevent an apocalypse! See the common threads at play here by this point? Sonic the Hedgehog is at his best in 2D gameplay, and I personally enjoy this the best out of all the 2D games in the series. As obscure as the Sega CD was as a system, it was powerful enough to take the blue blur’s speed to its maximum level, set alongside beautiful graphics and a kick-ass soundtrack (well, two different kick-ass soundtracks; and I actually prefer the US one). 

16. Pokemon Black & White - While there were advancements made to story and graphics and gameplay features in the third and fourth generations of the Pokemon series, nothing felt as truly ground-breaking as the second generation games until the fifth gen with its Black & White games. This was arguably the game series’ peak in quality on all fronts, but its specifically the story that lands it on this list, as its well-written and paced, subverts many formulaic elements from the previous games, is set in one of the most unique regions in the Pokemon world, and has a timeless message that has only grown more relevant with age. 

15. Super Smash Bros. Ultimate - The whole series could really go here, but fortunately the most recent entry is the perfect embodiment of said series, with every playable character there’s ever been and then some. The sheer variety is unmatched by any other fighting game out there, and its story mode, “World of Light”, is quite possibly the greatest video game crossover in history given how many characters are featured as both fighters and spirits.

14. Super Mario 64 - I’m pretty sure this game used to be higher in my favor, but replaying it on the Nintendo Switch recently has made me aware of how, as the first game on the Nintendo 64 and the first 3D platformer, it’s poorly aged in several areas. However, I must stress that it is still a very good game. The fun of going to the various worlds within paintings in Peach’s Castle hasn’t changed, nor has how smoothly and seamlessly Mario managed to make the jump from 2D to 3D. Just like Super Mario Bros., the number of games that owe something to this one is too great to count, and that’s an achievement that remains timeless.

13. Dark Chronicle - Also known as Dark Cloud 2. I hadn’t heard a damn thing about this game before renting it on a whim many years ago, and I was caught off guard by just how good it was. It’s got a simple but effective story and likable characters, a timeless atmosphere, beautifully cel-shaded graphics, dungeon-crawling gameplay, action-RPG combat gameplay, literal world-building gameplay, and even a fishing minigame! This game can actually stand besides the Zelda series without shame; it’s truly an underrated gem.

12. The Legend of Zelda: Twilight Princess - Oh, speaking of Zelda, this game goes full Lord of the Rings-style epic fantasy with it and it is glorious. Between the near perfect gameplay, beautiful 3D graphics, and one of the best stories in the series (with one of the best characters: Midna), Twilight Princess’ most prevalent complaint from critics all the way up to its own developers is that it wasn’t even MORE expansive and awesome given how long it was hyped, and if that’s the biggest issue with the game then I’d say it’s in pretty good shape.

11. Super Mario Galaxy - Super Mario 64 may be held back a little by how its aged, but no such thing is holding back Super Mario Galaxy. Super Mario Odyssey might be as good or possibly even better, but I just don’t hold the same feelings of amazement and respect toward it that I do for this game. From the blitzkrieg-style attack on the Mushroom Kingdom by Bowser to the discovery of Rosalina’s space station, this game had me hooked from the first few minutes, especially with it blaring that awesome orchestral score the whole way through. To this day, I maintain that this is Mario’s greatest 3D adventure. It’s simply magnificent.

10. Final Fantasy X - Ha! See what I did there? This game has caught flak for some of the awkwardness that comes from being the first fully 3D entry in the series, but I think that’s tantamount to nitpicking when compared to all it does right. To me, this was the last really good installment of the main Final Fantasy series, with a story and world so brilliantly developed that the game earned the immediate breakthrough success and acclaim that it found in its native Japan. 20 years later and, as the HD remaster has shown, it still holds up as one of the most engaging JRPG experiences I’ve ever had the pleasure of having.

9. Banjo-Kazooie - At the time, this was basically Rare’s copycat version of Super Mario 64, although considered about as good. Now, however, there’s a difference: the aging issues I mentioned for Super Mario 64 don’t apply for Banjo-Kazooie. Whether replaying it on the Nintendo 64 or on whichever Xbox you’ve got, this game is still just as fun, imaginative and hilarious now as it was back then. It’s quite possibly the greatest 3D platformer ever made.

8. Pokemon Crystal - The definitive edition of the Gold & Silver games of Pokemon’s second generation, taking what was already a phenomenal advancement and improvement to the first generation and making it even better with additional features such as the ability to play as a girl for the first time and a more clearly defined storyline centered around the legendary Pokemon featured on the game’s box art. Pokemon had been written off as just a passing fad up until this point. This was when its staying power as a video game juggernaut was proven.

7. The Legend of Zelda: Breath of the Wild - Talk about a win right out of the gate for the Nintendo Switch! This game returns the Legend of Zelda series to its roots while also applying all that has been made possible in video games since the original game’s release, and the result is an enthralling, addictive, open world masterpiece that has set a new standard of quality for both the Zelda series and for many modern video games in general.

6. Kingdom Hearts II - The Final Mix edition to be precise, although in this day and age that’s basically the only edition people are playing anyway. This game is the apotheosis of Kingdom Hearts as both a video game series and as a concept; filled to the brim with Disney magic and Square Enix RPG expertise and paired with some of the most refined action-based gameplay there is. And when it comes to bringing the original Kingdom Hearts trilogy’s story to a close, does this game ever stick the landing. The series could have ended right here and I would have been completely satisfied (and its reputation would be a lot better off, too!)

5. Pokemon Yellow - While I maintain that this game, the definitive edition of the original first generation Pokemon games, still holds up as fun to play even now, I’ll admit that it’s pure bias that it ranks so high. It was the first proper video game I ever played, there was no way I was leaving it off the top 5! Its blissful nostalgic atmosphere is always such a delight to return to.

4. Banjo-Tooie - Remember when I said Banjo-Kazooie was “quite possibly the greatest 3D platformer ever made”? The “quite possibly” is because its in stiff competition with its own sequel! And personally, I’m in Banjo-Tooie’s corner; something about how inter-connected its worlds are and the addition of so many things to do all while maintaining your full moveset from the original game is just beautiful to me. Both it and its predecessor are like obstacle courses that I never tire of running through, which is the hallmark of brilliant game design.

3. Kingdom Hearts - Another case where the sequel may be the superior game, but my own personal preference leans toward the original. And in this case, it’s a highly personal preference: this game and my memories of playing it for the first time are so very dear to me. The characters and worlds of Disney put into an epic crossover RPG was like a dream come true for me and no matter how far the series it spawned has deteriorated, nothing can detract from the magic of this game. It’s got a certain, indescribable feel and atmosphere that’s never truly been replicated, and that feel and atmosphere still holds up whenever I revisit it. The gameplay may not be the best, particularly when compared to Kingdom Hearts II’s, but the charm of the story and the characters and the world and the very concept more than makes up for that. As far as I’m concerned, it’s one of Disney and Square’s greatest masterpieces.

2. Final Fantasy VII - I was aware of the hype this game got and was totally ready to call it overrated, but damn it, it got me! I don’t know what it is about this game with its blocky early 3D graphics, poor sound quality to its excellent soundtrack, and frequently mistranslated script that proved to be so gripping and enjoyable to play through, but man did it ever Limit Break its way into my heart. This is considered a JRPG classic for a damn good reason.

1. The Legend of Zelda: Ocarina of Time - Do I really need to explain this one? It’s famous for being frequently cited as one of the greatest video games ever made, and like Final Fantasy VII, its hype is well-deserved and totally justified. Whether you’re playing it on the Nintendo 64, the Gamecube, the Wii, the 3DS, and hopefully the Nintendo Switch in the future, there is a magic quality to this game that permeates through every step you take in its fully 3D world. It’s a triumph that has stood the test of time, cementing the Zelda series as truly legendary.

[nileqt87]

More thoughts on how to resurrect the Indiana Jones franchise post-Harrison Ford

Perhaps a proper, modern television show would be a good way to bring back a younger, but adult Indy (with perhaps flashbacks littered throughout). You can also get away with a lot more content (definitely aim for TV-14) and characters who are allowed to be flawed. Relationship dramas are serialized storytelling's forte in a way that is disappearing more and more from blockbuster films. Complicated characters are better left to television, as the audience expects and allows for it because of the nuance and depth the serialization affords. The complicated, messy story of Abner and Marion is a story best left to being explored only after the characters have some real complexity and development. It also wouldn't be forced to play to the mass audience of under-13s that makes modern PG-13 often meaningless. In comparison, TV-14 actually pushes up harder against its limits regularly--not just violence, but also with innuendo and sexuality minus nudity. The amount of historical-style, pulpy violence, not to mention potentially comically gruesome deaths, in Indy would also necessitate the rating. Indiana Jones might be niche enough at this point with an audience veering towards adults who grew up with it (Gen-X and the older end of Gen-Y), while Gen-Z has little awareness of it, that Disney wouldn't be forced to make it a total kiddie property. It's not the same situation as back in the early '90s with Young Indy being aimed at older kids who had recently seen Last Crusade in the theater. They could reboot it for television with a young adult Indy who potentially could grow into a fully adult version. And I wouldn't try too hard to not step on the trilogy's toes with the timeline. Just let it live in its own developing continuity.

Use of long-running supporting cast (parents, Remy and returning guest stars aside) would also be a big difference from Young Indy. Characters like Belloq (could potentially go from friend to antagonist, akin to how Smallville handled Lex), Sallah, Henry, Brody, Abner, Marion, etc... could actually be around a lot more than just for an adventure here or there. These are all characters Indy had clearly known for years. Actually put the show into a seasonal, serialized format that isn't a new cast every episode. You could also stick around in locations a lot longer this way, which would help with budget.

Another thought I've had since watching an absolute ton of fantasy/sci-fi dramas in the last few years is that the influence of Indiana Jones is actually pretty apparent in a number of pretty famous characters, sometimes overtly and sometimes a bit more subtly. Harrison, Indy or Raiders in general are outright name-checked in quite a few places, often by scrappy action hero types who tend to take hard beatings (the kinds of characters who should've died a hundred times over) while in situations they're way over their heads in or literally impossible odds they can't win. Like Indy, the intended prize isn't won at the end and, outside of a few gruesome baddie deaths, the shady, corrupt or evil barely get a dent. Fox Mulder and Dean Winchester are two characters who name-check the comparison overtly and you can see the writers and actors both having the influence in mind. It's obviously a male fantasy, too. The influence on The X-Files and Supernatural is definitely there. Supernatural is chock full of biblical MacGuffins (not to mention having angels and demons as most of its recurring supporting cast), so it would be a hard comparison to avoid. Raiders came up in the WWII Nazi submarine episode with a piece of the Ark onboard (it's subsequently a show to raid for Indy ideas, because they pretty much mined everything biblical), for example. The X-Files likewise was dealing with shady government officials and pretty blatantly copied the huge warehouse of government secrets loaded with alien relics (and then repeated the Cigarette Smoking Man's warehouse reveal with the tunnel of filing cabinets stretching on forever). Mulder was also very much a one-man army a lot of the time when it came to the alien conspiracy (no offense to Scully). Moments like him climbing/riding the tops of sky rides, trains and escaping the spaceship were total Indy-esque moments. Sam and Dean had literal God-tier levels of plot armor keeping them alive (repeated resurrections included). Angel is another one that, unlike Mulder and the Winchesters being very human, is a supernatural character (subsequently his level of pain tolerance and durability is at the level of regular impalement, defenestration out of skyscrapers and being set on fire), but the comparison still holds because of how often he's getting decimated and fighting forces way beyond his pay grade. Wolfram & Hart, the Shanshu and seeking redemption with the Powers that Be, like the mytharc conspiracy/alien takeover and literal God a.k.a. Chuck, is another endless, unwinnable fight that is so far beyond all the protagonists that there's no win/happily ever after and they'd be lucky just walking away from it with nothing. Angel also name-checks Indy with a blatantly Indy-inspired fantasy dream episode (Awakening in season 4) with Angelus making a crack about the Raiders fantasy. George Lucas actually visited the Angel set back in 2000 and was interested in how they were making mini movies every week and doing some pretty huge stunts on television. David Boreanaz had lunch with Lucas and has talked about it a few times over the many years. I mean, these are all shows starring action-oriented leading men and writing staffs of relatively similar age. Mostly Gen-X males with a few Baby Boomers (more so on the writing staff) with an audience that's primarily Gen-Y but appealing to a pretty broad age range (and probably a lot more female than originally intended!). Star Wars, Indiana Jones and Harrison Ford films in general were very formative to that generation. Harrison Ford is the ultimate leading man action star to a certain generation. Gen-Y got their familiarity with all of that by being the original home video/VHS generation and subsequently a lot more familiar with retro media (including things that were made before they were born or around that time) than Gen-Z. '80s movies have a lot of currency and familiarity still with Gen-Y, even if Baby Boomers were the stars of them and Gen-X were the ones who saw them in theaters. Gen-Y fangirls absolutely dominate the fandoms of many iconic television supernatural/sci-fi franchises (many are admittedly aging franchises). The WB/CW have catered to this group of fans for the last two and a half decades. If you're going to be reviving the character as a mid-20s-to-30s version (if the show lasts long enough, it probably will be stepping on the trilogy's toes timeline-wise by the end), I'd absolutely be aiming for this same audience and their tastes. They're also the audience who would be most receptive to and familiar with the character, IMO. If I were going to reinvent Indiana Jones for the television landscape, I would definitely be looking at those sorts of shows that have influence from the character already in their DNA. I think for the target audience, they'd definitely need to be aiming it at the same fanbases. Young Indy mostly tried to avoid stepping on Raiders' toes (despite Temple of Doom and Mask of Evil already making it ludicrous) by limiting the amount of supernatural elements, but I think a show would have to go all in on it. Indy would have to be transformed a bit in regards to trying to line him up with a character who would still be skeptical after all he's seen. Young Indy ended up forced into being a straight period drama with educational elements, which is very counter to what the audience wanted. There are things to keep from that approach (meeting historical persons, being a WWI veteran and witnessing history could absolutely be mined as backdrops to the stories), but the supernatural elements would have to exist in a revival now to get the audience who I think would be most receptive to it. While I would aim for a serialized drama format that would mean the globetrotting wouldn't have to completely change locations every episode (have it instead in arcs with some bigger MacGuffins and baddies perhaps crossing entire seasons), it's true that there would probably have to be more location filming than good, ol' Vancouver, but Disney is one of the few who could afford it (though Covid certainly would throw a wrench in it and political situations could potentially kill off certain locations). There's only so much green screen that Indy could get away with, though I imagine that a fair amount of it would have to be used for period piece reasons alone. There are a lot of modern intrusions even in historically-intact cities (Eastern Europe comes to mind as having a lot of its architecture intact and is affordable to film in) and around iconic landscapes to paint out. But at its core, it probably would need to bulk up its focus on the relationship dramas. Indy tends to have a girl at every port and to a degree you would introduce some of these love interests, but there's still a lot of relationships of every kind that could be developed and serialized. Certainly throw in a few femme fatales and tragic losses, given the Smallville-esque situation of there being an inevitable Indy/Marion endgame that should be kept--it thus becomes about the journey when it's a set conclusion. Absolutely have a strong recurring cast of Henry and friends new and old. The films actually have a lot of characters that Indy didn't just meet yesterday and could be developed to a huge extent. For a show to work now, there'd have to be a lot more connectivity to how often the recurring cast appear. Young Indy had a lot more of an anthology format with little chance of us getting attached to most of the revolving cast outside of a very tiny few. That's the biggest thing I'd change. You need characters to become regulars beyond just Indy if it were revived for modern cinematic television (the true successor to the film serials of the '30s!) in a way that isn't necessary for film installments.

[ariainstars]

Star Wars, the Last 20 Years or Can We Please Try to Stop the Blame Train?

I would like to touch a subject that’s starting to grate on my nerves a little.

Anyone here knows that I disliked The Rise of Skywalker heartily. And I’m not the only person here or elsewhere who tore it to shreds. But I am reading (again) over and over why and how JJ Abrams, Chris Terrio, Kathleen Kennedy and Co. made this mess. Instead of searching for culprits, this time I would like to point out a few things.

I. Star Wars Prequels

Jake Lloyd, Ahmed Best and Hayden Christensen had to endure awful harassment in their time: the audience largely vented their frustration on them because when the prequels hit theatres, they did not get the Star Wars they had wanted. Politics are a dry subject, and young Anakin and the Jedi Council were all too human to be liked by fans who expect coolness in a hero more than everything else; which is probably why Darth Maul is a huge favorite although we hardly learn anything about him and he says almost nothing. Ditto Obi-Wan although he is clearly not suited to train Anakin and it’s him who maims him and leaves him to burn in the lava. (Until I saw the film, I had always assumed Palpatine had tortured Anakin to push him to the Dark Side.) 

The prequels’ messages in general were not liked: the Jedi were not perfectly wise and cool wizards, the Old Republic was stagnant, Anakin was a hot-headed, frustrated young man desperate to save his wife and unborn children. The films do not want to excuse what he did; however they portray him not as a monster but as a human being who was under an almost unendurable pressure for years and years until he finally snapped.

These messages may not be “cool”, but they were realistic and most of all, humane. Portraying the Jedi as well as Anakin as powerful, flawless heroes and the old Republic as a just, prosperous and balanced place would have meant undermining a central theme of the original trilogy: the former generation could not have been all that powerful and wise, else the collapse of their world and the failure of their convictions would not have happened in the first place. It is a sore point, but still twenty years later Obi-Wan and Yoda denied that Vader was human and expected Luke to commit patricide. 

All of this goes to show that the Jedi’s moral standard was flawed and their attitude not rooted in compassion and pacifism the way they claimed. In the end, what they cared about was winning, no matter the cost. In this, they were no better than the Sith.

~~~more under the cut~~~

II. Star Wars Sequels

J.J. Abrams, Kathleen Kennedy, Bob Iger and company were the ones who introduced the Star Wars sequel trilogy and with it its themes, characters, setting etc. to us in the first place: I think we should give them credit where it’s due. Rian Johnson made a very beautiful second chapter with The Last Jedi, but he did pick up where the others had left. 

Kelly Marie Tran made experiences similar to Jake Lloyds or Hayden Christensen’s when The Last Jedi was hit theatres. She was disliked for not being “Star-Wars-y” enough, chubby and lively instead of wiry and spitfire, and also taking a lot of screen time while many fans were impatiently waiting for some grand scenes from Luke and / or Leia. 

That Episode VIII, the central and most important one, was called “The Last Jedi” cannot be overstated. Luke was literally alone with the heavy task of rebuilding a religious order that was gone and destroyed long before he even learned about it, and at the same time he had to patch together his own family and atone for his father’s sins. This is a crushing burden for anyone to carry. It was important both for Rey and for the audience to meet Luke to see that he was a good man, but still just a man.

When Luke spoke openly to Rey about the failure of the Jedi Order, it was the first time he ever spoke about it that we know of; this wisdom he obviously acquired only after his nephew’s fall to the Dark Side. Luke has understood that the ways of the Jedi were wrong; but he does not know a better alternative. Force users are still born all over the galaxy, and they have to learn to use their powers - only how? Again, Luke is not to blame. How is he to know, when the Jedi of the Old Republic had lost sight of Balance in the Force for so long that they didn’t know what it actually meant anymore? 

Same goes for Leia, the princess without a realm, who tried to rebuild the Republic after the galaxy had been terrorized by the Empire and devastated by war for many years. She assuredly did her best, but she was only human. That she failed her son is of course shocking, but after the horror she had to endure at the hands of her own father it is not surprising that she would be terrified of her son possibly going the same way. Ben, like Anakin, was crushed under a legacy and responsibility that was by far too heavy for him. The tragedy of his life and the disruption - and in the end, obliteration - of his family was another proof for the failure of the ways of the Jedi. 

All of these lessons until now were not learned from. But let’s be honest: how many of us come from dysfunctional families? If we do, was getting away from them enough to heal the wounds of the past? Did we find out what to give our children on their way in life, or did we fail them because we had not elaborated the past enough to make way for a better future? Such problems are very common, and to heal them is complicated and takes time. A “happy ending” e.g. in form of finding a new family is not enough, on the contrary, it can lead to wanting to leave the past behind, leaving wounds unhealed that will fester their way through our lives again, sooner or later. Star Wars always was an allegory of the human mind, even if deeply cloaked in symbolism. The saga also abundantly takes inspiration from the Bible, and I think it’s not coincidentally said there that the sins of the fathers are visited upon the children. 

As fans, we would have wanted to see films that cemented the Jedi as guardians of the galaxy, with the Skywalker family right at the center. Which in itself is impossible because Jedi are supposed to remain unattached, making the mere idea of a Jedi having a family absurd. If the prequels told us that the Jedi were flawed, the sequels tore down the myth of the Skywalker family. And both trilogies showed that you can’t be a Skywalker and / or a Jedi / Force user and have attachments and a happy family of your own at the same time. At least, not until now. 

 III. Film production

Many fans of old complained because the sequel trilogy implied that the “happy ending” of the original trilogy’s heroes had not been so happy after all and that after having made peace for the galaxy, they had failed to keep it that way. Other viewers however liked the new trilogy and new characters right away and began to root for them. But they, too, jumped on the blame train when the trilogy had ended: expectations were not met, and now director, producers, script writers, cutters etc. are faulted all over again.

The first person coming up with the idea of Han’s and Leia’s only child turning to the Dark Side was Lucas himself. It always was a main theme of the saga that war separates people who actually belong together, like family, couples or close friends; that is not played for mere drama, but because it emphasizes the absurdity of war.

We as the audience do not know how production went - it is very possible that Lucas approved the general storyline, and there is always a whole team on board. It is not easy to purchase such a large and immensely popular franchise; it was to be expected that if things went not the way the audience expected, the Disney studios would be blamed harshly for having “ruined Star Wars”. With the prequels, at least Lucas was still at the helm; it was conceded that maybe he had lost his magic touch with storytelling, but certainly not that he was trying deliberately to ruin his own creation. And the fans who could not praise the Disney studios enough after The Last Jedi came out, now blame them over and over.

The Disney studios have long-term politics to consider and contracts to observe, and we don’t know their contents. We have every right to be disappointed, but I think it’s not fair to blame one or a particular group of persons who are trying their best to satisfy as many viewers as possible. If they simply wanted to satisfy the average dudebro who sees nothing but clichés, two-dimensional characters and Good against Evil - then why did they allow The Last Jedi to be produced in the first place? The studios obviously are aware that there are fans out there who are ready to look deeper in the saga’s themes, who wish to see the Force coming to Balance, who value family, friendship and love over “victory at any cost”, and who do not place the Jedi on some kind of pedestal.

In a sense, The Rise of Skywalker seems like a bow before The Last Jedi: the weakest chapter of the saga followed one of its strongest. Maybe the authors were aware that equaling or even topping what Rian Johnson had created would be next to impossible, so they patched up the open threads of The Force Awakens together with some fan service hoping to be out of the business as quickly as possible.

In retrospect, the infamous podcast with Charles Soule might also be tell-tale: Soule obviously is not elbows-deep in the saga and largely ignores its subtext. Since his The Rise of Kylo Ren comics are quite well-made, I assume that the general storyline did not stem from his own creativity and that he only carried out what he had been advised to do. The production of the whole sequel trilogy may have happened in a similar way. I am not excusing the poor choices of The Rise of Skywalker; merely considering that one or a few persons cannot be blamed in a studio that has thousands of creative minds on board.

I am still hoping for the next trilogy to finally bring Balance to the galaxy, and also into the fandom. Rian Johnson had negotiated the rights for the next trilogy along with The Last Jedi; I assume it is very possible that there was a clause about intellectual property saying that only he would continue Episode VIII’s topics, nobody else. This would at least be an explanation, given the embarrassing, jumbled mess that Episode IX was.

The overall title of the saga assuredly never wanted to inspire the audience to start online wars attacking the studios or the actors or other fans out of the conviction of being entitled to blame someone else’s worldview. The saga’s message is compassion. Both George Lucas and the Disney studios are telling us their story; the idea and the rights do not belong to us. Harping on “whose fault” it allegedly is won’t bring us anywhere; what we can do is make the studios understand that we’re not too stupid not to understand the subtext, the symbolism and metaphysics of the saga beyond the action story. If they listened to the Last Jedi haters, in all fairness they are bound to listen to us, too. 😊

  IV. Will Ben’s story continue?

My husband already warned me years ago that Ben most probably wouldn’t survive, or at least not get a happy ending. As Kylo Ren he had already been the head of a criminal organization for six years at the start of The Force Awakens, but all of that perhaps could still have been condoned within the scope of war. It was the very personal and intentional act of patricide, the killing of an unarmed, forgiving man, who turned him into a damned person. And after the deed, Ben was aware of it. He knew there was no way out for him, he had gone too far.

Many members of the audience did not understand that Kylo / Ben is not an out-and-out villain and that this narrative ultimately was about his redemption. Bringing him back to the Resistance after the Exegol battle alive and by Rey’s side would not have been accepted; how was Rey to explain everything when she hardly understood it herself? How would the audience have reacted to the former head of a criminal organization, a patricide, suddenly standing out as a hero? Remember how in Return of the Jedi Luke asked Vader to come away with him. Now suppose Vader had complied? It would have seemed (and been) sheer madness. Nobody would have believed neither father nor son that the terror of the galaxy had had a sudden turn of heart. Nobody knew that he was Luke’s father; Luke himself did not know Anakin’s backstory; nobody knew what had transpired between Luke and Vader so far. Yes, Ben was young and healthy, but he still had terrorized the galaxy for years and killed his own father. He knew himself that he was damned and could not go back to normality, as Vader did.

Rey was coded as the heroine: narratively, the sequel trilogy was her story. Ben couldn’t become the hero, with or without her, at the very last moment. She usurped power like her grandfather in his time, the Skywalker family was obliterated the way the Jedi were, she takes over another mantle (Skywalker) the way Palpatine did (becoming the Emperor). Balance in the Force never was truly in the cards, it was only vaguely hinted at in The Last Jedi by the Force mosaic in the Ahch-To temple. Balance is a complex and difficult subject; it would have been extremely difficult to develop it in the sequel trilogy together with introducing the new characters and giving the old ones closure.

However: if Ben is brought back in the next trilogy, his sacrifice for Rey will have been his atonement. If his role this time is not that of the villain but of the hero, it would reverse Anakin’s path and make clear that he no longer is the same man. Vader was redeemed, not rehabilitated. His grandson might still have the chance to go that way.

- Luke had promised Rey a third lesson, and it happened. He also had promised Ben to “see him around”, which has not taken place yet.

- On Tatooine, Rey watches the twin suns setting, same as Luke before he met the other half of his soul (his twin sister) again.

- The studios had said that the sequels would be “very much like the prequels”; the prequels were a tragedy where the Dark Side (Palpatine) won that was followed by a fairy tale where the Light Side won.

- The Skywalker saga is closed, so if Ben comes back it would be justified by his being a Solo, i.e. the story of his own family and not his grandfather’s.

- Given the parallels with Beauty and the Beast, the Beast died before the broken spell brought him back, making him a wholly new person - his past identity, purged and redeemed.

- George Lucas repeatedly said that the prequels and the classics belong together as one narrative, with Anakin Skywalker at its center. First news of the next trilogy came up with The Last Jedi. Since there are strong parallels between Ben and his grandfather, we may assume that this six-chapter instalment will be his; Anakin also was left for dead but came back with a wholly different role and name.

- When Anakin was reborn as Darth Vader, he “rose” slowly from the ground, clad in his black armor. Ben fell to the ground abruptly and shed his black clothes, disappearing. This could be another clue. (It was also already speculated that Leia’s body dissolved exactly in this moment because she gave her life-force to her son for him to have another chance to live. Both Han and Luke had done what they could to atone for their remorse towards Ben; this might be her turn.)

- Much as I love Luke Skywalker, I can understand that Lucas did not see him as the saga’s protagonist. The overall arch is not so much about Luke’s heroism than about Anakin’s redemption and atonement. It is unusual because we expect the story’s “hero” to be the one who kills the Bad Guy; and indeed Anakin is, because he kills Palpatine in the end, the twist being that technically he is also a villain though not the archvillain.

- Ben had promised Anakin he would finish what he started. Anakin had been meant to bring Balance to the Force, and he had started a family. Until now, Ben did neither.

- If Ben and Rey are a dyad, i.e. one soul in two bodies, then Rey is in urgent need of her soulmate for her future tasks. She has her friends of course, but none of them gets her the way he did.

So, I still see reason to hope for a continuation, and, hopefully, satisfying conclusion of The Last Jedi’s themes.

  Film production: on a side note…

In the Nineties, Kirk Wise and Gary Trousdale were the directors both of Beauty and the Beast and Atlantis: two more different stories are hardly imaginable with regard to everything - drawing style, setting, characters, development, music etc. This outcome can’t have been only due to the director’s choices, there must have been a wholly different idea behind both films right from the beginning. Just saying.

[sw-daydreamer]

More fan reactions!

SOURCE: tvsourcemagazine.com/2019/12/the-rise-of-skywalker-roundtable/

First Impressions of the movie?

Cam: Honestly, the first thought that kept repeating in my head as I continued watching the movie was “Who greenlight this?”. Too many hours spent on pointless plot points, bad dialogue, character regression and a clear intent to take digs at the previous movie.

April: The first time I saw the film I found it largely enjoyable. It reminded me of “old school” Star Wars films, which fits with J.J.’s nerdy love for the original films. However, there were glaring issues, largely that, in an effort to make every fan group happy, J.J. created a film where every fan group instead found something to nitpick. He bent to the will of the racist fans from “The Last Jedi” and shrunk Kelly Marie Tran’s role to nothing, he created women out of thin air (Jannah and Zorrie) to stand as helpmates to the men around them, just to name a few things. But as an end to Luke Skywalker’s story, it’s acceptable.

Anika: Thanks to spoilers, which I actively sought, I already knew what to expect. While I didn’t hate the movie in it’s entirety, my dissatisfaction with it made it the only Star Wars movie that I am quite happy seeing just once. So much of it just felt cobbled together and didn’t make any sense. It felt like the writers were trying to please every Star Wars fan base with this film, but never quite managed that feat.

Logan: As the credits rolled I thought, “Well, I enjoyed a majority of that movie until the end.” Originally, I said I enjoyed about 80% of the movie but the 20% I didn’t like were huge plot points. After thinking about the movie for a week, I’d say my percentage of enjoyment has majorly decreased.

Maggie: Unfortunately, I was entirely spoiled by Reddit and Burger King by the time I sat down to watch The Rise of Skywalker opening night. I mostly felt dread throughout the entire film and struggled to even enjoy the enjoyable moments. I think “fever dream” is the best way to summarize my first impressions.

Jenna: Like most people, I was spoiled by Reddit leaks that none of us could have ever anticipated being true. Sadly, they were. Although I knew what was going to happen, I still tried to go in with an open mind. While I did enjoy some of the movie, those feelings were unfortunately overshadowed by my intense dislike of the major plot holes and the poor messages this movie conveyed.  

Heather: My first impressions were from Reddit Spoilers months ago because I am a known Spoiler Whore (I don’t like surprises) so if we’re going from the leaks my first impression was, “There’s no way this is true. It’s so stupid. Most of this doesn’t even make sense. Nah. I’ll wait for the LA premiere and the real leaks.” Little did I know.

When did you become a fan of Star Wars?

Cam: I have first watched Star Wars when in 1999 (Phantom Menace), then I watched the rest of them in 2015. But I only became a fan on 2017 when I watched The Last Jedi.

April: I was introduced to Star Wars when I was 7 years old. My cousin, 10 years my senior, had been tasked with babysitting me for the night and, in her desire to keep me quiet and happy she did what most teens would and plopped me in front of a VHS tape playing ‘A New Hope’. Within moments of R2-D2 and C3PO showing up on the screen I was enthralled.

Anika: I was 11 years old when I first saw Star Wars. The story of Luke, Princess Leia, Han Solo and a galaxy far, far away was an immediate obsession for science-fiction/fantasy nerd girl me. A New Hope is my favorite childhood movie and the saga, along with Rogue One and Solo, continues to be my obsession. I cried when I saw the first trailer for TROS because the movies were a big part of my childhood and teen years and knowing this would be the last story ever told about the Skywalkers was an extremely emotional moment for me.

Logan: The better question is when wasn’t I a fan of Star Wars. I grew up with a brother who is 10 years older than me and he was small during the theatrical release of Empire and Return of the Jedi. I grew up watching them because he watched them and I immediately wanted to be a part of that world.

Maggie: My father took me to see The Phantom Menace opening weekend when I was six years old. Despite the devastation of losing Qui-Gon Jinn, Star Wars basically overtook my life from that moment forward. For twenty years I’ve collected Star Wars ephemera and read through nearly the entire library of the Extended Universe.

Jenna: When I was around 10 or 11, the first six episodes were playing on TV for about a week. I saw my step dad watching one of them and I was captivated by it as soon as I walked by. I asked him what order I should watch them in, and then I could be found that whole week in front of the TV watching them every time they came on. After that, I didn’t watch them for a long time, but my love for the franchise returned when The Last Jedi was in theaters.

Heather: Star Wars has been a part of my life in a mostly passing way since I was nine years old when I was brought to see one of the prequels in theaters. My aunt and uncle and I also watched the originals and prequels at various points when I was a teenager though admittedly my interest was fleeting at best. In January of 2016 that very same aunt and uncle were back in our hometown visiting from England and they wanted to go see The Force Awakens for their third time. I had absolutely no interest in going to go see it but I wanted the family time so I did and I’m glad I did because I walked out a huge fan. For all of the grief I now give JJ Abrams I will say that he set out to make TFA both for old fans and to create new fans and he succeeded in that.

What did you think of Rey’s journey in this movie?

Cam: A complete regression of whatever it was supposed to be. I can’t explain it in a different way. From the beginning Rey was alone, in a desert planet, begging to find her parents and a belonging. As the movies progressed she finally learned she had to continue her life, she couldn’t be stuck in that place forever, and that she could find other people who would love her, “the belonging you seek is ahead” and all. She realized she could be powerful and important just for being who she is on the Last Jedi. She didn’t need famous parents to matter.

On Rise of Skywalker they reverted all that, she did need famous parents indeed and she never should have had to learn how to move on from her pain and self doubt regarding them since they were always good people that had loved her. Despite her entire journey, the movie frames her ending as someone who was again alone and again on a desert planet (despite arguments that it didn’t mean she would be alone, when a movie ends in a certain note that’s what you want your audience to take from it). It’s just a terrible regression that didn’t care for all the things this character needed but that instead cared about online complaints regarding her surname.

April: Rey’s journey in this film felt, in many ways, unfinished. We’ve always known that the Star Wars Saga was ultimately Luke’s story, even as we had other protagonists in the prequel trilogy it was clear that we were watching the beginnings of Luke (Padme and Anakin wind up being his parents and we watch the birth of his ultimate foe, Darth Vader). Unfortunately, “The Rise of Skywalker” (and indeed the entire sequel trilogy) struggle with the idea of Rey being anything more than just the final piece of Luke Skywalker’s story. Perhaps this would have read better had Rey been a Skywalker (as was clearly J.J. Abram’s (director of “The Force Awakens” and “ The Rise of Skywalker) initial plan, but instead Rey doesn’t actually begin her journey until the moment she stares off into the sun on Tatooine as the music swells dramatically. While it’s not unusual for a story to end with the hero heading into a new adventure, for this to be the “end” of Rey’s story feels almost empty, because we never truly saw her beginning.

Anika: Where do I start with Rey’s journey in TROS? Quite honestly, except for Rey becoming the powerful Jedi we all knew she would be, I don’t think she had much of a journey. She wanted to know her place in all of this and she does learn it along with a few other truths, but her reaction to every thing she learns was virtually non-existent. Rey’s journey is the saddest part of this movie. She finds the belonging that she wanted, but she has lost a maternal and paternal figure, a mentor and her other half in the Force. Rey is at the end of it alone again. How is that a happy ending for her?

Logan: Trying to think through my opinion is making me realize she didn’t really have much of one in this film. She started a strong Jedi and ended a strong Jedi. She started out as part of The Resistance and ended as part of The Resistance. The only changes to her journey revolve around finding out her lineage, which didn’t change any part of who she is, and also loss. Loss of Leia. Loss of Ben. Isolating Rey’s journey leaves me sort of depressed. So, my thoughts are that I don’t like it.

Maggie: At the end of The Last Jedi Rey was posed to have an incredible final act, unfortunately The Rise of Skywalker ended up being a regressive ending to her story. Her journey is rushed, disjointed, and nonsensical in this film. We never get her reacting to the revelation that she’s Darth Sidious’ granddaughter, which is perhaps one of the worst mistakes this film commits. The main protagonist is presented with a life changing detail about her past and is denied the chance to react verbally to the revelation. Not only was the implementation lacking, but the reasoning behind her having to be related to someone felt unnecessary. If Palpatine had always been the endgame for the trilogy, he should’ve been alluded to in the previous two films.

Jenna: Not only did I think that Rey had no growth in this movie, but I would even go as far as to say she regressed. In The Force Awakens, Rey’s story began with her living in the desert alone and waiting for parents that would never come back to her. In The Rise of Skywalker, Rey’s story ended with her living in the desert alone and isolating herself from the friends and family she has come to know. At least, that’s how I interpreted it. The Last Jedi set this movie up to have Rey realize how special and loved she is regardless of who her parents were, but this idea was thrown aside in favor of making her special only because of her family name.

Heather: Hated. It. I loved the message of TLJ that you don’t have to come from a powerful bloodline to be special or important and it was completely re-written. You’re only special if you come from one of these two families. Sucks to suck for the rest of you.

What was your favorite part of the sequel trilogy?

Cam: Ben and Rey’s ever growing understanding and love for each other. And Kylo Ren/Ben Solo’s entire arc that showed his pull to the light and his pain regarding the darkness.

April: The chemistry between the new trio (Rey, Finn and Poe) is hands down my favorite aspect of the new trilogy. Oscar Issac, John Boyega and Daisy Ridley play excellently off of each other and their interactions are a joy to watch. One thing The Rise of Skywalker did tremendously well was highlight their relationship and it is my opinion that Rey is now happily touring the sky with her boyfriend (Finn) and his boyfriend (Poe).

Anika: It’s a tie between the Throne Room scene and the hand touch scene in the hut. In the scene where she touches Kylo’s hand, we get to see both their vulnerabilities. He’s admitting that what she is going through, her loneliness is how he feels, too, and she’s reassuring him that it’s never too late to change that. The Throne Room scene is the best one in the trilogy. It was perfection in it’s execution. They way moved in sync with each other, watched each other’s back and that heartbreaking end when he offers her his hand and she knows she cannot take it was beyond anything else I had seen.

Logan: Admiral Holdo lightspeeding through a Star Destroyer. Hands Down. For me, Holdo was one of the most memorable characters of the sequel trilogy and that moment was followed by an eerie silence in the theater that I will never forget. Aside from that is all the confirmation of Jedi Leia, the return of Han, Poe’s introduction in The Force Awakens, the glory of Rose Tico. There are many moments that I will remember for many Star Wars films to come.

Maggie: The Throne Room scene in The Last Jedi will remain my favorite part of this entire trilogy. The fight choreography is incredible and I felt like it was really a defining moment for both Rey and Ben. Watching them fight back-to-back was pretty amazing to see. Not to mention it’s some of Adam and Daisy’s best acting in the trilogy. So many emotions play out from the start to end of that scene. It’s flawless.

Jenna: The Throne Room scene in The Last Jedi, by far. Adam so clearly showcased the emotions passing through Ben’s mind when he decided to take down the man who had been abusing him his whole life. When Ben and Rey stood back-to-back to fight together after Ben ripped Anakin’s lightsaber through Snoke I could feel every cell in my body start to scream in excitement. It felt like such a pivotal moment in not only the movie, but the entire trilogy. Seeing a clip of Ben leaning forward so Rey could grab onto his thigh and balance herself on his back to kick one of the Praetorian Guard is actually what convinced me to watch the sequel trilogy.

Heather: Reylo. Kidding…mostly. I can’t deny that their chemistry and the thrill of a possible enemies to lovers/good girl & bad boy story was what made me originally interested in the first place but I think my favorite part was all of the fandom anticipation. Who would Rey be? Would Kylo turn back to the light? Would the Resistance survive? Would Leia keep her role as General? In between each movie fandom was always alive with theories and speculation and there’s a sort of magic and unity in that that I’ve always enjoyed.

What was your favorite part of TRoS?

Cam: Ben Solo being redeemed, as he should have. And all of the amazing scenes between him and Rey.

April: My favorite part of The Rise of Skywalker would have to be the reinforcement of the idea of “togetherness”. You see it, perhaps most clearly, in the moment when, wrapped up in his devastation about leading his forces once more into a hopeless battle, Poe hears Lando’s voice over the radio. When he pulls up and sees the crowd of ships full of “just people” to quote one First Order combatant, it’s such a powerful feeling. That same theme makes itself present again in Rey’s battle against Palpatines, when she is at her most defeated and we hear the voices of Obi-Wan, Anakin, Yoda, Luke, Ashoka and more, reminding her that she is not alone, because she is “all the Jedi”, it’s also repeated throughout the trio’s interactions, they even go so far as to use the word “together”. It’s a constant message in this film and it’s so necessary in our current time. It’s a reminder to each one and all of us that there are always “more of us” then those who would seek to keep us downtrodden and together, we can spark a true revolution.

Anika: Without a doubt, Han and Ben’s scene on the Death Star. Leia reached Ben, but it was his father’s love and forgiveness which truly made the difference. Ben was never the same after killing Han and he needed to make peace with what he did and to accept that forgiveness is possible. Change is possible, even if we veer so off course that we can’t possibly see the way back. My two favorite characters in Star Wars sharing a much needed cathartic moment literally made me tear up.

Logan: If I’m picking just one thing then I’m choosing General Leia Organa. My gasp at the flashback of her and Luke was loud and probably annoying to everyone around me. She has a lightsaber. She’s a Jedi Master. She’s fearless and selfless and as bad ass as she ever was. I got to say a beautiful goodbye to Carrie Fisher and that meant more than anything else. Honorable mentions, though, to Harrison Ford returning as Han for one brief shining moment and to Kylo/Ben’s redemption arc that I never for one second thought I would ever buy into and yet somehow did. (Also, D-O and Babu Frik because how can you not love them?)

Maggie: I wish I could say the Reylo kiss was my favorite part of the film, however the moment was so rushed and poorly orchestrated that I struggle with enjoying it. I can’t even think of dialogue in this film that I enjoyed. With The Last Jedi so many lines stood out — lines with substance. I suppose I enjoyed seeing the porgs one last time.

Jenna: My favorite part was when Ben showed up on Exegol to help Rey. The second you saw him running, you knew you were no longer looking at Kylo Ren. This was now Ben Solo. From his hair to his loose sweater to his quiet “Ow”, there was no question about who was on the screen. When Rey and Ben finally used their forcebond to help each other and she gave him Anakin’s lightsaber, I could physically feel my heart squeeze in joy. Oh yeah, the Reylo kiss was pretty amazing, too. Too bad he had to die right after.

Heather: The final force bond between Rey and Ben when she gives him the light saber and he pulls it out from behind his back. That was a moment. I also really liked when after the trio fell through the quicksand stuff Rey lit her saber to light the way and Poe turned on his little flashlight. It was a cheap way to make the audience laugh but it worked and I did.

What was your least favorite part of TRoS?

Cam: I could say literally anything else but i’m gonna go with Ben Solo’s death.

April: The sidelining of Kelly Marie Tran’s Rose along with the insertion of Jannah and Zorrie feels purposeful and wrong. It was recently announced that Rose had only about one and a half minutes of screen time in the entirety of “The Rise of Skywalker” which seems particularly egregious when one considers how prominently she was featured in “The Last Jedi”. Even worse, she is almost “replaced” by the insertion of Zorrie and Jannah, both of whom serve no true purpose to the overall plot of the film.

Zorrie is there to forcefully remind us that Oscar Issac’s Poe is straight and that’s it! You could argue that she put them in contact with the tiny alien (Babu Frik) who wound up highjacking C3PO’s memory drives, but, Poe was a spice runner in this same crew and thus already knew him. We never even see her entire face, but we do get to see her modeling a skin tight pink catsuit-to emphasis her femininity.

The same thing happens with Jannah, an ex-Stormtrooper who exists only to provide a point of similarity with Finn and also to be Lando’s daughter (something that’s not even clearly told in the film. She’s tough and strong and has grit and determination in spades. She doesn’t hesitate to run into battle and in fact supports Finn as he makes what could be a suicide play to take out the lead ship. Both Jannah and Zorrie serve almost as opposites of Rose, in Zorrie: the ultrafeminine and in Jannah, the toughness that Rose wasn’t allowed to have. They even manage to strip Rose of her leadership, refusing to allow her to wear the badge of her station (commander). It’s a disgrace and it should be discussed far and wide.

Anika: I have two that really ticked me off. I absolutely hated Rose Tico’s arc in TROS. New character Beaumont had more lines than she did. After playing a big part in The Last Jedi, I expected more interactions between her, Finn, Poe and Rey, but instead she played the part of an extra, more or less. TROS made it seem as if she was an afterthought for Finn. I never got a chance to see a Rey and Rose friendship or even Rose on a mission with the others. She lost her voice because whiny, entitled fans were upset for no other reason than she was a woman and a person of color. It is even more upsetting that their vitriol was rewarded. The second thing that really bugged me was the predictability and, therefore, unoriginal end of Ben’s death. For once, it would have been nice to see the redeemed hero live.

Logan: There are two least favorite things that are tied for how enraged they make me. One, the obvious sidelining and invalidation of Rose Tico. Which is thanks to Abrams and Company caving to racist and misogynistic nerd boys. Two, the death of Ben Solo. I am by no means a fan of Kylo Ren. Prior to this movie I did not believe for one second that he could be redeemed. (Check my tweets, seriously). But his death does not enrage me for Ben’s sake but for Han and Leia’s. They sacrificed their lives to reach Ben and hopefully save his life. Ben’s death makes their sacrifices pointless. My two favorite Star Wars characters of all time were killed for nothing. Great. Perfect. Thanks, JJ Abrams. That feels fan-freaking-tastic.

Maggie: Where do I even begin? There was about 131 minutes of content I didn’t care for. I will die bitter about how they reduced Rose Tico’s role in response to racist men from the worst parts of the internet. The lines that were given to J.J.’s buddy Dominic Mongaghan could’ve been given to Rose. The fact that the only real lines that Rose had in the film were lines were she rejected joining the main plot seemed far too intentional. Outside of the #WheresRose issue, what they did with Poe Dameron’s character was perhaps my number one complaint coming out of the film. The entire subplot with Zorri Bliss was unnecessary and only served to remind FinnPoe shippers that Poe had a girlfriend and change his backstory to incorporate an unfortunate Latinx stereotype that he was a drug smuggler. Outside of yelling Rey’s name, what was Finn’s role in this film? Coming out of The Last Jedi he had matured as a character, but throughout The Rise of Skywalker it seemed like J.J. had no plan for what to do with him. Wouldn’t it have been awesome if he’d actually been able to say he was Force Sensitive and we didn’t have to get that information from subsequent interviews and an Instagram post? 

Jenna: I could probably write a whole book about what I didn’t like about this movie. Plot holes (how Palpatine is alive, Palpatine wanting Rey dead then all of a sudden wanting her alive, how a spaceship that’s been underwater for years and has been torn for scraps actually works), character stories (Rose being sidelined, Poe being a drug dealer, Ben’s redemption arc fading away with his body), and many many more aspects of this movie keep me up at night.

Heather: The sloppy editing, the incoherent storyline beats, how much this movie wanted to be an action movie with all of the “pew pew!” instead of focusing on character and emotional beats and attempting to distract the audience with bright flashing lights and loud sounds so that they wouldn’t notice how nothing was actually making sense with the plot.

If you could change one thing about this movie, what would it be and why?

Cam: I’d definitely make Ben Solo live. Perhaps this sounds simple for some but the fact is, for one if that happened I would have hope for the Skywalkers. All of their suffering, from Anakin Skywalker to Ben Solo wouldn’t have ended in such a bitter note. The Star Wars Saga have always been about the Skywalkers and while a lot is wrong in the last movie, you would think they at least would have respected the legacy and the theme of a 40 year old saga. But the way Rise ended the story Palpatine was able to manipulate and ultimately end their bloodline. It wasn’t a victory, it was a tragedy.

(I won’t even get into how watching the death of a character that felt lost and needed redemption is just a terrible message as well. The number of people that felt utterly defeated and left the movie crying speaks on its own)

April: The kiss between Kylo and Rey. I’ve seen the movie three times now, once alone, and two other times with people who are aware of the films but are not superfans. In every instance the kiss feels out of place, abrupt and unearned, not just to me but to those I attended with. I believe there were other ways to show the connection between Kylo and Rey (and in fact we’ve seen it highlighted in both “The Last Jedi” and “The Rise of Skywalker” via their force connection) without having them kiss. It is perhaps even more jarring to see them share a kiss in the moments before Ren’s death because we’ve never seen Rey or Ren acknowledge the injuries he’s dealt her, both physically and emotionally. It’s impossible to form an emotional investment in a relationship that is built on dishonesty, lack of trust and no genuine affection between either party. Perhaps if Kylo had actually been redeemed it’s a conversation worth having, but he wasn’t and thus, it isn’t.

Anika: Ben Solo’s death and, therefore, the end of the Skywalkers. When I say Ben deserved more, I am saying it from a place that wanted, needed and expected better for the last Skywalker and the child of Leia Organa and Han Solo. Ben Solo has never really known a moment’s peace. I wanted him to live so he could discover who he was without a Sith Lord in his head, to atone for the things he did and to finish the work his mother started. It was lazy and easy writing to kill Ben.

Logan: I’m gonna change two, because if you’re giving me this chance I’m pushing my limits. One: Ben lives. Two: Rose goes with our Main Trio. Ben lives so that Han and Leia’s deaths have meaning. Rose goes with the trio because the amount of times they needed a mechanic were numerous and Rose was wasted staying behind with Leia. (Obviously considering Merry from Lord of the Rings had all the dialogue Rose should have had.)

Maggie: That’s a loaded question. If I had to choose one singular change, I would’ve started the film with Leia having died in the time between The Last Jedi and The Rise of Skywalker. In that situation, J.J. wouldn’t have been limited to playing around unused The Force Awakens scenes. Poe would’ve been General Poe outright, rather than handing him the role in Act 3 without any follow through. The pacing of the film would’ve likely been better and the stakes would’ve shifted.

Jenna: There are many things I would change in this movie, but if I had to pick one, it would be that Ben would get to live in the end. I’ve heard arguments that he deserved to die because of everything that he’s done, but I would argue back that he deserves to live for those same reasons. Dying is easy, but living is hard. If he had lived, he wouldn’t have just been able to jump into the Resistance with open arms. He would’ve had to work for forgiveness. He deserved to live so that he could eventually earn that forgiveness. Not to mention that his dying also ripped away not only the first love that Rey ever had, but also her Force equivalent of a soulmate.

Heather: I’ll give you three because I do what I want:

Ben Solo should have lived and earned the right to his redemption. Being redeemed through death is cheap and manipulative and had already been done in the original trilogy. Tell a new story. Let the villain earn his redemption by actively righting their wrongs instead of just killing them off.

Rose going on the adventure with the trio. Her underutilization is disgustingly criminal.

Not making Poe a drug runner just for a laugh and a plot point. There wasn’t even a hint of shady behavior in the other two movies so pulling it out of left field was not only jarring but for fans who actually read the supplemental material, noticeably false.

What unanswered questions would you like to have been addressed?

Cam: How is Palpatine back? Why didn’t Rey’s dad show up to her all these years if he was Force Sensitive? If Palpatine created Snoke why didn’t he know about the Force Dyad until the end of the movie? Why didn’t Ben Solo’s force ghost show up? Why didn’t we see Rey mourn her canonical soulmate? What is happening between Finn and Rose?  Why was Kelly Marie Tran so terribly sidelined?

April: What is the confession Finn is trying to make? Yes, it has been purported that it’s pertaining to his force sensitivity. But this is a fact already known since The Force Awakens and one that he would not seek to hide from Poe, especially not in his potential dying moments. In fact, he mentions to Jannah that what led him away from the First Order was the force. We have no reason to believe force sensitivity is truly the secret.

Why didn’t Lando search for his missing daughter? The Visual Dictionary advises us that Jannah is Lando’s daughter and yet we are to believe that Lando has not spent the past 20 years searching for his daughter but stuck on another desert planet doing exactly nothing. Even the ending scene is ambiguous about who Jannah really is.

How did Palpatine survive being thrown down a shaft by Darth Vader and blown up in the second Death Star? We’re given no hints about that, although we are shown Palpatine hooked up to a crane like device receiving constant transfusions to a zombified corpse.

When did Palpatine even have time to have a child? Given the time frame, the only possible time for Rey’s father to have been, well…fathered is between “Revenge of the Sith” and “A New Hope” and I don’t know a lot of people who would have slept with Palpatine the way he looked back then.

How did Luke and Leia discover Rey was a Palpatine? Did Luke discover it in the Force? Was it just a feeling he had? Why did neither of them think to mention it to to Rey? Why did they continue to train her after discovering it?

Anika: How is Palpatine still alive and, if he created Snoke, why didn’t he know Ben and Rey were bonded? If Palpatine could find Ben in Leia’s womb, why couldn’t he find his granddaughter who shared his blood? Why didn’t Leia become a Force Ghost until Ben’s death and why didn’t Ben become one at all? Most importantly, I need to know where the Sith death eaters came from?

Logan: Does Rey ever find out that Finn has been pining for her for three films? That seemed like something important they introduced in The Force Awakens that got dropped for no reason. (Bonus: How was Palpatine behind Snoke this whole time? That made no sense whatsoever.)

Maggie: Why wasn’t Ben a Force Ghost at the end? Why did Rey decided to bury the lightsabers on Tatooine — a planet Luke despised, Anakin hated, and Leia never visited. How is the galaxy going to react to the granddaughter of Darth Sidious? How does Rey feel about the revelation? Why didn’t Rey mourn the loss of Ben? Why was Maz smiling when Leia vanished, given that Ben had died? Why was there so much focus on Rey staring at children? What was the point of the Force Dyad? What was the point of the visions in The Force Awakens? Why did the Knights of Ren exist? Why didn’t they just say Jannah is Lando’s daughter?

Jenna: How did Palpatine survive? What happened to Finn and Rose’s relationship? What was the point of Rey’s vision in The Last Jedi signifying that she was a nobody if she was a Palpatine? How did Ben not die after being thrown off the cliff? Why did the Jedi not help Ben? Why did the Jedi not do something to help heal Rey when she died after killing Palpatine? Why was Ben not a Force Ghost in the end? Why did we see such little reaction from Rey when Ben died? Why did Rey bury the lightsabers on Tatooine? Why did Leia wait to become one with the Force until Ben died, as if that’s something she wanted? Why did Rey take the Skywalker name instead of embracing that she didn’t need a name to make her special?

Heather: So many questions. How is Palpatine back? How did Ben get to Exegol if Rey stole his Tie Fighter on the Death Star? Why did Palps not know Ben and Rey had a force bond if Snoke claimed to create it and he created Snoke? Why did both Snoke and Palpatine want Kylo to kill Rey if in the end he wanted Rey to kill him instead? How was Poe ever a drug runner when in his comic he was born and raised on the Rebel base? If killing Palpatine would bring all of the Sith in to Rey’s body and she did in fact kill him, do all of the Sith and all of the Jedi live in her now? Why did Anakin say, “Rise and bring balance to the force like I did.” when Palpatine wasn’t dead meaning he didn’t bring balance to the force (and really his whole arc is now obsolete since he was in fact, not the chosen one after all)? There are more but if I kept going I would have an entire essay. 

Were you satisfied by the ending of the trilogy? Why or why not?

Cam: Not at all. This trilogy ended making an even bigger tragedy out of the Skywalkers, I can barely watch the other movies without thinking “this was all for nothing.” The one character that knew enough about the Skywalkers and survived the ordeal (Rey) is alone. What is there to be satisfied about?

April: As an ending to Luke’s story I am absolutely satisfied with the ending of the trilogy and as a fan of his, I’m happy with what we received for him, Leia and even Anakin. As a fan of the new trio, I find myself wanting more of their stories. Who are they besides a former scavenger, spice runner and stormtrooper? Yes, Rey is “all the Jedi” and the granddaughter of Palpatine but who is Rey? We’ve spent three films with her and her primary focus has always been saving a male of the Skywalker line, in “The Force Awakens” that’s Luke and in “The Last Jedi” and “The Rise of Skywalker” that’s Kylo.

Who is she when that’s not her primary focus? Now we’ll never know. Yes, Poe is a child of the resistance, a spice runner and, now, a general, but who is Poe? In both “The Force Awakens” and  “The Rise of Skywalker we see the beginnings of his story, a child of the resistance who, perhaps due to his parent’s deaths winds up a spice runner (something I don’t find as objectionable as many do-historically People of Color often do things deemed objectionable  to support themselves or their families in troubled times) before coming back into the resistance fold with the return of information about Luke Skywalker’s return. We are given hints of his time as a spice runner, a possible past romance with Zorrie and then nothing else.

Finn is perhaps the biggest mystery. Even his name is not his own, given to him by Poe upon their first meeting. We will never know who he came from, what specifically about “the force” drove him to leave the First Order and trust the Resistance. We’ll never learn more about his force sensitivity and what that means for his potential future as a Jedi, we’ll never learn about the other stormtroopers who are also potentially force sensitive. So much is left up to guesswork and it is the worst part of the ending to me.

Anika: I was not satisfied at all. As I said before, the redeemed hero dying is so predictable. The story of the Skywalkers ends as one of tragedy and not hope(I’m sorry saying you are a Skywalker does not make you one). Rey is back in the desert again. I really don’t see how some found this satisfying.

Logan: No, because now Han and Leia died for nothing. That is the worst ending I could have imagined for two heroes of their caliber.

Maggie: No. I genuinely do not know how anyone can be satisfied with that ending. Han, Leia, and Luke died for nothing. The Skywalker line is dead. A Palpatine is using their name. Rey is back on a desert planet, right where she began.

Jenna: No. I felt like I left the theater with more questions than when I walked in, and that’s never something you want from the conclusion of a trilogy. I walked out literally feeling used and abused.

Heather: No. I am not satisfied at all. As a whole this movie was a mess. I know that JJ Abrams and Chris Terrio want to place the blame of that on to literally everyone but themselves but the fact of the matter is Rian Johnson dismantled everything in The Last Jedi which gave them a fresh start to tell a different story. Instead, they pretended that TLJ didn’t happen at all, retconned everything that happened in it, and once again fell on to using what worked in the original trilogy, instead of doing what their paid to do and giving us a cohesive, good, imaginative story. Putting all of your faith in to a trilogy and thinking it’s going to lead somewhere that they assured you was hopeful and good and having the rug pulled from under you is not what I would call a good time.

Kylo Ren; Redeemed or not? Do actions speak louder than words?

Cam: Definitely yes. Adam Driver was given nearly 0 lines after the redemption, so it’s hard to speak about words here, but ultimately his character did everything in his power to fight Palpatine and save Rey, so, yes.

April: I do not believe that Kylo Ren was redeemed, nor do I believe it was ever in the cards for him to be redeemed. There is a common belief that Kylo turned due to abuse, but we are not canonically shown any evidence of this. Yes, a voice whispering in your head can be stressful, but Kylo was born to two of the biggest heroes in the resistance and nephew to another, even if he didn’t feel comfortable turning to Luke (and who can blame him) in the aftermath of Luke contemplating killing him, his parents were still there. In choosing to run to Snoke, Kylo made a choice that would forever taint his life. In each movie of the franchise, we continue to see Kylo choose darkness and power.

In “The Force Awakens” he slaughters a village to obtain information about his uncle. He kills Snoke to become the Supreme Leader, in “The Last Jedi”,  and when Rey offers him her hand, the final opportunity to truly do good, he refuses because his desire for power is stronger. Even as “The Rise of Skywalker” begins he is once again slaughtering people (who, to be fair, were a cult loyal to both Vader and Lady Corvax-but again, this information is not shown it is told in the Visual Dictionary). When he is searching out Palpatine it is, once again, to kill the person standing between him and the potential for true power. Kylo is, for all intents and purposes his grandfather all over again and neither of them deserved redemption in the true sense of the word.

Kylo’s last few acts, to run to Exegol, to fight against Palpatine and to give his life force to Rey are-ultimately much the same as his grandfather’s. He realizes that he’ll never truly have the ability to atone for his actions and so he gives his life to Rey, allowing her to be the balance his grandfather was always meant to be. This sacrifice is the most noble thing Kylo is ever shown to have done and because it comes so late in the trilogy, literally the final act of the final act, it is largely worthless. It is possible to give characters like Kylo real redemption (see Zuko of “The Last Airbender” fame) and it would perhaps have been possible even for Kylo, if only they’d begin his journey to that redemption in the end of “The Force Awakens” or the beginning of “The Last Jedi.”.

Anika: Redeemed. It’s been something I have wanted for him since The Force Awakens. I expected more with his redemption, however. He never got to express himself through words and I hate that he was sidelined for the fight with Palpatine. I’m glad we got a redemption, but it felt a little anti-climatic.

Logan: Not a fan of Kylo Ren, but I would say yes. I think as Han said, Kylo Ren is dead. We were seeing Ben Solo by the end of that movie and I wish we hadn’t had to say goodbye so soon. Adam Driver made him the perfect combination of Han and Leia and that could have been a joy to watch for more than just a few minutes.

Maggie: I have been rooting for Bendemption since The Force Awakens. The execution of redemption was awful. I would love to know what J.J. has against Adam Driver, because from the moment Kylo Ren is “redeemed” he speaks a single line of dialogue — “ow”. While I love the moment where Ben fights the Knights of Ren, I would’ve preferred some sort of dialogue as a trade. Not to mention the film starts with Kylo Ren reduced to his The Force Awakens persona and seems to forget The Last Jedi even happened. I got redemption, but at what cost?

Jenna: Kylo Ren being redeemed was one of the things I was looking forward to most this movie, but I was severely let down with how I got it. The scene with Kylo and Han was cheaply ripped straight from The Force Awakens. I believe they could have done this in a good way, but sadly, the way they chose to do it wasn’t the best. However, I did enjoy his scene on Exegol when he fought against the Knights of Ren. Unfortunately, this was also downplayed by Ben’s lack of dialogue in the whole end of the movie. After his redemption, we never get to hear him talk again, and then he dies.

Heather: Absolutely redeemed. Not only did Han explicitly say (and it doesn’t matter that it was in Kylo’s head because it’s what the writing wanted the audience to take away from the conversation by explicitly stating it) that “Kylo Ren is dead, my son is alive.” But Kylo threw his saber in to the ocean, picked up a blaster, and became Ben Solo. His mannerisms, his wardrobe, everything screamed, “I’m a different person now!” So, yes. It’s funny that you ask if actions speak louder than words though since the only word he said after his redemption was “Ow.” Don’t get me started.

Would you like to see more of the Skywalker saga? Is it put to rest?

Cam: Before watching Rise of Skywalker I would say no, but right now I kinda need one last movie to actually give justice to the Skywallkers. Just saying.

April: As I stated earlier, I believe that “The Rise of Skywalker” puts paid to the Skywalker Saga. I believe that their story has reached it’s natural, hard fought conclusion. I am satisfied with where our original characters have been left, with perhaps the exception of General Leia Organa but we all know why her story ended the way it did. With that being said, I would be interested in following the story of our sequel trio for one more film, watching them truly discover themselves and their reason independent of the influence of the Skywalker family. I’d also love a story about Rose Tico and Paige Tico, if Kelly Marie Tran would be interested.

Anika: In the current state of affairs, no. If they explain that Ben isn’t really dead, but exists in the World between worlds and there is a quest to bring him back, I’m all for it. I don’t see how you continue the saga without a Skywalker. Again, I don’t count Rey as one because she says so.

Logan: Unless they can give me a do over of this entire movie then no. Leave it lying in it’s own mediocrity. It’s what Abrams, Kennedy, and crew deserve for allowing fear of a fandom to dictate their every decision. They were afraid of giving any one group something so, as a result, no one got anything. Let’s just put the Skywalkers out of their misery and move on to new characters and new sagas. (Once again, unless I can get a do over of the final film in the saga which will never happen.)

Maggie: Look, if it’s the actual Skywalkers and not Rey Palpatine using their name, then sure. I keep saying I would love to see them create something like The Clone Wars to improve upon this terribly rushed film.

Jenna: I would only like to see more of the Skywalker saga if they would bring back Ben. Put an actual Skywalker on my screen, or I don’t want it.

Heather: I’m not particularly thrilled that at the end of the “Skywalker Saga”  all of the Skywalker’s are actually dead. In fact, I’m downright bitter about it and don’t find that satisfying in any way whatsoever. So, I think after a rest (perhaps 5-10 years) I would like to see more of the Skywalker Story. Maybe Ben is in the World Between Worlds paying penance, maybe Force Ghost Luke is getting up to some after life shenanigans. I don’t know but I do know that I’d love to see it.

Who is your favorite character of the sequel trilogy?

Cam: Ben Solo.

April: My favorite character in this last installment of the Skywalker Saga is Finn. Former stormtrooper turned resistance hero his story is what a lot of people wanted Kylo Ren’s to be. He’s bold and protective of his found family. He’s kind and generous and, even as he makes mistakes, he works consistently to correct them. He has never left a friend behind. He is loyal and fair. His choice to consistently do “the right thing” when every piece of his upbringing tells him otherwise is hero-worthy. I’m so grateful that he was created and so grateful that John Boyega was chosen to breathe life into him.

Anika: Kylo Ren, hands down. He was more of an emotional, adult child still seeking love and approval than a real villain to me. His struggle with the Light that’s still a part of him, his connection to Rey which is his first real connection to anyone in years, his vulnerability and his redemption made him more than a one dimensional villain. No one could have done this character any more justice than Adam Driver did.

Logan: If I discount one off characters then Poe Dameron. He’s a lot like Han Solo, who has been the love of my life for as far back as I can remember. Also, his introduction in The Force Awakens is one of my all time favorite sequel trilogy moments and I loved him butting heads with Holdo all through The Last Jedi. He was also was the sole character in our main trio to truly keep me invested in this last film.

Maggie: I’m torn between Kylo Ren and Poe Dameron. I think they’re both phenomenal characters and I only wish that the final film had done better with their storylines.

Jenna: Kylo Ren is my absolute favorite. Watching his internal conflict turn to redemption, hate for Rey turn to love, and everything in between was what captivated me to this trilogy. It also helps that Adam Driver is such an amazing actor. He could make watching a cactus interesting.

Heather: Despite being Reylo Trash (which I am and have the necklace that says so to prove it), after much thought I think I’m going to give my favorite character award to Rose. While she was disgustingly underutilized and truly only got one movie to show her stuff I find myself often thinking about “We win not by fighting what we hate but saving what we love.” I find Rose to be an inspirational character. She’s tough but loving. She seems less like a character and more like someone I would know in reality. I don’t know if my love for Rose is for the character herself or because of Kelly Marie Tran’s performance of her but that’s my final answer.

Do you agree? Disagree? Love it, hate it? Either way sound off below in the comments or find us on twitter @TVSource. Thank you to all of our wonderful participants for giving us your wonderful, well thought out answers!

[ranger-report]

Opinion: Disney Changing the Sequels to Non-Canon is a Bad Idea

Once upon a time, George Lucas decided to go back to the well and present unto a hungry audience what is known now as The Prequel Trilogy. Episodes I through III of Star Wars, the biggest sci-fi franchise ever created, a look at what came before the iconic story many moviegoers grew up with, and it was received with....lukewarm results. While they’ve certainly attracted favorable responses over time, the backlash to many decisions made in Lucas’s vision (midichlorians, whiny Anakan, fucking Jar-Jar Binks), they’ve objectively held up over time, and even have defenders. But it was enough for Lucas to make haste and step away from his beloved creation, selling the rights to make future movies to the Walt Disney Company, who wasted no time in getting a new trilogy up and running. Fans around the world were salivating, chomping at the bit for new Star Wars, and they were met with....lukewarm results. Despite high praise for Rogue One, the lowest marks for The Last Jedi (which is a brilliant film, don’t @ me), led to such a surefire hit as Solo was given so-so marks, which recently has led Disney to contemplate making The Sequel Trilogy non-canon to the universe; aka, they exist in their own separate Alternate Reality, giving Disney a fresh start to making the True Sequel Trilogy.

That’s a monumentally bad idea.

Okay, first off, Star Wars is not a franchise like Marvel or DC who can simply decided which flicks to toss aside and deem non-canon, or shunt off to an alternate universe. Yes, there’s something called Legends within Star Wars that holds down the duty of Adventures Which Don’t Fit In The Grand Scheme of things, but to place three NUMBERED entries in the Star Wars Saga into Legends?  That’s just madness.

Let’s review. Disney purchased Star Wars, then at some point before the release of Episode VII: The Force Awakens they announced that everything in the expanded universe of the novels and video games was entirely non-canon. To say that there was a bit of an uproar over this is an understatement. Beloved characters like Mara Jade and her relationship with Luke Skywalker were now lost to oblivion; stories like Knights of the Old Republic, Dark Empire, and Shadows of the Empire, which many grew up with as supplemental material post-Return of the Jedi, now suddenly didn’t matter. In one fell swoop, Disney came in and said “Your stories don’t matter. Our stories do.” Now, they must have had some sort of softening in the face of the fallout, as little by little more and more of the expanded universe snuck back into the proper canon, including Dash Rendar, Leia training to be a Jedi, and the motherfucking darksaber. Disney clearly made a slight attempt to listen to the fans, but for the fans -- including many toxic, vitriolic fans -- this wasn’t enough. Divided over the state of The Last Jedi, fans went apeshit on Disney,harassing actors over social media, calling for Kathleen Kennedy to be fired, claiming that their childhoods had been “raped,” etc etc etc. Many fans stayed home instead of watching Solo (my personal favorite Star Wars flick, don’t @ me), which was the lowest-grossing film in the franchise. Disney woke up, went on damage control, and we got....The Rise of Skywalker. Some how an apology and a middle finger at the same time, the film met with confusion and derision, and now Disney wants a mulligan. Well, Disney, you’ve already tried that once. Let’s learn from that mistake.

Sometimes, like in real life, history is messy. It isn’t perfect, nor is it consistent. Often times when we look back through the annals of civilizations past, we have to wonder what the fuck was going through people’s heads. And that’s Star Wars. They’re also not meant to be serious cinema; born of inspiration from early pulp sci-fi and WWII imagery with a hefty dose of samurai flicks, Star Wars is just meant to be escapism and thrills. Nothing more. In fact, no matter how silly Rise of Skywalker is, it still succeeds in big-screen thrills and set pieces as well as a few intimate character moments. It’s entertaining, if not the movie we wanted as the conclusion to this saga. And the Sequels brought much needed diversity to the character roster, including two men of color and a female protagonist. Granted, Finn and Poe were done dirty when no one allowed them to fall in love with each other (Disney, if you want to undo that decision, I’ll allow that), but they’re two of the best goddamn bits of this whole undertaking to come out of it. And Rey is interesting, a mystery -- possibly an unsatisfying mystery depending on how you view the reveal in Rise -- and her story carries weight, all the way up to the end. While full of plot holes and empty MacGuffins, the Sequel Trilogy is big and bold and at least tries to do something interesting. Especially The Last Jedi, whether you like that movie or not.

For decades, fans were able to build their own world off the ashes of Return of the Jedi. And make no mistake, this is a world where almost every single background character has a name, a backstory, and oftentimes an action figure as well. There is a deep, deep sense of entitlement when it comes to the relationship between fans and franchise here. Which is beautiful in some regards, and toxic in others. But while the Sequel Trilogy isn’t perfect, I’d argue that neither the Original Trilogy or the Prequel Trilogy were perfect either. They’re not Important Cinema in the sense of Serious Art, but they are groundbreaking in the sense of special effects, blockbuster history, and franchising. Star Wars changed the game when first released in 1977, and every film in the saga since has carried that weight of living up to expectations -- and in the last 20 years, unhealthy expectations. Stop trying to make Star Wars anything other than entertainment. Let it be. Let it live. Let’s move forward and see what we can do with everything new. Their children out there who have seen the Sequels and seen themselves in Rey, Finn, and Poe, and it would be a disservice to them to say, “Sorry, but your stories don’t matter anymore.” Disney already did that once and it didn’t work for the fans. They shouldn’t do it again.

[ninasfireescape]

The ‘Star Wars: The Rise of Skywalker’ review no one asked for

I wanted to enjoy it. I really did.

I was one of the people who didn’t dislike The Last Jedi. Sure, I didn’t love it. When I watched it, I thought it was too long and had made certain characters choices I wasn’t too happy with, but overall it was enjoyable and left me feeling satisfied. It was not as good as The Force Awakens however and hearing JJ Abrams was returning, I thought he might be able to restore the final episode to its former glory.

That indeed seemed like the case for the first hour. The gang were back together, it was quick-paced, I had an emotional investment in what was going on (and it seemed like they were taking the Finnrey route I wanted them too). I couldn’t exactly follow every plot specific but does that really matter in Star Wars when it’s so exciting? The bit on Star Killer base was genuinely inspired, I was laughing away at once again what terrible shots the stormtroopers were and at Hux being the spy. Every scene with Lando in was gold.

It was just after they got to the water planet that things started to go wrong. I’m not sure quite what it was exactly that made it so disappointing from this point onwards. Perhaps the gang splitting up or the rather horrifically done Leia death scene. I know they didn’t really have much choice with what footage they had but having watched each member of the original trio died, this death was devoid of emotion and predictable. And she died to make Kylo Ren hesitate for one moment. What a waste!

Then the pointless force ghosts! Seeing Luke was nice but it felt like he was just there to add clunky explanation since the plot made so little sense at this point. And when Han appeared, I actually laughed. It was so inconsistent with the tone of the film and he appeared all while Kylo Ren was standing in the middle of a stormy sea that he could fall into at any moment, right in the most climactic section of the film, just to have a conversation with the son who killed him! It was the most outrageous example of a fan service cameo that just didn’t assimilate with the rest of the film.

I don’t actually have a problem with Rey Palpatine. If anything, I thought it was really cool she was a Palpatine. I really didn’t want her to be a Skywalker because I felt it would be predictable and repetitive. Her being a Palpatine also sends the message to young viewers that blood relations don’t make a family which I think is very important for children to hear. Honestly, the only problem I have with it is that it means some poor lady had sex with Palpatine. I agree that it was a ridiculous retcon of The Last Jedi but then I didn’t like the reveal about her parents in TLJ anyway because of how it was executed. Another thing that bothers me about it is the utter lack of information we get about Villanelle Rey’s mother. Already we don’t know much about her father other than that he’s Palpatine’s son but with her mother, we get nothing. With Rey having wondered about who her parents were for so long, surely it would make sense for her to want to know more about her mother and maybe even take her surname in place of ‘Palpatine’. I also firmly believe Rey’s mother should have been played by Hayley Atwell because she looks so much like Daisy Ridley. And while Jodie Comer is an amazing actress, I think 1. She deserves a bigger role in the Star Wars franchise and 2. Her casting as Rey’s mother exemplifies Hollywood’s fear of casting older actresses as mothers. A twenty six year old as a mother!?

About Zurii, I always appreciate new female characters in Star Wars and I thought she had a great design. However, it is blatantly clear what her purpose in the film was. It was to stop people calling Poe gay, inserting a female character for one scene (she barely spoke in her other scenes so I’m not counting those) with no backstory of her own, just to prove he is attracted to women. Well, first of all, he can be bi, secondly, that’s not going to stop people shipping Finnpoe at all. I didn’t clock until afterwards when I saw people talking about it online, but it was super problematic to make Poe a former drug dealer. Sure, the only Latino character in this trilogy. Also, it in general complicates the little we know about Poe’s backstory so far.

With Rose, all our worst fears were confirmed. She just wasn’t there. She appeared in a couple of scenes and had some lines but you’d think she was no more than another miscellaneous rebel, no more significant a role than Billie Lourd’s character. Did they really give into the white fanboy pressure? How could they erase Rose when she was such a good character? She was tough and fought strongly for her beliefs, but she was also compassionate, sensitive. Now, I never particularly shipped Finn and Rose in TLJ. I thought it seemed a bit of a rushed romance and Finn didn’t seem that invested in the kiss they shared. However, you can’t just pretend they didn’t kiss in the last film. They interacted a few times but there was no sense of any bond between them. Where there relationship stood was unclear. Were they now a couple or had they had an offscreen conversation where they decided they were better off as friends? Who knows?

And now onto the worst part of the film: Kylo Ren and more specifically that kiss. Gross. Okay, to be clear, I wasn’t entirely opposed to a redemption arc for Kylo Ren. Sure, it would be predictable, but it’s not like Kylo Ren’s crimes are any worse than those of Darth Vader and he was still capable of redemption. I liked Kylo Ren as a villain. He perfectly depicted that type of whiny, entitled white man who we see so commonly in real life, but again, he could have achieved some redemption if it were implemented correctly. What we got in the film was not this. He was still committing genocide at the start and carried out one good deed which was saving the woman he had a crush on. For this one good act, he was entirely forgiven and somehow all of the genocide wasn’t his fault. And he got rewarded with the woman! If anything, I’d call that act selfish since he only wanted to save the woman he liked. Adam Driver did the best he could with it but everything about it was awful. And it was out of character for Rey to kiss him and forgive him. She stabbed him little more than half an hour earlier! At the end of the last film, she slammed a door in his face. It makes no sense to me how she could suddenly be so invested in him becoming a better person. There’s also the fact that wasn’t included in the films that Rey and Kylo Ren are related (aunt and nephew to be exact). I wasn’t aware this was Game of Thrones! And according to Wookiepedia, Rey was 18 at the start of the films and is now 20 whereas Kylo Ren is now 30. A ten year age different would be fine if Rey were older but at this point, the age gap is uncomfortable and very borderline.

If they’re going to make the claim that it wasn’t actually Kylo Ren who was doing the evil deeds but some dark force corrupting him, they should have explained how the mechanism works. At least in the prequels, we got some sense of Anakin slowly being corrupted. To me, it reads like in some horror films when the abusive characters are found to have been possessed by demons or something. It trivializes abuse which is something very real, acting instead as if no abusers can actually be responsible for their actions and it is the cause of some supernatural force instead. I suppose the kiss doesn’t have to mean anything. After all, Leia and Luke kissed in the original trilogy and Finn and Rose kissed and apparently that meant nothing.

I firmly believe the series intended a Finn and Rey romance. Lest we forget The Force Awakens, Finn awkwardly asking Rey if she had a boyfriend. That was clear coding for him having a crush on her. In that film, the two developed such a strong bond, and they have so much more chemistry than Rey and Kylo Ren ever had. All the scenes with Rey and Finn (and Poe) were full of light and emotion. The scene at the end where the three of them hugged was honestly the high point of the film. Now, when I left the cinema, what was plaguing my mind the most was that throughout the film, Finn had a secret he wanted to tell Rey. It was first suggested when they thought they were going to die in the quicksand. “Wait, Rey, I never told you!” It had to be that he loved her. What else could it be? Supposedly, it was that he was force sensitive. I don’t believe that for one second. If he needed to tell her that, why couldn’t Poe be included? And why did he never get the chance to tell her? It was a build-up I got invested in with no payoff. It must have been that he loved her. So, if that was the case, that leaves us with two options. Either there was a Finnrey subplot that got cut but they forgot to cut these scenes out (or simply couldn’t be bothered to), or they thought it would be funny to have the black supposed male lead chasing after the white female lead who didn’t love him back because she was instead in love with the genocidal white villain. I ship Finnrey so much and find the second option so horrific but I wouldn’t put it past the writers. Finn played such a significant role in the first half of the film, as he should since he’s meant to be the male lead in the series, but after that, he was dangerously underutilized. At least the ending where no one ends up with each other is compliant with my headcanon that Rey, Finn and Poe (and I don’t mind Rose being in the mix too) all end up married to each other and adopt a bunch of porgs.

And lastly, the lesbian scene. Pathetic. We don’t know the character names and I can’t even find out who the actresses were that played them. Okay, they kissed which is a pretty big deal (even though kisses apparently mean nothing in Star Wars) and it’s certainly a step forward from the Avengers: Endgame ‘’’’representation’’’’, but it’s still rather useless considering the big deal JJ Abrams made about how there would be representation.

[brokehorrorfan]

Blu-ray Review: The Omen Collection

In the pantheon of religious horror, the holy trinity consists of The Exorcist, Rosemary's Baby, and The Omen. Although The Omen arrived last, opening on June 6, 1976, it arguably offers more excitement than its satanic brethren (which is not to say that it is a superior film). Likely to be considered a slow-burner by today's standards, the picture builds tension and unravels a mystery at a meticulous pace, but it's punctuated by elaborate, Rube Goldberg-ian death scenes.

The Omen spawned a trilogy of films, a made-for-television sequel, and a modern remake. Scream Factory has collected all five movies in The Omen Collection, which is limited to 10,000 units. Besting Fox's earlier Blu-ray set - which omitted Part IV and featured some of the worst box set packaging known to man - each film is packaged in an individual Blu-ray case with original artwork within a rigid slipcover case. It boasts a deluge of extras, new and old.

In the original film, American diplomat Robert Thorn (Gregory Peck, To Kill a Mockingbird) and his wife, Katherine (Lee Remick, Anatomy of a Murder), adopt a baby named Damien (Harvey Stephens) after their own child is stillborn. Beginning with his fifth birthday, a string of mysterious deaths surround Damien. Upon being presented with convincing evidence by a photographer (David Warner, Tron), Robert becomes convinced that his son is none other than the antichrist, and he is faced with the task of stopping him to prevent Armageddon.

Firing on all cylinders, The Omen is an exemplary horror film. Working from a well-constructed script by David Seltzer (Shining Through, Prophecy), director Richard Donner grounds the story firmly in reality. The fantastical elements are easy to swallow, as each and every incident in the plot could be mere coincidence. Peck brings a gravitas to the production, leading a strong cast in which Remick also holds her own. Even the six-year-old Stephens, who never acted before and did very little after, is convincingly malevolent.

John Richardson's (Aliens, Harry Potter) special effects for the proto-Final Destination deaths - including one of the greatest beheadings ever committed on celluloid - remain shocking after more than 40 years. Cinematographer Gilbert Taylor (Star Wars: A New Hope, Dr. Strangelove) captures it all with clean camerawork, while Jerry Goldsmith (Alien, Gremlins) provides a chilling orchestral score elevated to pure evil with choral chanting.

The Omen has been newly mastered in 4K from the original negative, approved by Donner, for the new release. The result is a pristine presentation with improved detail and color saturation over Fox’s previous high-definition transfer. The Omen carries a whopping four audio commentaries. One, featuring special project consultant Scott Michael Bosco, is new. His audio sounds compressed - as if it were recorded on a cell phone - but it's dense with details focusing on the theological aspects. Bosco often digresses, but I appreciate the fresh perspective rather than a historian reciting IMDb trivia.

The other audio commentaries include: a track with Donner and editor Stuart Baird (Lethal Weapon, Skyfall), in which the two old friends reminisce about the highs and lows of the production; a track with Donner and filmmaker Brian Helgeland (Mystic River, L.A. Confidential), which features as much good-natured joking as it does insight; and a track with film historians Lem Dobbs, Nick Redman, and Jeff Bond, largely focusing on Goldsmith's score. A lot of information is repeated across the commentaries, but the varying viewpoints make them all worth listening to.

Seltzer and actress Holly Palance (who plays the nanny whose suicide by hanging is among the film’s most memorable moment) sit down for new interviews. Seltzer's chat is particularly enjoyable, as he's candid and humble. He openly states that his script is not as good as the movie it birthed. He also shares what he would have done if he had the opportunity to write the sequel. Palance, the daughter of the great Jack Palance, recounts her naivety about working on her first film and shooting her iconic death scene. The final new extra is an appreciation of The Omen's score by composer Chris Young, who says he looked to Goldsmith's progression across The Omen trilogy as he was scoring the Hellraiser films. It's fascinating to hear one accomplished professional praise another in their field.

All of the archival extras are ported over: a thorough, 15-minute interview with Donner from 2008; 666: The Omen Revealed, a 46-minute retrospective from 2000 featuring crew members along with religious experts to provide context; The Omen Revelations, which is essentially a streamlined version of 666, recycling much of its footage in 24 minutes; Curse or Coincidence, in which the crew recounts a variety of curious incidents that nearly derailed the production; an introduction by Donner; a deleted scene with commentary by Donner; an older interview with Seltzer, which features a lot of the same information as the new one; and an interview with Goldsmith about his score. There's also an appreciation of The Omen by filmmaker Wes Craven (A Nightmare on Elm Street), in which the master of horror waxes poetic about the influential picture for 20 minutes; Trailers from Hell trailer commentary by filmmaker Larry Cohen (The Stuff), who cites The Omen as one of his favorite movies; the trailer; TV spots; radio spots; and four image galleries: stills, behind-the-scenes, posters and lobby cards, and publicity.

Following the massive success of the first film, Fox fast-tracked a sequel, Damien: Omen II, to open in 1978. Having narrowly survived the events of The Omen, a 12-year-old Damien (Jonathan Scott-Taylor) now lives with his affluent uncle, Richard Thorn (William Holden, Sunset Blvd.), aunt, Ann (Lee Grant, In the Heat of the Night), and cousin, Mark (Lucas Donat), in Chicago. Damien is ostensibly a well-adjusted kid, unaware of who - or what - he is, but those who cross him wind up dead in freak accidents.

Omen II's plotting mirrors that of the first film, but the mystery aspect that made the original so effective is gone. The viewer knows from the start that Damien is, in fact, the antichrist, so they're left waiting for the characters to catch up. The plot dedicates an inordinate amount of time to Thorn's business enterprises, which is only vaguely paid of in the next installment when Damien rises to power. On the bright side, there are several admirably inventive deaths in the tradition of the first, from a bird attack that would make Alfred Hitchcock jealous to a visceral elevator bisection to a harrowing scene of a man trapped in a pond under ice.

Since Donner had moved on to Superman and Seltzer was either uninterested or not asked (depending on the source) to pen the sequel, a new creative team was employed. Stanley Mann (Firestarter, Conan the Destroyer) and Mike Hodges (Get Carter, Flash Gordon) wrote the script, with the latter set to direct. Hodges only shot for a few days, during which he quickly fell behind schedule, before being swiftly replaced by Don Taylor (Escape from the Planet of the Apes). Goldsmith returns to score with a worthy successor, retaining the signature sound while expanding it to incorporate electronics.

Leo McKern is the only returning cast member, reprising his role as archaeologist Carl Bugenhagen in the prologue. Peck's formidable presence is sorely missed, but Holden - who, incidentally, turned down the lead role in The Omen - and Grant bring some prestige to the production. Scott-Taylor is a convincing surrogate for Stephens, but the child acting leaves a bit to be desired. It's offset by a supporting cast that includes Lance Henriksen (Aliens), Lew Ayres (All Quiet on the Western Front), Sylvia Sidney (Beetlejuice), Allan Arbus (M*A*S*H), and Meshach Taylor (Mannequin).

Damien: Omen II's Blu-ray disc features new interviews with Grant, who is proud of the sequel and shares a funny anecdote about discovering her first wrinkle while filming; Foxworth, who was able to get to know Holden, one of his heroes, on their daily commute; and actress Elizabeth Sheppard, who proudly discusses working with Holden as well as Vincent Price (on The Tomb of Ligeia). In a separate featurette, Sheppard narrates a gallery of her personal photos from the shoot, offering a behind-the-scenes look at the bird attack sequence.

Since Omen II's mythology has little biblical foundation, Bosco's new commentary features even more tenuous tangents, but it affords him the opportunity to discuss the franchise more subjectively. An archival commentary with producer Harvey Bernhard proves to be a bit more informative. The disc also includes a vintage making-of featurette consisting of clips, interviews, and footage from the set, along with the trailer, a TV spot, a radio spot, and a still gallery.

The Omen trilogy came to a conclusion in 1981 with Omen III: The Final Conflict - although it proved not to be final after all. As prophesied, Damien (Sam Neill, Jurassic Park), now 33 - the same age as Jesus when he was crucified - has risen to political power. Following the U.S. ambassador to Great Britain’s ghastly suicide, Damien is appointed the position, which was once held by his adoptive father. The only true foe for the antichrist is, naturally, Christ himself. Rather than bringing about the apocalypse, as the franchise had been driving toward since the beginning, Damien attempts to prevent the second coming in a sanctimonious conclusion to the story arc.

While no successor could top the original Omen, its first sequel smartly embraced the gratuitous death scenes. For the third installment, however, director Graham Baker (Alien Nation) made a conscious effort to avoid them. Instead, he delivers inept monks trying to assassinate Damien with the Seven Daggers of Megiddo, while the antichrist’s legion of apostles murder newborn males who are the potential Christ child. Andrew Birkin's (Perfume: The Story of a Murderer) script leans further into religiosity at the expensive of the horror elements while interjecting silly mythology akin to Halloween: The Curse of Michael Myers.

Omen III: The Final Conflict's Blu-ray disc features new interviews with Baker, who takes a truly retrospective look back on the film, comparing the society of today to that of when it was produced; Birkin, who hadn't seen The Omen when he first met for the gig and wasn't particularly impressed when he finally watched it; and production assistant Jeanne Ferber, who explains how she was among those polled by Bernhard to help choose the lead, with Neill selected unanimously.

For his final commentary in the set, Bosco is back to pointing out the film's connections to scripture, leading to a lengthy tirade comparing Christianity and Judaism. An archival track with Baker has a few nuggets of information among extended gaps of silence, but most of his points are addressed more concisely in the new interview. Special features are rounded out by the trailer, TV spots, and a still gallery.

Although The Omen’s main storyline continued with two more book sequels, Fox opted to use the familiar title for a made-for-television movie on their budding network in 1991. Although dubbed Omen IV: The Awakening, the film largely serves as a remake of the original film but with a female antichrist. After numerous failed attempts to get pregnant, politician Gene York (Michael Woods) and his wife, Karen (Faye Grant, V), adopt an orphan girl. Seven years later, Delia (Asia Vieira, A Home at the End of the World) becomes increasingly violent and manipulative, leaving a trail of bodies in her wake.

Similar to Omen II's production troubles, Omen IV started with Jorge Montesi (Turbulence 3: Heavy Metal) in the director's chair, but he was fire mid-shoot and replaced by Dominique Othenin-Girard (Halloween 5: The Revenge of Michael Myers). Writer Brian Taggert (Poltergeist III) keeps the basic structure of Seltzer's original script intact, but the details of each beat are altered and the death scenes are subdued for TV. In addition to gender-swapping the creepy kid, it's the mother who is proactive this time around.

Despite maintaining the general outline of The Omen, the plot is harder to believe this time around, stretching the required suspension of disbelief to include psychics that can read auras. The most ludicrous plot point comes in the form of a shoehorned connection to The Omen mythology. This "twist" canonically positions Omen IV as a sequel rather than a thinly-veiled remake, but it feels more like a low-budget knockoff than an official installment in the franchise.

Omen IV: The Awakening doesn't have any audio commentaries, but its Blu-ray debut includes a new interview with Taggert, who breaks down several of the major choices made in the script. It also contains The Omen Legacy, a feature-length documentary on the franchise that aired on TV in 2001. Narrated by Jack Palance (City Slickers), it finds cast and crew members (including a couple of folks who don't appear in any other special features) and religious figures (the Church of Satan’s high priestess among them) discussing all four films while playing up the alleged curse. The trailer and a still gallery are also included.

Amidst the onslaught of horror remakes that dominated the early 2000s, Fox shrewdly capitalized with The Omen in 2006 - on 6/6/06, to be exact. Director John Moore (Max Payne) offers slick production value and an inspired cast, but it feels wholly unnecessary considering how closely it follows the original script. Seltzer is the only credited writer, but it's unclear if his 40-year-old script was simply polished off or if he was involved in re-writes, as there are some subtle changes to contemporize it. While it fails to bring anything new to the table, it’s a stronger effort than Omen IV.

Liev Schreiber (Scream) and Julia Stiles (10 Things I Hate About You) star as the Thorns. Talented as they are, they lack the chemistry of Peck and Remick. Seamus Davey-Fitzpatrick is successfully creepy as the new Damien, while the role's originator, Harvey Stephens, makes a quick cameo. In a particularly motivated bit of stunt casting, Mia Farrow (Rosemary's Baby) plays the antichrist's new nanny. David Thewlis (Harry Potter) and Pete Postlethwaite (The Lost World: Jurassic Park) also have supporting roles.

The remake is the only Blu-ray in the set that doesn't offer any new special features. The existing extras cover a lot of ground, but it would’ve been interesting to hear the crew reflect back on it. Omenisms is a 37-minute documentary exploring the pressures of making a movie with a release date set in advance, even showing Moore losing his temper and yelling at a producer. It feels very of its time, with director Stephen French  treating the piece like a hip art film, but it contains a lot of great material.

Moore, producer Glenn Williamson, and editor Dan Zimmermann participate in an audio commentary that's fairly informative but doesn't touch on many of the trials and tribulations showcased in Omenisms. There's also a featurette about Marco Beltrami (Scream) recording his score at the legendary Abbey Road Studio; Revelation 666, a cheesy TV special tracing the history, interpretation, and theories of 666; unrated, extended scenes, including a longer version of the ending; and theatrical trailers.

While The Exorcist remains the be-all and end-all of occult horror, The Omen franchise as a whole is more consistent. The first three Omen films comprise a cohesive trilogy, while Part IV and the remake each offer a fresh, if flawed, perspective on the material. Between the movies, commentaries, interviews, and featurettes, The Omen Collection contains over 30 hours of content, making it an unbelievable value and a must-have for any horror collector.

The Omen Collection is available now on Blu-ray via Scream Factory.

[mendelpalace]

GamePro’s SNES Criterion Collection

Back in 2011, the now-defunct GamePro published a piece including Criterion Collection-style covers for a handful of SNES titles, along with descriptions of the hypothetical bonus materials that would come with such deluxe rereleases. Though the cover images are still floating around online, a bunch of the descriptions are probably lost, including those for games like Street Fighter II, Donkey Kong Country, U.N. Squadron, Desert Strike, and Chrono Trigger. 

A few can still be accessed via the Wayback Machine though, so I decided to repost the ones I can still get to:

An old enemy brings bounty hunter Samus Aran back to Zebes, where she discovers that the Space Pirate threat is greater than ever -- and thus begins one of the most evocative games ever made. Thanks to its simple but powerful storytelling; outstanding soundtrack; and massive, lonely world, Super Metroid, created by Nintendo's well-known R&D1; team, is a masterpiece of design that has come to represent the Super Nintendo at its pinnacle.

SPECIAL EDITION DOUBLE-DISC SET FEATURES

DISC ONE

All-new 16:9 transfer optimized for high-definition televisions

Video introduction by writer/director Yoshio Sakamoto

Two Interactive Audio Commentaries: one by Yoshio Sakamoto, Satoru Iwata, and Shigeru Miyamoto; and one by producer Makoto Kano

New Leaderboards: Test your sequence-breaking skills against the best speedrunners in the world

DISC TWO

Return to Zebes (2011): A 90-minute feature documentary on the making of the game

From Zebes to the Bottle Ship (2011): A 30 minute documentary about the history of the Metroid franchise

Deep Red: Scenes from the film that helped to inspire Super Metroid

Sequence Breaking: Noted speedrunners offer a guided tour of sequence breaking in Super Metroid

Into Tourian Base: An interactive map of Zebes with developer commentary and notes

Play the complete, original Metroid for the NES

Illustrated production history with rare behind-the-scenes photos, original press kit, and the U.S., European, and Japanese trailers

PLUS: Complete OST featuring original and remastered tracks from Super Metroid

A party of four child prodigies must band together to fend off a mysterious, malevolent alien force in this cult-classic role-playing game, scripted by influential Japanese copywriter and author, Shigesato Itoi. Ness, Paula, Jeff, and Poo embark on a fantastic adventure that spans a quirky, contemporary world, with a charming sense of lighthearted humor that shines through to the engrossing story’s awe-inspiring ending.

SPECIAL EDITION DOUBLE-DISC SET FEATURES

DISC ONE

Fully animated opening and ending cinematics from Studio Ghibli.

In-game commentary from director/producer/writer Shigesato Itoi, designer Akihiko Miura, and composers Keiichi Suzuki and Hirokazu Tanaka.

Live recording of the “Earthbound Orchestral Experience.”

Excerpts from the new translation of Saori Kumi’s Earthbound novelization, read by the author.

DISC TWO

The Man that Fell to Earthbound – Retrospective Q&A; with Shigesato Itoi about Earthbound’s critical and commercial reception.

It Hurts -- documentary feature chronicling the troubled production of Earthbound 64.

Outgrowing Onett - A short film from director Mamoru Hosoda (The Girl Who Leapt Through Time, Summer Wars) that bridges the gap between Earthbound and Mother 3.

Brand new trailer of “Mother 3DS,” the highly anticipated, “definitive” edition of Mother 3.

All-new localization effort overseen by acclaimed director and screenwriter Brad Bird (The Incredibles, The Iron Giant).

Complete HD reimagining of the original Mother.

PLUS: Concept art gallery, and interviews with the game’s development staff.

In a galaxy far, far away, join Luke Skywalker, Han Solo, Princess Leia, Chewbacca, and even Wicket the Ewok as they wage intergalactic war against the evil Empire and the sinister Sith lord, Darth Vader. In this ultimate HD edition of Super Star Wars trilogy, you’ll experience the entire saga, including racing a landspeeder through Tatooine’s wastelands in A New Hope, battling colossal AT-ATs storming Hoth’s rebel base in The Empire Strikes Back, flying the Millennium Falcon through the Death Star’s core in Return of the Jedi, and many more memorable adventures from the classic sci-fi trilogy.

SPECIAL EDITION DOUBLE-DISC SET FEATURES DISC ONE

All three Super Nintendo classics in their original form: Super Star Wars, Super Star Wars: The Empire Strikes Back, and Super Star Wars: Return of the Jedi.

Remastered 16-bit visuals and crystal clear audio optimized for high-definition televisions.

New inventory management menu allows you to hang on to your weapons and powerups through all three games.

Save system lets you save your progress at any time.

New beginner-friendly “Apprentice Mode” eases newcomers into some of the most challenging Super NES games ever mad

DISC TWO

Deleted Levels: Two new playable missions previously cut from the games including R2-D2’s battle through Jabba’s palace.

A History of Sculpted Software: A 15-minute documentary chronicling the developer’s daunting task of reenvisioning George Lucas’ epic science-fiction series for the Super Nintendo.

From Giant Scorpions to Frog Dogs: An all-new 10 minute documentary examining the genesis of Super Star Wars trilogy’s most bizarre enemies.

Digital Strategy Guides: Digital versions of the original strategy guides to help you master what are considered some of the toughest video games on the Super NES.

Ladies and gentlemen: Start your engines, and prepare to challenge some of Nintendo’s most famous gaming characters in a high-speed battle of skill, wits...and luck! A huge critical and commercial success, Super Mario Kart is a seminal race-combat game from the 16-bit heyday of the early 90s that is so well loved, it continues to rank highly on “Best Game Ever” lists almost 20 years since its first release. Its key to success is its finely tuned, beautifully balanced multiplayer battle system that feels as fresh and fun as it did nearly two decades ago. Now’s your chance to rediscover the multiplayer magic of one of the best Super Nintendo games in three different forms, including an all-new Director's Cut!

SPECIAL EDITION DOUBLE-DISC SET FEATURES

DISC ONE

Director’s Cut: Featuring all-new polygonal graphics, the characters and courses are completely reimagined for a stunning, cutting-edge visual experience.

Enhanced Edition: A digitally remastered 16-bit version, with 1080p sprite-graphics taken from the original release, and authentic original gameplay

The First Cut: The completely untouched original version of the 1992 Super Nintendo release

Battle On!: Watch as the game’s original creators challenge one another in multiplayer combat and talk about their favorite weapons and characters

The Kart Legacy: A documentary on the legacy of Super Mario Kart, its numerous sequels and ports through the generations, and how it spawned an entirely new genre of racing games.

DISC TWO

Beyond F-Zero. The Making of a Two-player Racer: An in-depth interview with creator Shigeru Miyamoto about Super Mario Kart’s multiplayer design philosophies.

Unlocking Mode 7: Tadashi Sugiyama and Hideki Konno talk about the technical aspects of using Super Nintendo’s Mode 7 to deliver a great gaming experience.

Digitally remastered music by composer Soyo Oka

Bios and gameography of each Super Mario Kart character: Mario, Luigi, Princess Peach, Yoshi, Bowser, Donkey Kong Jr., Koopa Troopa, and Toad.

Cities are living, breathing things -- just as much as the inhabitants that walk their streets -- and nowhere is this more apparent than in Will Wright's masterpiece. Providing one of the earliest examples of free-form emergent gameplay, Sim City for the Super Nintendo is a seminal work, grounded in reality but limited only by the player's imagination.

SPECIAL EDITION DOUBLE-DISC SET FEATURES

DISC ONE

Two editions of the game: The original Super NES classic and SimCity+, a specially optimized widescreen edition for modern high-definition televisions.

Social Play: Connect your cities to those of your friends around the world.

Video introduction by Will Wright and Jeff Braun.

Fully voiced tutorial and advice featuring Nolan North as the voice of Dr. Wright.

DISC TWO

Af Wubbas Do (2011): A 60-minute feature documentary chronicling the history of the entire Sim series, from City through Copter to The Sims.

Urban Canvas (2011): A 30-minute exposé of the radical computer artists who use the SimCity series' landscaping and planning tools to produce works of visual art.

The Full, Uncut Raid on Bungeling Bay for Commodore 64: The game that inspired SimCity's creation.

Interactive gallery of real-life cities modeled in the game.

Original press materials and trailers.

Digital copy of "Street Music," an album featuring music from and inspired by the series.

Years ahead of its time, Actraiser was one of the most loved games released on the Super Nintendo Entertainment System. Genre-bending civilization-building simulation with side-scrolling action, the game didn’t continue as a decades-long franchise like some of its other contemporaries, but it was never forgotten. Stepping into the omnipotent shoes of “The Master” to save the land and its people from the evil Tanzra and his six lieutenants is not only many gamers’ first memory of playing a “god game,” for some it is also their fondest memory from the entire 16-bit era.

SPECIAL EDITION DOUBLE-DISC SET FEATURES

DISC ONE

All-new 16:9 remastered transfer optimized for high-definition televisions

Switch between the original 2D art assets and the all-new polygonal art with the push of a button.

Video introduction by director Masaya Hashimoto and writer Tomoyoshi Miyazaki.

Audio commentary track with the game’s designers.

DISC TWO

“The Creation Story” (2011), a forty-minute short documentary on the development of the game.

“Lightning in a Bottle” (2011), a roundtable discussion with Masaya Hashimoto, Tomoyoshi Miyazaki and Peter Molyneux about ActRaiser’s influence on game development and the “god games” genre.

The complete Yuzo Koshiro soundtrack performed by the Los Angeles Philharmonic Orchestra.

An interactive gallery of over 100 never before seen sketches, concept art, and other design documents.

All that stands between a world’s freedom and its conquest by a ruthless tyrant is the intrepid pilot Fox McCloud and his dauntless friends of the Star Fox Team. Featuring the groundbreaking technology of the Super FX chip, Star Fox brought Nintendo into the world of 3D computer graphics. And flying through the sky and in space in the Arwing starship is perhaps the best way for Nintendo to bring polygons to its consoles.

SPECIAL EDITION DOUBLE-DISC SET FEATURES DISC ONE

Remastered audio and visuals, featuring Dolby Digital EX surround sound and a 16:7, HD presentation. Game’s original 1992 audio and visuals are also on the disc.

Two audio commentaries: One from the game’s executive producer, Hiroshi Yamauchi, and producer, Shigeru Miyamoto, and another with commentary from the point of view of Andross, the game’s villain.

Updated motion-comic version of the original Star Fox comic that ran in Nintendo Power from February 1993 to December 1993.

DISC TWO

“Defenders of Corneria”: a 90-minute documentary on the making of the original Star Fox.

“Fox Through the Ages”: A look at how Fox McCloud and the series has changed since their 1992 inception.

“Arwing Declassified”: A collection of other designs considered and rejected for the iconic Arwing starship.

“The Art of Star Fox”: Images of Fox McCloud, the Star Fox Team, and the memorable worlds from the franchise.

Original promotional ads from Japan, Europe, and North America.

PLUS: The Complete Original soundtrack.

[theseerasures]

Conspicuous Media Consumption, 2019

i mean, everyone's doing these write-ups, right? might as well hop onto the bandwagon

towards the end of last year i had one of my typical existential crises about my media consumption: am i slowly disappearing up my own ass because i no longer care about most of the pop culture people like to discuss ad nauseam? but on the other hand, isn’t it more responsible to find the niche items made by non-mainstream and marginalized creators? on the third hand, wouldn’t i be much happier if i just watched FMA Brotherhood over and over again, preferably while starting a new Mass Effect playthrough at the same time?

the answer to all these questions is probably “yes,” but i decided to try something different going into 2019. for every week of the year, i would try to get through a year’s worth of content for some kind of media, be it comics, video games, TV, etc--they didn’t all have to be recent, or even new to me, but once i was done with that week i’d be done, even if i didn’t finish the content, and i’d make a judgement based what i’d seen on whether i want to continue. mostly, i was trying to avoid what happened to me with video games in 2018, when i was hating every second of playing Uncharted but still felt obligated to finish because everyone and their houseplant liked Uncharted or listlessly doing the Master Hunter achievement in RDR2 because the main quest made me miserable.

the actual outcomes of this Project(tm) are a little more complicated than anticipated--some media i could finish in a day, while trying to play through ALL THE CONTENT OF AN MMO understandably took much longer than a week--but it all kind of evened out. in the end i did 48 weeks of this, and used December as my catch-ups month to follow up on some things i didn’t get to finish. i thought i’d give my thoughts on each of the things i consumed this year as part of this project below in a concise manner--and yes, i know the people who’ve read even one (1) thing i’ve written are probably laughing right now, particularly given how long i took in this introduction just to get to me point, but i really am going to try!! it’s all an exercise in shameless self-indulgence, basically, but hey: if any of you want to chat at length about any of this stuff below, hit me up.

(quick note: you’ll only find media that i chose for this particular project below, so things i watched socially with friends--like certain film properties slorping me back into Disney’s gelatinous monolith--are not included)

Devilman Crybaby (anime, finished 1/5/2019): honestly i should have twigged onto what the year was going to be like when the first thing i drew from the metaphorical barrel was demon tiddies and apocalyptic existentialism. i was determined to dislike it for most of the year due to fundamentally disagreeing with its main thematic thrust, but i kept THINKING about it even months after. at this point i’ve kinda mellowed out. it’s definitely not a must love, but there’s enough queer metaphor and philosophical richness in it to make it worth checking out.

Attack on Titan (manga, 3 volumes finished 1/12/2019): this is the second time i’ve tried to get into this franchise and...yeah, no. i still don’t see the appeal. the fascistic overtones juxtaposed with absolutely no one having a sense of humor wigs me out to no end.

Young Justice (TV, 2.5 seasons finished 1/31/2019): honestly, what even is there to say? they’re my kids. they’re back and grown up and making even more terrible decisions. i screamed when i saw Babs in her wheelchair.

Black Leopard, Red Wolf (book, finished 2/10/2019): i tried VERY HARD to like this book, given how much i liked Brief History of Seven Killings, but it just...didn’t click for me. which honestly is fine, since i don’t think it was made for me either.

Dragon Age (3 games, finished 2/28/2019): i feel like there’s always a part of me that’s going to think of this series as “the other one,” but y’know. it’s good. it’s my second playthrough (as a mage for all three) and it’s good! i even went around killing all the dragons in Inquisition because Knight Enchanter was a blast. appreciate the higher queer content vis-a-vis Mass Effect, even though i couldn’t care less about any of the plot. Dragon Age II is the best one, do not @ me

Bitter Root (comic, 4 issues finished 3/1/2019): i love intergenerational dramas and i love stories about vampire slayers, so this was aces. my only complaint is the pacing was a little slow for a story that was going on hiatus after five issues.

Pearl (comic, 6 issues finished 3/3/2019): i know that he’s done great things and grudgingly admit that he’s probably a net positive in the industry but Brian Michael Bendis can suck my entire dick

Lazarus (comic, 5 trades finished 3/ 4/2019): i really thought this was going to clench the position for comic of the year. it’s Rucka doing Highly Relevant Dystopia! it’s a corporate Lannisters AU! it’s a highly personal story about a woman with high privilege and little agency! what more could you want

Immortal Hulk (comic, 2 trades finished 3/ 4/2019): i vibed with the horror feel, but i don’t honestly think it’s THAT exceptional. being set in 616-verse means there was still ton of baggage i didn’t know or care about, since i’ve now swung more to the DC side of things

thank u, next (album, finished 3/5/2019): didn’t Ariana Grande get canceled this year for some reason? oh well, i liked her album

When I Get Home (album, finished 3/13/2019): i vividly remember listening to this for the first time and feeling vaguely disappointed that it wasn’t more like Seat at the Table until i realized that i was covered in goosebumps. still don’t understand the magic but it is Good

The Bird King (book, finished 3/23/2019): pretty much everything you’d expect from a G. Willow Wilson book--spirituality, the female lead finding Themselves and the Answer and learning they’re the same thing, etc etc. i’m slightly resentful that her Wonder Woman was so lackluster while this was so good, but whatevs

Psychodrama (album, finished 3/29/2019): possibly my favorite album of the year? dense and emotionally raw in a way i really appreciate. Dave has a Mercury and he’s younger than me

Mass Effect (4 games, finished 4/7/2019): wow guys did you know that Mass Effect is good! it is. all of it is actually, even the Mass Effect 3 ending, another controversial finale to a big franchise that i will obstinately defend. even Andromeda, which isn’t AS good as the trilogy but still has a lot of heart. all its bugs have been exhaustively patched since launch anyway

Crazy Ex-Girlfriend (TV, 4 seasons finished 5/13/2019): i’m...still kind of mad about this finale, but can’t exactly deny that this show is one of the best things to ever happen to me, or television probably. i didn’t even mind new!Greg that much! tho he was probably the nail on the coffin of me jumping onto the Nathaniel train.

Knights of the Old Republic/The Old Republic (3 games, finished 7/4/2019): did you guys know that KOTOR II was my first ever video game? i feel like that...explains a lot about me. anyway, the first game is a classic and the second is a deconstructive classic and playing either of them is basically a fun way for me to turn off my brain these days. even the MMO wasn’t as much of slog as i worried it would be. the Imperial Agent storyline had some nice surprises and i dig the general atmosphere of ruthless pragmatism and crushing loneliness.

Wanderers (book, finished 7/13/2019): Chuck Wendig is a very well-intentioned man in dire need of a strict editor. still good tho! some VERY punchy emotional bits and an ending that still leaves me with vague existential terror.

Code Geass (anime, 2 seasons finished 7/20/2019): i feel like this is on the polar opposite of the spectrum as Devilman Crybaby, because i don’t think Geass is GOOD on like, any basis, and i actually find its central moral message kind of abhorrent? but some part of my lizard brain LOVED the High Imperial Family Drama (it’s been a good year for me and Lannister types, hasn’t it? well, with the obvious exception of--never mind), so...yeah. have i discovered the true meaning of guilty pleasure

The Farewell (movie, finished 7/23/2019): how could i not a) watch this and b) love this and c) feel emotionally cold towards this at the same time because the situations depicted were so similar to mine that i ended up feeling kind of alienated

The Nickel Boys (book, finished 8/8/2019): i STILL haven’t read Underground Railroad, but here i am a book late and a dollar short to appreciate Whitehead’s new book. the man’s stylistic versatility is jaw-dropping and i appreciate the plotting in contrast to like, 90% of the litfic out there that’s just “protagonist sad in different milieu”

Durarara (anime, 2 seasons finished 8/31/2019): it’s fucking bonkers and i loved pretty much every second of it? even the second season, where i finally got the BruceNat AU i deserved??? the first anime i’ve seen where everyone was relatively soberly dressed. the answer was love and having feelings and asking your middle school best friend to hurl you like a projectile so you can chop your girlfriend’s head off with a demon katana

Lover (album, finished 9/1/2019): i feel like with all the Discourse surrounding Taylor Swift re: she’s the devil incarnate or re: she’s good, actually the fact that she makes fucking bops gets kind of lost in the conversation. i have no vested interest in her as a person but i liked Lover, even though London Boy was “what if Style but stupid”

Are You Listening (comic, finished 10/2/2019): my actual choice for best comic of the year if i were giving out awards like that. it’s coming of age! it’s grief! it’s queers! it’s trauma! it’s magical realism! it’s cats! it’s expressive gorgeous art! Tillie Walden has an Eisner and she’s younger than me

High School DxD (manga, 2 volumes finished 10/10/2019): i don’t even know how to talk about this series?? i actually kind of came around to the whole “main character is a perv but goes hard for consent” by the end of the second volume, but it’s still...bad. i only can have lingering conflicted feelings about one Japanese adaptation of Christian mythology per year

Ghosteen (album, finished 10/18/2019): much like Immortal Hulk i thought it was fine but over-hyped. it’s Nick Cave doing his Nick Cave ethereal music thing. i still can’t tell what any of the lyrics mean, except Jesus is there sometimes

Watchmen (TV, 2 episodes finished 10/29/2019): i am nOT FUCKING CAUGHT UP so please watch out for spoilers. it is on my high priority list of things to be caught up on tho--i appreciate that the plot is blatantly unsubtle but still manages to give me aneurysms and i appreciate the political overtones just kinda...balances on a razor thin wire and also gives me aneurysms. i wanna say i have no expectations and would be fine if it does a full dive into the horrible bland depths of the both-sides porridge, but i’m sadly a fool who wants to believe in Damon Lindelof

Syllabus/Making Comics (2 comics, finished 12/24/2019): it’s funny--even before Making Comics came out i was like “man i miss Lynda Barry” and then BAM. it’s incredible how her work just makes me feel taken care of, even when we’re wrestling with tough topics or she’s demanding that i draw a Batman in 30 seconds. kudos for immediately shooting to the top of my gift list for my sister also

Allegiance/Choices of One (2 books, finished 12/24/2019): fun and largely inoffensive, but i was honestly hoping for more. the level of Empire apologia going on was too much for me, someone who thinks Mara Jade is the best Star Wars character of all time (still?????? still). it reeked a little of Zahn believing his own hype as the only valid guy in Star Wars Legends of whatever

Aldnoah.Zero (anime, 1 season finished 12/24/2019): turns out i also can only have “trash but my trash” feelings about one Japanese mecha show with higher art pretensions and patriotism verging into jingoism per year, and this one ain’t it. it’s not as good as Code Geass and Code Geass ISN’T GOOD. at least Geass attempted character complexity and moved at enough of a breakneck pace to distract me from its questionable bits. Aldnoah is just...bland, and nothing gets accomplished or revealed in 12 episodes, except the baffling and contradictory motivations of the main bad guy.

Baldur’s Gate (game, unfinished): yet again something i really wanted to like, given *gestures at all the BioWare above*. i think it’s mainly the Seinfeld issue, where it actually predates my own experience with video games and was so formative for the Western RPG genre that what was innovative just comes across as kind of staid now. i didn’t DISLIKE it, and will probably play the sequel since it’s supposed to be more character-driven, but by the time i finished the vanilla campaign i just didn’t have it in me to squint at more tiny avatars on the screen, so the expansions ended up a no-go.

most prominent thing i noticed about this list is that only one 2019 movie made it on the list and ZERO 2019 video games did so. the former i’m okay with because i currently live with two film people with whom i’m happy to tag along to the cinema. the latter bums me out a little more, because there WERE a few things i wanted to play this year, but all of them came out just as my semester was reaching its catastrophic boil, so i had no time. maybe i’ll use my free time after the New Year festivities to catch up on those.

to conclude: this worked out pretty well! i ended up finishing all but one of the things, and only a few were bad enough that i have no interest in seeking out more content. i’ll probably do this again in 2020--we’ll see if the scheduling can withstand a full year of grad school hell

[httyd2014]

Character Review of HTTYD 3

This is Part 1 of a two part movie review of How To Train Your Dragon: The Hidden World. Next up is the plot review. 

As of March 3, I've seen it four times. The first was the February 2 early showing, the second and third were on opening weekend in a regular AMC theater, and the fourth was in IMAX yesterday, which, like, I'm bothered by the fact that this third movie in the franchise only has limited IMAX screenings whereas the first two were released in all IMAX theaters, and released in 3D to boot. But anyway, character review:  (Also, spoilers abound, so only read this if you've seen it already)

He was at his BEST. That speech he gives to the Vikings in the great hall after Grimmel burns his house down gets more chilling and chilling with each viewing. Years ago when Dean Deblois was dropping hints over what to expect in the sequel, I got the impression that the arch of the trilogy would end with Hiccup's coronation as Chief at the end of the third. Instead, not only is he thrust into the role early thanks to Stoick's heartbreaking death, but we get to see him grow and struggle in the role of Chief, and I thought that character arch was pulled off sensationally. Although he takes after his mother's idealism in his attempts to save all innocent dragons from the hostile Trappers, he also embraces his father's lesson from the sequel that his first duty is to protect his people from harm and danger. His speech in the great hall encapsulates that beautifully with one powerful line after another. 

Hiccup is truly the leader of his people by the end of this movie, and not only that, but at least from my perspective, he's also imminently relatable. He genuinely struggles with himself and questions whether he's capable of doing what needs to be done as Grimmel and the legion of Trappers advance on New Berk. That lack of internal belief he carried around inside him as a scrawny 15 year old boy before he shot down the Night Fury is still there, six years later, as a handsome 21 year old chief. His internal struggle really showed his humanity, and in my opinion, it was Hiccup's journey that drove this third movie more than any other character, including Toothless. Which brings me to our beloved Night Fury:

Ok, so I must confess, I wasn't totally satisfied with how his character was portrayed. What made Toothless so amazingly endearing in the first one was how he struck such a PERFECT balance between being this fierce, ferocious beast on one hand, and being this adorable little puppy dog on the other hand. For the most part, he kept that balance in the sequel, particularly at the end when he challenges Drago's Bewildabeast and becomes the new Alpha of all dragons. In this one, however, I honestly didn't get the sense that Toothless truly was the "Unholy Offspring of Lightning and Death Itself" like the Viking legends said Night Furies were. Even during the above scene in the clouds where he does the Lightning Bolt thing and goes into stealth mode, it felt more like a cheap trick to impress Luna than a symbol of how utterly deadly he can be, and sure enough, he only uses it that one time to get those four Deathgrippers off his back. To me, all those puppy dog moments - of which there are MANY in this one - are less adorable because they aren't contrasted with enough moments of genuine fierceness. Simply put: I liked Toothless a lot more in the first and second movies than in the third one. 

That being said - and I'm going to repeat this in the plot review - the flaws in his character are made up for by the ending. He does the most human thing we've EVER seen him do when he literally gives Hiccup a big bear hug as they say good by. I put my hand over my mouth to control my emotions when I saw that! And then during the final scene where Hiccup visits him after 5 or 6 years, Toothless does a very animal like thing by failing to recognize Hiccup at first, which, as a big fan of the Jurassic World movies, reminded me of how the velociraptor Blue didn't recognize Owen after not seeing him for a year, thus putting Owen in a dangerous situation. But then as soon as Hiccup does the Forbidden Friendship thing, BOOM, Toothless's eyes widen like the sea, and he embraces his dear friend that he can't see every day anymore. To me, that was totally in character of who Toothless is as both a deadly Night Fury, but also the best friend a human could ask for. 

I'm gonna say this straight up: If Captain Marvel, or Star Wars, or Ghostbusters, or whoever, is going for the narrative of Strong, Female, Characters that do Strong, Female, Things, they already have an archetype that everyone loves, and her name is Astrid Hofferson. She is the true embodiment of a strong, female character, and I thought everything that made HTTYD fans love her in the first one was on display again in the third one. I was worried about this too, because in the trailers, it looked like Deblois might have been relying too heavily on the mythos of the first one, specifically the talk on the cliff, which from the trailers looked copied and pasted into the third one. However, it came off SO much better on film than it looked in the trailer, including one of my favorite lines from the entire franchise:

"But you know what? I am the person I am today because of you. And I have watched you doubt yourself every day ever since."

Astrid does what a good woman is supposed to do for her man: Be there for him when he falls down, comfort him with kind words, and remind him of who he is and what he can do. And she does all that in addition to being the warrior princess that Tuffnut correctly described her as. She fulfills the old saying, "behind every great man, stands a great woman." The talk on the cliff in this one is JUST AS GOOD as the same talk in the first one. It didn't come off as contrived or forced like I thought it would. Another favorite part of mine was during Hiccup's speech where she throws her axe on the table and demands that the Vikings hear out his plan to abandon Berk. She does that despite explicitly disagreeing with that plan earlier, which means that she was willing to stand by her man and her Chief even though she herself wasn't enthusiastic about the plan at first. Overall, I felt that the Hiccstrid relationship drove this story almost as much as the friendship between Hiccup and Toothless, and it did it without devolving into cliched romance.

She was good...at least when she had actual time onscreen (more on that in the plot review). I LOVED how she developed a relationship of sorts with her future daughter-in-law by encouraging Astrid to comfort Hiccup when he was doubting himself. I remember thinking to myself in the theater, "wow, Hiccup has two incredible women in his life! What a gift." I also liked how she automatically became an authority figure on Berk despite being gone for 20 years. She basically plays the role of General by scouting out Grimmel's advances towards New Berk and by bailing out Hiccup and the gang when Grimmel outfoxes Hiccup by trapping him on his ship. Between Valka, Eret, Astrid, and Gobber, it's really cool to see how Hiccup has a good leadership council behind him. 

Believe me, his character is SO much cooler if you've seen Game of Thrones. I can't emphasize enough how Kit Herrington's personality comes alive in Eret. In this one, my only complaint is that I wish we saw him more in combat fighting along side Gobber and Valka, although even as an adviser to Hiccup, he plays the role really well. A part of me wishes he gave Hiccup and Stoick more of a challenge when he was working for Drago in the 2nd one, because his knowledge of the world outside Berk is impressive, not to mention he's a natural leader, as he demonstrates during the speech in the great hall when he augments Hiccup's points. Whatever goofball traits he had in the sequel are gone in this one, and I liked that. Unfortunately, I can't say the same about...

Ugh. The teens could have disappeared entirely and it wouldn't have effected the plot at all (Grimmel would have found New Berk eventually. Ruffnut's stupidity simply allowed him to find it faster). There was absolutely no character development from any of them, and in Snotlout's case, he outright devolved. The primary reason I didn't think HTTYD 3 was an A+ movie is because the teens would not shut the hell up. I did NOT find most of their lines or antics funny, I found them distracting and annoying. These characters reached their apex in Gift of the Night Fury, and they never got better after that. 

Is Gobber. Good man, good leader, kind of paranoid. His shining moment in this franchise remains his eulogy during Stoick's funeral. In this one, you could tell that Deblois didn't really have anywhere to go with his character, so he added a subplot with the constantly appearing Hob Gobblers, which to me was what Legend of the Boneknapper should have looked like. One thing I do wish is that we saw one quick appearance of the Trolls alongside the Hob Gobblers on New Berk, as that would have been an amusing validation of his line to Stoick from the first one.

He gets two WONDERFUL flashbacks with Little Hiccup.* But, there's one error that was made during those flashbacks, and I apologize in advance to everyone who has already pointed it out: Stoick's beard should have looked scruffier and redder like it does in the first one when he's younger, as opposed to straight with grey spots like in the second when he's older. His beard is straight with grey spots during the flashbacks. Assuming that wasn't an oversight by Dreamworks, I'm guessing they did it that way because it was easier to animate. Which is understandable, but still, I'm a stickler for consistency. (The missing tree branch in front of Hiccup's face in the first one still jars me every time I see it).

*My gods, every animation studio from Dreamworks to Disney to Pixar has MASTERED the art of creating adorable children. It never ceases to amaze me

Ok, WOW, I loved him as a villain! He was everything Drago Bludvist wasn't: Cunning, crafty, smart, and above all, relatable. Grimmel is what Hiccup possibly WOULD have become if he stuck his knife into the downed Night Fury. Both of them are cerebral, and both of them play this delightful mind game where they try to anticipate each other's moves and countermoves, which Grimmel wins more often than not. As Gobber said to Hiccup, "one day, you're going to pick a fight you can't win." If Drago made Hiccup pay for his idealism by costing him his fathers life, than Grimmel makes Hiccup pay by costing him his Dragon-Human utopia. Grimmel's actions cause Hiccup to eventually accept the painful truth that humans living with dragons every day is not possible without resorting to war and death to keep that utopia a reality. When a villain can change things like that, then you have a damn good villain, and not just a guy who gets in the way periodically like Alvin and Dagur from the TV show. 

Additionally, I thought Grimmel was so much more personable than Drago. His talk to Hiccup in the house evoked the same feelings in me as the talk between Evelyn Deavor and Elastigirl in Incredibles 2, which is to say, I was relating to what BOTH of them were saying to each other. It was like the Light and Dark sides that exist inside all of us were speaking to each other. Whereas Drago was just pure evil and brute force, Grimmel was genuinely compelling and interesting. I would have liked Deblois to take a different story arch with this third film than just throwing another disposable villain in the mix, but as it is, Grimmel was a worthy character. 

In Summary

Hiccup and Astrid were spectacular, Toothless was very good but could have been better, Valka, Eret, and Gobber played their roles well, and Grimmel was an excellent bad guy. The only downside was the Teens. If their comic relief was cut, or if they were actual characters, this could have been an A+ movie from start to finish as opposed to A+ at the end and at specific parts in between (like the speech and the talks on the cliff).  

[chriscdcase95]

Halloween: Why the Thorn Trilogy was as underrated as "Twenty Years Later" was overrated

So yeah, I said it. And now I’m gonna explain it.

This may be some nostalgia of mine talking but as a long time fan of the Halloween series - I am talking when I was ten years old, when I was first getting into horror genre- I grew up on the old Halloween sequels consisting of the Thorn trilogy and the Twenty Years Later story lines. I know they are considered separate continuities and timelines, but y'know broad strokes, Easter-eggs, and the fact early script drafts for Twenty Years Later (Or H-20) intended to tie them together before they were cut from the final film, you can make the case they are ostensibly canon to each other, but that’s about it.

The Thorn Trilogy isn’t considered the best of the series; many fans looking down on the fifth and sixth film as being the least popular of the films. I think the only reason they aren’t considered by fans the worse in the series is because Resurrection exists, and was that followed by Rob Zombie’s remake duology. On the flip side, H-20 and 2018 are considered the golden calves of the franchise, and for the life of me, I never saw the appeal of the formers popularity. Now I can see why people have problems with the Thorn trilogy - especially regarding the cult and curse plot element of the sixth film. Unpopular opinion, but the sixth film was my favourite of the series - maybe has to do with my autism appealing me with both world building and the familiar - or that it seemed to tie up one storyline, but at the same time set up so much that I was disappointed that it didn’t continue.

For context, this post is partially inspired by Schaffrillas Productions video about Shrek 2. In this I will be using the criteria of what he describes as a “Perfect Sequel” which I’ll apply to the Halloween series, and as his Shrek 2 video says, there’s no such thing as the perfect movie; there’s too many variables to cover in a single movie alone, while a movie can preform it’s functions as a sequel perfectly even that doesn’t mean the movie itself is perfect. The “Perfect Sequel” criteria goes as such; expanding the universe; continue the story; introduce new themes or expand on old themes; leave an impact on the franchise.

Like Schaffrillas Productions, I will use this criteria to determine what the Thorn trilogy did right over H-20. Now am I gonna throw the 2018 sequel into the equation ? Maybe for compare and contrast purposes, but the 2018 sequel hits those same beats. There really is no competition between H-20 and 2018, I don’t question why the latter is considered a fan favorite. What I am primarily doing here is comparing the old sequels, and 2018 barely comes into the equation.

Does the Thorn Trilogy expand the films universe ? Does is continue the story ? As far as continuing the story goes ? Well that’s a no brainier; Halloween II begins where the original film ends; Return of Michael Myers picks up ten years later with Michael waking up from a coma after his seeming death in the second; Revenge follows Return and that leads to Curse. You get the picture, there’s an overarching story here.

“But does it introduce new themes that impact the franchise ?” You ask. Not the Thorn trilogy itself, but the second film does. Halloween II kinda sorta introduces a supernatural element to Michael by hinting a connection to the an ancient element of Halloween - more specifically the lord of the dead Samhain-  but more importantly revealing that Michael and Laurie are brother and sister. The supernatural stuff is explored exclusively throughout Return to Curse, but ever since it was revealed the entire Halloween series hinged off of Michael and Laurie’s familial connection. Even in 2018 where they discontinue the sibling aspect, the theme of family permeates the plot, with the focus hear being on Laurie, her family drama, her need to protect them and how Michael not only affected her but her family.  

In what’s relevant here is Michael and Laurie’s family connection is the focal point of the Thorn Trilogy, albeit not through Laurie herself; our lead character in Return and Revenge is Jamie Lloyd, the orphaned daughter of Laurie Strode and niece of Michael Myers, and she is what made their relationship the most plot relevant. Before Michael even wakes up from his coma, we are introduced to Jamie being haunted and even bullied over the fact that she’s and orphan and how her uncle is the infamous boogeyman. Her mother is gone, and she never even met her uncle, and yet both their shadows hang over her. Once Michael learns he has a niece that’s still alive, that’s all he needs to get up and at ‘em and nothings gonna stop him from getting his hands on her. And once he does in Curse ? It’s their baby he’s after next!  Yes, their baby. Michael is the biological father of Jamie’s son Steven, who becomes his new target and finds an adoptive family in Tommy Doyle, Karla Strode, and her son Danny, who take the responsibility to protect Steven from not only Michael, but an evil cult that will no doubt be following them for some time. So we have something set up; a possible future confrontation between Michael and his vengeful son, and defeat the cult that has been mentoring Michael and orchestrating his rampages from behind the scenes.

So what comes next ? H-20 gives us Dawson’s Creek with a serial killer. One of the things I mark against H-20 was I felt it lacked the same kind of substance as the previous trilogy. For something that was conceived as the finale of the Halloween saga, I just couldn’t get emotionally invested, and maybe it had to do with the later release of Resurrection and the knowledge of what comes next. Maybe I was deflated that Jamie wouldn’t get justice, or that we wouldn’t find out what became of Little Baby Steven. Sure we got a plot about Laurie being a protective mother towards her son John, but for some reason I couldn’t really empathize with John in comparison to Jamie - not helping his case is that 2018 Laurie has a new daughter in Karen who has the same kind of baggage John had with Laurie, was a more interesting in characterization. John was a just a Dawson’s Creek student who serves as someone Laurie needs to fight for, only to be forgotten in Resurrection. Unlike Jamie or Karen, John was more of a plot device than a character.

As far as expanding on the previous films themes go, H-20 doesn’t really do this. It’s focus is on Laurie and her incoming “final” confrontation with her brother…but it doesn’t feel like it has the same weight. Laurie’s having her nightmares, she’s living in paranoia and the constant fear of her brother inevitably coming after her again, and how it took a toll on her relationship with her son. That’s all well and good, but the problem is the emotions feel underwhelming here. I’m not bashing the acting or anything, but I think I was supposed to take Laurie and John’s screaming match when they argue about Michael more seriously than I actually did (their second scene together by the way). Maybe they should have focused more on Laurie’s angst, and her relationship with her son, but it all felt rushed and emotionally underdeveloped in comparison to Laurie’s emotional scars shown in 2018, which felt like they had a little more weight here. 2018 gave us a slow burn with them, H-20 gave us the last three episodes of Game of Thrones.

Also the fact its Halloween night is barely a factor in this movie. There’s more focus on a trip to Yosemite Park than the actual holiday, and none of the characters don’t even go on the trip itself. Hell, this movie and it’s sequel were released in the summer.

“What about expanding the films universe ?” As I said above, I think the main thing I liked about the Thorn trilogy was it’s world building. It is next to 2018 with the most lore filled storylines in the series, (and I expect more to come from 2018’s sequels). And the Thorn trilogy not only captured the atmosphere, but tied the lore of the actual holiday of Halloween much better than H-20. And for better or worse, we dig in a little more into the mystery that is Michael Myers and his family. Or do we ?

Short answer is “Depends on what version of the sixth movie you watch.” Yeah I know the sixth movie introduces the Thorn cult and curse, but there is are differences between the Theatrical Cut and the Producers Cut on account of things that have been added, cut or changed outright between the two versions. The Producers Cut is the only version Michael being a puppet of the Thorn Curse and tool to this cult. The Theatrical Cut plays around with this idea but doesn’t explore it beyond a theory Tommy has, but isn’t verified in the cut itself. As far as the Theatrical Cut is concerned, Michael is just a rage driven psychopath.

And honestly I get that one of the supposed appeals to Michael Myers is the mystery of his character. Everyone goes off about how he was such a cool villain in the first movie was because of his mysteriousness and the questions left unanswered and go on and on about it. But here’s the thing, the point of a mystery is the need to solve it, the need to explore and find out more about this mysterious figure. Michael being a mysterious figure can work in one or two movies before it gets boring and he just becomes a blank slate, a carboard cut-out. And really that was one of the problems Michael had in H-20. The Thorn Trilogy gives three movies to find out more about Michael, and his familial connection to Laurie Strode is the focus, even with Laurie out of the picture. Some would say because we find out more about Michael, his status as a villain is cheapened, but I always thought he becomes more interesting the more we find out about him.

In H-20, we got nothing with Michael. We don’t find out anything really new or interesting, or anything that really makes him that much of a threat. The whole movie was about a showdown he was going to have with Laurie twenty years after his first rampage, but there’s no real substance with Michael this time around. And this isn’t the same as 2018 going back to basics by following only the first movie - H-20 explicitly follows the second movie so this is the same Michael who hints at a supernatural element, the same Michael who is revealed to be Laurie’s brother, but none of that is really important here. The brother and sister element - the crux of these two characters, isn’t of importance here as it was for the Thorn trilogy; the closest we get to that is the scene where Laurie kills someone she thinks is Michael, which leads to Resurrection.

Michael and Laurie felt more related in 2018 than they ever did in H-20. And speaking of 2018, I know they brought Michael back to his original form, but considering there’s two sequels to that movie in the works, there is only so much you can do before Michael becomes “cheapened” by finding out more about him or become boring by keeping him a blank slate. Like I said, Michael can only really get away with being enigmatic for one or two movies before it just becomes a crutch and excuse which would result in him becoming boring.

As far as world building goes, the H-20 storyline doesn’t really expand the universe besides taking us to a boarding school in California, but I can give it leniency since it was gonna originally be a follow up on the previous trilogy. Now onto comparing characters.

Laurie Strode as a Protagonist

While it goes with out saying that Laurie Strode is a runner up when it comes to being the OG Final Girl. In the same way Michael helped define the slasher villain, Laurie is helped define what the final girl is. In just about every timeline and storyline in the Halloween series, all it took was one night to shape Laurie as her fateful encounter with Michael. In the first two movies, Laurie was a great protagonist, she was the naive, inexperienced teenage girl, and even a sisterly figure to Tommy Doyle. She was a protective babysitter who risks her neck to not just survive the night against a psychotic stalker, but protect the kids that are in her care. And that was just the first movie.

The second movie (which takes place on the same night mind you) things get personal with the brother/sister relationship. In this movie, the family aspect did impact Laurie; Laurie was the first person who finds out the truth and has a dream induced flashback of when she met Michael when she was younger shortly after her mother told her she was adopted. Laurie wakes up and the revelation that the seeming stranger that just murdered her friends is her brother, it puts her into a brief catatonic shock…although she might have been faking it while planning an escape. Point is the brother revelation had an effect on her.

But watching II and Twenty Years Later back to back, I just didn’t feel that it the same impact as it did in the previous movie. Michael’s relation to Laurie wasn’t as important in this film as it did the previous films. If it wasn’t for the fact that the brother-sister thing was mentioned a few times, it didn’t feel like it had that much of a weight to it. It didn’t feel like Laurie was afraid of her brother here, but rather just the guy who terrorized her. Like I said, above, Laurie and Michael felt more “related” in 2018 than they did in H-20, despite that aspect being cut out. The closest we get to Laurie having a moment of “this is my brother” is the scene where she kills some poor sap she thinks is Michael.

The focus in both H-20 and 2018 is about Laurie’s trauma and paranoia about Michael coming after her and her children. But overall I felt 2018!Laurie was the better take on the character, especially in that aspect; we see how strained her relationship with her daughter is and how close she is with her granddaughter. 2018!Laurie’s life effectively went down the tubes and Michael never stopped haunting her, and has burned himself into her very soul, that it would be irrelevant whether or not they are blood related. It’s gotten to the point where her daughter barely has a relationship with her. Despite this and having little to lose, 2018!Laurie has spent forty years preparing for a showdown with Michael, and is just itching for him to come loose again, arming herself, fortifying her house, keeping herself in shape the whole nine yards. Because it makes her that much stronger, makes her a little bit harder, makes her that much wiser, so thanks for making her a fighter.

H-20!Laurie spent twenty years just living in fear of Michael that at some point to the point that she faked her death, but doesn’t do much of else. And honestly despite her trauma and paranoia in this movie, I was less sympathetic to this take on Laurie, because she has a lot more to lose. She hasn’t had her life ruined by Michael in the same way 2018!Laurie has, in fact she lived a more comfortable (dare I say) privileged life, as the headmistress of a boarding school in sunny California, and still has a considerably more positive relationship with her son, and it’s only after Michael catches up to her, she’s ready to confront him and (seemingly) kill him. And I just couldn’t feel the same emotions with H-20!Laurie as I did with the 2018 counterpart.

I thought that H-20 was a little rushed with her character development and arc. But I think what made me unsympathetic is because Resurrection made it hard for me to root for in retrospect, and the fact H-20 was originally going to be directly tied with the Thorn trilogy; keep in mind as far as the Thorn trilogy goes, Laurie was killed in a car accident, which left her daughter Jamie virtually alone, with her mothers death taking an obvious toll on her, which dear old uncle Michael is out to kill her. H-20 reveals Laurie faked her death, and considering the original plans to tie the two stories, this effectively means that Laurie faked her death, abandoned Jamie with seemingly no regard for her, and let Jamie go through Hell alone. And I’m supposed to feel sorry for Laurie because of twenty years of nightmares ? Yeah, 2018!Laurie is the mother that Jamie deserves.

Which leads us too…

Jamie Lloyd as a protagonist

Now Jamie was considered a fan favorite upon her introduction, and in my opinion is one of the most thematically important characters in the series. As I explained above, Jamie is the linchpin of Michael and Laurie’s relationship, being both Laurie’s daughter and Michael’s niece. From such, both characters shadows hang over Jamie, despite and because of Laurie being out of the picture. Despite being a child, Jamie is subjected to the trauma of her mothers passing and her relationship with the boogeyman being public knowledge (and other children bully her over it, I can’t get over that).

Now there’s two kind of protagonist dynamics that Laurie and Jamie fill that contrast each other; Laurie is the protector of the cute, Jamie is the cute. But Laurie’s not around, and Jamie would be completely alone if it where not for her foster sister Rachel, Rachel’s friends, the local and state police and a mob of vigilantes. Well unfortunately, the Jamie Lloyd Protection Squad are a non issue to Michael who had squad of his own in the form of the Thorn cult, and these fuckers don’t play around. The world will stop at nothing at kicking Jamie down, and kicking her while she’s down, just for existing. If that’s not enough, she is held captive for years by a cult, forcibly impregnated by Michael and disemboweled in the sixth movie.

Did I mention Jamie was an eight to nine year old kid in the fourth and fifth movie ? I can see why Danielle Harris is disgruntled that she couldn’t return. Fun fact, Danielle Harris wanted the sixth film to have Jamie die killing Michael once and for all to save her baby. But because this is Jamie Lloyd we are talking about, she’s not allowed to get justice. You could make the argument that Jamie gets points dying to save her baby in the actual movie…but it wasn’t Danielle Harris playing, so whatevs I guess.

As I already said, what made Jamie a little more interesting for me than H-20!Laurie is that her connection to Michael being more emphasized here than with Laurie. This was first shown in the fourth movie and expanded upon in the fifth, which implies Michael has some sort of psychic and emotional link with Jamie. Under Michael’s influence, Jamie attacks her foster mother, and is subsequently institutionalized, and is still terrorized by Michael through nightmares, visions and seizures, as Michael continuously taunts Jamie with the murders of her protection squad. That’s when it hit me; Jamie and Michael are Ying and Yang, and that’s why it worked. Where Jamie was innocence, Michael was purely evil.

Michael is the human personification of evil, it only makes sense he be connected to someone who is pure and simply innocent. These two effect each other, and compliment each other. I’m honestly curious how this connection played out during Jamie’s captivity, because despite everything she’s been through, she was still innocent enough to try to reach out to Michael a final time. In the fifth film Michael has a bizarre moment of humanity and feels brief remorse due to Jamie’s influence and on the flip side, Jamie has a brief moment of darkness due to Michael’s influence. So of course I’m going to avoid a certain Mad Titan’s quote about perfect balance, because the meme is too easy. It dawns on me that I may be reading into something that isn’t there, but dear reader is what all theorists and analysts such as myself do ?

And speaking of perfect balance, that is another reason why I think a storyline about baby Steven introduced in the sixth film is a wasted chance. Not only is his *ahem* “origin” anti-hero backstory material, but think about what Steve represents; he’s a living combination of Jamie’s innocence and Michael’s evil. He is someone who not only carries Laurie and Jamie’s legacy on his back, but Michael’s legacy as well. Thematically speaking, he is prime material to be the one to one day kill Michael once and for all. But we got more of Michael fighting Laurie, so I guess that’s cool.

Michael Myers as a villain

Okay, what can I say about Michael as a villain that hasn’t already been said ? I mean what movie does him best ? Many would say the first two. But what does a better job at “expanding” Michael. Many would also say the 2018 sequel, but that’s not primarily what I’m comparing here, so we are sticking with the old school sequels. Michael’s main appeal to the bulk of the fandom was the mystery aspect of him in the first movie. But “Michael is cool because he’s mysterious” can only work for one or two movies before it becomes a crutch and as a result turns Michael into blank slate. And considering that 2018 has two sequels in the work, Michael is likely to get some “expansion” to keep him interesting, and that’s because the appeal to a mystery is the inherent need to solve it. 

But that is beside the point. In my personal opinion, Michael’s appeal wasn’t that he was a mystery, but that he was the human personification of evil, and from such I think the only way Michael can really be cheapened is if he was given something to humanize him like love, empathy or sympathetic qualities. And no, the single tear in the fifth movie ultimately means nothing considering what happens down the line. So as long as Michael is evil and doing inherently evil deeds, I don’t see it as cheapening him.

So how does one expand on Michael and his evil correctly ? Make him a bigger threat with each passing sequel, and give him more heinous deeds under his belt.

In the second movie, he massacres a hospital to get to Laurie. The fourth movie has him slaughtering an entire police force and a vigilante mob just to get to Jamie. The fifth movie has Michael track down Jamie’s friends and foster sister, and display their corpses as a way to taunt Jamie. Sixth movie, he disembowels Jamie after she gives birth - mocking Jamie for trying reach out to him no less! - before seeking out and trying to kill their baby, and massacres a group of followers for thinking they can control him. There’s also Steven’s conception, which is universally regarded as too far even for Michael. 2018 has Michael kill a child onscreen, exceed the body count of the first movie before he even gets his mask back -and just to get his mask back- kills several people in different houses in a matter of minutes, and uses a cops severed head as a makeshift Jack-o-Lantern. You see that ? In almost each sequel, Michael was more of a threat, and was more “creative” when it came to his evil. He fulfilled a function as a villain and evil personified with no real humanity and no moral restraint.

What about H-20 ? Compared to those other movies, Michael was boring here. He kills three people at the beginning of H-20 and three more in the third act, but isn’t really creative or spectacular (except for using a skate for one kill). The bulk of the movie is Michael just traveling to the boarding school Laurie is hiding in, but doesn’t really do anything of substance. I wouldn’t mind too much, but back in the day this was billed as the final movie. The only creative thing Michael does is fake his death and that isn’t revealed until Resurrection which was near universally disowned by the fandom. Give Resurrection this, it adds more to Michael’s rap sheet. We do get a brief montage at the beginning of H-20 that implies that Michael has gone on a killing spree across the country, but the problem is it breaks the “show don’t tell rule”.

I’ll give them this, we do get a comic book miniseries called Nightdance set in the H-20 continuity, that expands on Michael’s evil and menace in ways I won’t spoil here because I recommend it, and it’s not as well known as Resurrection despite being considered by some to be the better follow up. It’s almost a shame this wasn’t made into a movie, because in the actual movies in that timeline Michael didn’t feel as threatening or menacing, took a lot of the edge off his character, and made him especially weak compared to the previous sequels. You could make the argument that the movie was mainly focused on Laurie’s facing her demons, the problem was that everything was rushed and undeveloped in that department, so Laurie’s character arc doesn’t really make up for it.

Compare and contrast this with 2018, which gave us a slow burn focus on how Michael effected Laurie, Laurie’s relationship with her family and quickly shown us the stakes Michael’s threat poses. It really makes me question why H-20 was seen as such a golden calf back in the day. It seems to me that is was mostly because Jamie Lee Curtis made a comeback for that movie.

Conclusion

So that’s my reasoning for why the Thorn trilogy hits the “Perfect Sequel” beats over H-20; it had more lore and world building; had a greater focus on the themes introduced in the second film; a more sympathetic protagonist; Michael’s evil was empathized more; and an atmosphere closer related to the actual holiday of Halloween. 2018 had some of the same beats at the Thorn trilogy, but I’m not gonna a final decision until the 2018 sequels are finished. It’s a personal standard of mine to wait until the story is over before I make a final decision.

I will give 2018 points so far for building it’s new lore and developing it’s new characters in one movie, but I think it has it’s problems too. Mainly that 2018 felt more like a big “Fix It” fanfic brought to the cinema, and was a little heavy when it came to self referencing humor, call-backs and leaning on the fourth wall, and fandom wish fulfillment. 2018 isn’t a bad movie, it’s one of my favorite sequels, but even so I can’t get around the whole “fanfic-ish” feel I got from watching it.

Pretty much the one thing H-20 has over 2018 was that it didn’t try too hard to be Scream, which was a formula most late 90’s horror films followed. At most we were given a quick Scream cameo, that could possibly shatter the canon if I think of it too much. H-20 went out of its way by not copying Scream during the writing process. Little known fact, but while H-20 was intended to be the last Halloween film, the studio had this rule was that Michael Myers wasn’t allowed to actually be killed off, so a sequel was planned in advance to clarify he was still alive; the original plan was that “Michael” would be a obsessed fan and copycat; that idea was scrapped possibly for following the “Scream formula” too much, and what we got instead was the infamous paramedic twist in Resurrection.

[radiantresplendence]

STAR WARS - Rise of the Tierlist

So, I saw Star Wars 9 a few days ago and might do a review. In the meantime, I feel I should update my age-old Star Wars ranking. To keep up suspense and to emulate the feel of Rise of Skywalker, we’re doing this worst to best. I’m not going to count The Clone Wars animated movie, the holiday special or the ewok films, just the main, live action theatrical releases.

11. Attack of the Clones - The worst part of this film is that it could have been good. Instead it just treads water while waiting for episode 3. I mean, the plot is essentially Obi-Wan investigating the dark secrets of the jedi and a somewhat-connected forbidden romance. How was this messed up so bad? Answer: Poor focus on what’s actually compelling, subpar dialogue and a bad case of tunnel vision. 

10. The Phantom Menace - There’s a lot in episode 1 that doesn’t work, but there’s a fair bit that does that I feel doesn’t get enough credit. The stuff between Qui-Gon and Obi-Wan works well enough, there’s just a little too much jargon, not enough focus on what’s important and child Anakin should be setup and a plot device over being a major character. 

9. Rouge One - I know this is probably an unpopular pick, but hear me out. 40% of this film is great, some of the best the franchise has to offer. The rest is bad, and people make excuses for it. The worst part is that you have to sit through the bad to get to the good. I admit that what works dominates the attention much better than the previous entries, but I’d go so far as to argue that this film works less as a movie than does The Phantom Menace.  

8. Rise of Skywalker - It’s... fine. Did anyone love this movie? The scene with the most payoff was Hux’s irreverent and unceremonious death. It does work as a film, but it really needs to slow down and the script has a few 20 minute long plotholes that it could do without. A lot of the beats were unnecessary in this film and it struggles to have it’s own identity over episodes 7 and 8. 

7. The Force Awakens - A shameless rehash of the original, with Kylo Ren being the standout character. A lot of the movie is fun enough, but so little of it beyond the villain is unique or interesting. Finn’s done well enough in this movie and the original trilogy characters are fine. The less said about Rey and Poe in this movie, the better. 

6. Return of the Jedi - The highest high and the lowest lows of the original trilogy are in this film. The other two films of its era are certainly better movies. By and large, the stuff with Luke works well, the stuff with Han doesn’t and Leia’s in the middle. It feels like a lot of the stuff on the forest moon is just filling time. 

5. Solo - I mean, this movie works and is pretty fun. This film proves that you don’t need space wizards with laser swords to make a decent Star Wars movie. It a pity that this film under-performed and was boycotted by a good portion of the fanbase, because it’s fun and largely inoffensive. The only thing that doesn’t really work in my opinion is the Droid’s Rights Activist. The rest of it is interesting and feels very authentic for what could be considered a cash grab. 

4. Revenge of the Sith - Sure, it’s campy. Sure, the pacing isn’t perfect. Sure, the direction isn’t the best. However, this film does have heart and generally speaking, the performances really cut through the dialogue and make the slow bits bearable. This film is what the entire prequel trilogy wanted to pay off on, and I feel like it accomplishes what it set out to do. This movie is satisfying and I feel like it justifies the existence of all the prequels, even if it doesn’t nail every piece of its performance. 

3. The Last Jedi - This film has a lot of the same issues as Rogue One, however, about half of this movie works, a quarter is largely fine, if a little flawed and the last quarter doesn’t work at all. Basically more of this film is watchable, and it actually works as a movie. Yes, it’s flawed, and yes the plot structure is a bit of a disaster, but the Luke, Kylo and Rey bits are some of the most interesting that this series gets. It’s a pity that Kylo Ren has to carry as much as the sequel trilogy as he does, as a few risks taken with the other characters and a nice rewrite could have made this the best Star Wars movie ever made. I really wish the sequels were planned out in advance after watching the conclusion, okay?

2. A New Hope - It’s the original. It’s groundbreaking. It created the summer blockbuster. This is essentially a B-movie that spawned one of the most lucrative intellectual properties in the world.This movie is more authentic than any previous entry on the list, and you can really see the creative vision and passion that went into it. This is arguably the best Star Wars movie ever made, not something that had the potential to be. Over 40 years after its release, every minute still holds up. 

1. The Empire Strikes Back - This is Star Wars 2, bigger, darker, bolder. This film masterfully balances character work and world building into a dramatic narrative where the heroes are seconds away from defeat for most of the run time. Most importantly, the heroes lose. Luke gets his hand chopped off and loses his sword to Vader, Han gets frozen alive and captured and the rest of the cast barely makes it out with their lives. This is the movie that turned Star Wars from a one-hit wonder into the series that it is today. 

[thedeaditeslayer]

B-movie king Bruce Campbell talks ‘Evil Dead,’ new memoir and his KC connection.

Bruce Campbell admits Jay Leno might have a chin at least as famous as his own.

But Leno can’t lay claim to having starred in some of the most beloved B-movies of the modern era, from “The Evil Dead” franchise to “Bubba Ho-Tep.”

This weekend Campbell and his strong jawline are returning to KC — a city where Campbell has a surprising family connection. More on that later.

Campbell is touring in support of his second memoir, “Hail to the Chin: Further Confessions of a B Movie Actor.” A follow-up to his 2002 debut “If Chins Could Kill,” the latest endeavor recounts his subsequent adventures filming Sam Raimi’s “Spider-Man” trilogy, the long-running TV show “Burn Notice” and his gloriously gory current series, “Ash vs Evil Dead” on the Starz network. The book also delves into more personal exploits, from visiting troops in the Middle East to carving a domestic life in the Oregon wilderness.

Some patrons attending his sold-out Alamo Drafthouse appearance Saturday will get to partake in a live, interactive game show called “Last Fan Standing,” which, he says, bridges his world of sci-fi, horror, fantasy and pop culture.

“It’s a game show for geeks,” the 59-year-old actor says. “Our questions are like, ‘What does Thor’s hammer weigh?’ You won’t hear these questions on ‘Jeopardy.’”

Calling from a train en route to Boston, Campbell spoke to The Star about cult films, his famous catchphrases, brushes with actual evil and that KC connection.

As Ash would say, “All right you primitive screwheads, listen up …”

Q: How is going on a book tour like making a low-budget movie?

A: It’s wild and wooly. There are a lot of unexpected twists and turns. For instance: I was on the 33rd floor of my hotel two days ago, and the elevators were not functioning. That’s always a blast. I got a little extra cardio.

Q: I know you’ve toured through Kansas City before. Do you have any other connections to KC?

A: My mother (Joanne Louise Pickens) was born there.

Q: Really? How did we not know about this?

A: People don’t usually blab about where their mother was born, I guess. I think she was born on the Missouri side of Kansas City because she liked to associate more with Missouri. (Campbell grew up in a suburb of Detroit.)

Q: You can hide behind characters as an actor, but you can’t when writing an autobiography. Were you hesitant to reveal any personal details?

A: Oh yeah. Like getting a DUI. You kind of go, “Am I going there?” You have to because it is part of the story. You can’t deny it. I hate pretending like stuff never happened. It happens to actors, who are sometimes the biggest idiots on the planet. There’s no point messing with the truth. As the saying goes, “A liar has to have a good memory.”

Q: Was there any chapter in “Further Confessions” that was especially challenging to write?

A: Not so much challenging, but the chapter that had a different feel to it was when I went to see the troops in Iraq. Tough to properly convey the conflicted feelings one has when one is in a war zone. I don’t like war in any size or shape or color. But I have no problem with the soldiers. That’s what that was all about.

Recalling going to Walter Reed (Army Medical Center) because you want to be sensitive to the horrible sacrifices these guys made, it really did make an impression on us when one guy didn’t want to see us. He was like, “I don’t care if you want to shake my hand. I don’t want to shake your hand because I’ve got other (stuff) I’m dealing with.” That puts it all in perspective, which is pretty handy for actors. We think we’re the center of the universe. Now you go, “Oh wow. There’s other stuff going on in the world that is so much more important.”

Q: Have cable and streaming services blurred the definition of what a B movie is?

A: Yes and no. A-list is still represented by movies that are the most expensive with the biggest stars, biggest promotional budgets and studio-backed. B-movies are like what you find on Sci-Fi Channel. But all these big-shot actors are now racing to television. I laugh because I’m like, “Where were you 20 years ago, jerk?” It’s too bad because I felt like I had television all to myself for a while. Now they’re invading.

Q: Do you have a favorite scene from the first two seasons of “Ash vs. Evil Dead”?

A: My favorite stuff is in Season 3. Ash gets a daughter that he didn’t know about, of course. So in the middle of saving the world, he has to raise an unruly daughter … and do it very poorly. No one can screw up fatherhood like Ash. And the weird stuff that’s happening, he’s trying to convince her it’s true. He’s got a line where he says to her, “I may be a crappy father, but I’m also a crappy liar.”

Q: You’ve fought a lot of evil things onscreen. What is your definition of real-life evil?

A: Ignorance. Most of the world’s ills would go away if people knew what was really happening and how things really work. Get perspective. I would force every American to leave the country for one year when they’re 18. You cannot stay. Do you know that 75 percent of Americans don’t have a passport? They couldn’t leave if they had to. One of the best things in my line of work is you travel a lot. It’s important to see other countries. You go, “Oh, they’re not worried about the stuff we’re worried about.” Or you go, “Wow, they seem to have figured this out.” Americans are very good at thinking we have everything figured out. And we don’t.

Q: When was the first time you went out of the country?

A: I went to Nogales, Mexico, when I was 10. We went across the border to buy switchblades. We were obsessed. We heard you could buy switchblades in Mexico. And we got them. It was really exciting to click that button, and I don’t know why.

Q: Of all your memorable lines of dialogue, which ones do fans bring up the most?

A: Probably, “Give me some sugar, baby” (from “Army of Darkness”). I do know that the line has power. A guy came up to me at a book signing and said, “Thanks for ‘Give me some sugar, baby.’” I said, “Why?” He said, “I was working in China, and I had that translated into Mandarin. I went into a bar, used it on a chick and got laid.” It works!

Q: Have you ever compared chins with Jay Leno?

A: No. That would be unseemly.

Jon Niccum is a filmmaker, freelance writer and author of “The Worst Gig: From Psycho Fans to Stage Riots, Famous Musicians Tell All.”

[angelofberlin2000]

By Rick Marshall 

August 21, 2019  2:25PM PST

It might be difficult to believe right now, but there was a point — not too long ago, in fact — when Keanu Reeves wasn’t everywhere you looked.

The recent news that Reeves would return to lead yet another installment of The Matrix franchise seemingly puts an exclamation point on the 54-year-old actor’s professional resurgence after nearly a decade out of the spotlight.

From carrying a new action franchise (and becoming one of the most sought-after cameos in the industry), to making headlines in the gaming world, to reprising one of his most iconic roles after a 15-year hiatus, Reeves’ ubiquitous presence these days is one of Hollywood’s most pleasant surprises.

It’s also a fascinating look at how one big hit — in this case, his starring role in John Wick — can shake things up and remind audiences why we liked an actor so much in the first place.

After rising to fame in the ’80s and ’90s with comedy hits like Bill and Ted’s Excellent Adventure and its sequel (as well as 1989’s Parenthood), Reeves moved into action-hero territory with ’90s classics Point Break and Speed, along with a high-profile horror role in Bram Stoker’s Dracula. Like most prominent actors, his career during that era had its share of mild highs and lows, with his 1995 romance film A Walk in the Clouds and 1997 supernatural thriller The Devil’s Advocate both earning critical acclaim, while sci-fi adventures Johnny Mnemonic and Chain Reaction were widely panned.

Then The Matrix came along and changed everything.

Reeves’ portrayal of a mild-mannered computer programmer who becomes the cyberpunk savior of humanity in a war against sentient machines turned him from a reliable (if not particularly exciting) male lead to the coolest action hero in Hollywood. The Wachowskis’ groundbreaking 1999 film changed the game for visual effects and cinematography with its innovative fight choreography and set pieces heavily influenced by Hong Kong cinema and Japanese animation while exploring themes that are still highly relevant (and excitedly discussed) 20 years later.

The Matrix would go on to win four Academy Awards while establishing itself as one of the greatest science-fiction films ever made, with Reeves as the face of what would soon become a massive franchise.

The Matrix - Original theatrical Trailer

Two sequels to soon followed, with The Matrix Reloaded and The Matrix Revolutions both hitting theaters in 2003 (a unique strategy, but one that seemed like an easy win given the first film’s success). The first of those sequels went on to become the highest-grossing R-rated movie of all time worldwide, a record it held until Deadpool came along 13 years later.

At that point, Reeves was the star of one of Hollywood’s biggest, most visually stunning action franchises — and then, just a few years later, he seemed to fade into the background again.

In the years that followed, Reeves starred in a genre-spanning series of films peppered with indie darlings like The Private Lives of Pippa Lee and experimental projects like Richard Linklater’s rotoscoped adaptation of A Scanner Darkly. There were a few big-budget movies like the poorly reviewed remake of The Day the Earth Stood Still that arrived in theaters and quickly disappeared, but nothing approached the level of The Matrix franchise.

Man of Tai Chi - Officail Trailer (2013)

During this lull, Reeves found time for music, wrote a book, made his directorial debut in the under-appreciated martial-arts film The Man of Tai-Chi, and even produced a documentary about photography.

But things changed dramatically once again in 2014 when Reeves starred in a little-known action film directed by two former stuntmen called simply John Wick.

Much like The Matrix, John Wick drew inspiration from Hong Kong cinema, anime, and classic martial-arts movies for its tale of a former assassin who comes out of retirement when criminals kill his dog during a botched robbery. Directors Chad Stahelski and David Leitch drew from their backgrounds to craft stunning fight sequences for the film that let Reeves carry each scene with his pensive stares and affinity for kung-fu filmmaking techniques, while simultaneously keeping the themes simple (revenge) and teasing the existence of a much larger world inhabited by its colorful cast of killers.

John Wick was a surprise hit, raking in more than $88 million worldwide on a meager (by Hollywood standards) budget of $20 million. It matched that box-office success with almost universally positive reviews, with some suggesting it was one of Reeves’ best performances to date. And just like that, Reeves was an action hero again.

JOHN WICK - Official Trailer #1 (2014)

Two sequels followed, and unlike The Matrix trilogy, the John Wick films — 2017’s John Wick: Chapter Two and 2019’s John Wick: Chapter 3 – Parabellum — only got more successful with each installment. The box-office returns increased with each sequel, and reviews got progressively more positive too (no small feat, given the first film’s 87% positive reviews), solidifying Reeves’ status as one of the hottest action stars in the industry all over again.

All it took was a black suit, a dead puppy, and a whole lot of bullets.

Given all of that, it shouldn’t come as much of a surprise that Reeves is headed back to The Matrix universe (and Bill and Ted’s universe, for that matter). Between the success of the John Wick franchise to Reeves’ role in Cyberpunk 2077, one of the most anticipated video games of the upcoming year, to the calls for him to join the Marvel Cinematic Universe, to the frequent, real-life reminders that he might be one of the nicest people in Hollywood, there’s a strong argument to be made that Reeves is entering the best stage of his career so far as he approaches age 55.

It remains to be seen whether Reeves’ return to The Matrix can find the magic that the original film channeled, but with Lana Machowski behind the camera and Reeves in front of it — along with fellow Matrix veteran Carrie-Anne Moss — there are plenty of reasons to be optimistic about taking the red pill and diving back into that sci-fi saga.

Reeves has already defied conventional wisdom by becoming an action hero so late in his career, but if there’s anything his trajectory has shown us, it’s that he’s the sort of actor who can surprise us in all the best ways.