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Angelina Jolie

SF Radio 8.07: Representing the World in ETERNALS

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With the release of Eternals, the MCU fully leans into its cosmic realm at long last. Spanning a story about ‘divine’ monsters over thousands of years, director Chloe Zhao unravels a narrative that asks profound questions about the universe and our place within it. So, why hasn’t it caught on with audiences? With the lowest RT score in Marvel history, Eternals has become one of the more divisive entries into the current cinematic canon, proving that (maybe) the franchise isn’t bulletproof after all. This week, the Marvel-out team of Dina Hamdieh, Miriam Ibrahim and Seun Olowo-Ake assemble to discuss the film’s strengths (and weaknesses), the relationship between leadership and power and the significance of representation.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Eternals: Marvel Takes Itself Seriously

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Marvel’s Eternals has a Spider-Man problem.

No, the latest MCU entry does not contain direct ties to the next Spidey flick. But, in some ways, the oncoming Spidey-fest No Way Home is a great example of what will make Eternals so divisive. Although the third Home film promises multiple villains, wild crossovers and all the fun that most MCU films have to offer, Eternals offers something entirely different.

While I personally find it refreshing and engaging, Eternals is going to frustrate others.

Sent to our planet over seven thousand years ago, the Eternals are a race of immortal alien beings who have been sent to curate the Earth and protect it from Deviants, violent beasts who prey on humanity. After having defeated what they believed to be the last of their enemies, the Eternals decide to separate and live in secret amongst their human counterparts. Although, after the sudden return of half the population in the battle with Thanos the Deviants are revived with renewed hunger for blood. As a result, the Eternals must reunite once again in order to save humanity from their vicious counterparts. 

Directed by Chloe Zhao, Eternals spins an epic story that spans multiple millennia and bears her signature style. Epic in scale and beautiful, it does not put the emphasis on the pop and sizzle that has made Marvel the most successful film franchise in history. Instead, Eternals takes all of the MCU’s tropes and flips them on their ear. Never one for frenetic pacing herself, Zhao allows her love of long takes, reflective speeches and romantic interests to mark the film. Despite the fact that Eternals has the budget of other major Marvel products, it still seems to contain the beating heart of an indie film underneath. 

Similar to her work in Nomadland, Zhao wants the viewer to feel muted at the feet of an expansive world in front of you. As a result, she frequently makes her heroes seem small at the hands of an enormous universe and (literally) massive villains. Having worked on multiple MCU films, including Dr. Strange, Guardians of the Galaxy and Captain Marvel, cinematographer Ben Davis brings something unique and different to this film. Leaning into Zhao’s vision, he creates some of Marvel’s most beautiful and immersive onscreen images here, helping the viewer to experience the awesome scope of the film’s universe.

What’s more, this global emphasis also extends to its use of characters and storytelling as well. While the Avengers have always been globe-trotting, Eternals wants the film to be fully inclusive. Featuring a cast that highlights its multicultural aesthetic, the film has a global feel more than any James Bond film. Eastern weddings, western arguments and Middle Eastern sensibilities all play a part within this sprawling epic. (This will likely be the only Marvel film that contains a Bollywood number, for example.) 

Now, having said this, it’s also these details that will cause many to struggle with Eternals. Unapologetic with its intent and style, the film is a drastic departure from the ‘zip and quip’ energy of other entries into the MCU and will challenge its more casual fanbase. This is not a film that goes out of its way to be funny—although Kumail Nanjiani is a national treasure—nor does it care to be. Eternals wants the viewer to sit in the midst of its philosophical conversations and engage them. But that’s not going to sit well for a number of people.

Whereas some will marvel (pun intended) at its scope, others will feel that it is ‘slow’. Although there are those who will celebrate its willingness to delve into its complex history, others will say it’s ‘overstuffed’ with too many plot lines. While credit must absolutely be given to Marvel for backing Zhao and her unique vision, Eternalsmay be one of the first films in a long time that will prove divisive amongst its fanbase for the same reason. 

In the most interesting of ways, Eternals seems to be Marvel’s foray into the realm of DC storytelling. Marked in recent years by their propensity to lean into the grandeur of Snyder’s vision, DC has always felt more comfortable treating their heroes as god-like beings than does Marvel. Led by Superman’s divine metaphor, DC views its characters as humanity’s saviours, whereas Marvel’s stories tend to focus on man’s quest to achieve greatness or overcome their brokenness. (In fact, the importance of Disney’s first references to Batman and Superman cannot be understated.) As such, Marvel rarely delves into the realm of supernatural help. 

However, Eternals is different. It unravels an epic tale about gods who choose to help as opposed to merely heroes who fall into their responsibility. This is a story about man’s interaction with the divine and beg for answers. While the film shows these god-like beings as benevolent and loving so too, it’s also unafraid to ask complex questions about why these supposed guardians would not intervene amidst the world’s greatest crises. (Where were they when Thanos was attacking, for example?)

What’s more, one of the most fascinating aspects of the film is that the gods themselves disagree on their mission. Without getting into spoilers, some of the Eternals view humanity as worth saving while others are not so sure. The fate of the world hangs in the balance of these beings who, for all intensive purposes, do not have to help those under their care. They have seen humanity’s flaws and must decide whether or not we matter enough to save… and what it means to do so.

Quite simply, these are not questions that Tony Stark ever had to answer.

Even so, while what makes Eternals so special to me, it will undoubtedly drop to the bottom of many’s list of favourite Marvel movies for the same reason. One hopes that Marvel does not get scared off by early response to this film and allows Chloe Zhao to continue the narrative. (And yes, there are two post-credit scenes worth staying for.) This is her story and it would be a shame for someone like James Gunn or the Russos to step in and make it more palatable to a wider audience. Personally, I believe this is a film that deserves to be re-watched, discussed and reframed. 

However, admittedly ‘fun’ is not the first word to describe it. And, that could be unfortunate for its box office returns.

Now, when is the next trailer for Spider-Man coming out…

Eternals debuts in theatres on Friday, November 5th, 2021.

7.21 Into the Fire of THOSE WHO WISH ME DEAD

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When the heat of the flames tries to overtake you, what will you do? In THOSE WHO WISH ME DEAD, Angelina Jolie plays Hannah, a burnt-out flame jumper who is struggling to deal with the traumatic events of her past. When she meets young Connor, she finds herself forced into the fire again as she attempts to help him get to safety. This week, Victor Stiff (That Shelf, Dope Black Movies) and filmmaker Ryan Kayet (Riverlife Productions) drop by to talk about Taylor Sheridan’s unique style and what it means to find beauty in the fire.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Those Who Wish Me Dead: Sheridan’s Latest Brings the Heat

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Where there’s smoke, there’s fire. And in his new actioner Those Who Wish Me Dead, director Taylor Sheridan definitely brings the heat.

Those Who Wish Me Dead follows Hannah (Angelina Jolie), a smoke jumper who is struggling with the events of a rescue gone wrong. Now choosing to work in isolation in the watchtower, Hannah stands atop the Montana wilderness, looking for signs of danger. However, this life of seclusion is upended when she meets Connor (Finn Little), a terrified and bloodied boy who needs to make his way back to civilization. As she attempts to bring him to safety, Hannah soon discovers that not only must she dodge an oncoming fiery blaze but also avoid the sights of two relentless killers who are consumed with killing young Connor as well.

Directed by Taylor Sheridan, Those Who Wish Me Dead is a tightly executed thriller that burns with blazing ferocity throughout. Known for such well-regarded films as Sicario and Wind River, Sheridan’s work rarely fails to disappoint, especially when it comes to building a world of intensity. At only 100 minutes, he makes great use of his runtime with very little extra padding. From the film’s opening sequence, Sheridan shows that he knows what he wants to accomplish and goes after it with force. Part Backdraft and part No Country for Old Men, the film has some truly harrowing set-pieces that are positively gripping. (Two scenes involving both a raid on the sheriff’s home and Jolie’s run through a storm-riddled field are particularly worth noting.) 

While the script is solid, what gives life to the film is its cast. While Dead features strong work from Jon Bernthal, Aiden Gillan and Nicholas Hoult, it’s the female cast members whose performances are straight fire. With the bulk of her work in the last decade relegated to family fare, Jolie’s dramatic work has been much more limited. However, in the role of Hannah, Jolie has the opportunity to dig into a unique blend of both compassionate caregiver and brooding badass. (Seriously, when was the last time we got to see her character jump from a moving vehicle… for fun?) With both courage and empathy, Jolie consistently reminds the viewer what makes her so special as an actress and she is a joy to watch onscreen. At the same time, the best surprise may come in the form of relative newcomer Medina Senghore who is on absolutely incredible. As mother-to-be Allison, Senghore showcases a protective strength and focus that fuels the film, making her one of its most notable talents. 

Interestingly, Sheridan opts to play much of the film’s exposition close to his vest. While this will likely irk some viewers, it is also one of the film’s most interesting traits. By keeping its secret under wraps, Sheridan also keeps the narrative firmly fixated on the journey of his characters. This is not a film dedicated to bringing down a vast conspiracy (although that certainly exists). Instead, Sheridan is more focused on the characters and their journeys at this one moment of their lives, especially that of Hannah.

With this in mind, it’s worth noting that Sheridan’s use of fire in this film feels particularly unique. Rather than simply treat it as an oncoming threat, Sheridan uses it to represent the pain that we fear most. Haunted by a particularly traumatic moment of her past, Hannah has chosen to work in solitude in the watchtower. For her, the fire represents her own perceived failures. (“Instead of fighting [the fire], we found ourselves running from it. And that’s not where you want to be,” she explains.) In other words, as the oncoming blaze ravages the forest, Hannah not only attempts to outrun the flames but also her inability to deal with her pain.

As a result, she has opted to take on the role of warning people of danger rather than enter into it herself. 

All that changes when she meets Connor. Though she fears the flames, she also recognizes that sometimes you need to face them head-on. Without giving away any spoilers, Sheridan uses Hannah’s decision to endure the fire as an opportunity for her to potentially begin to move forward. Regardless of what she’s been through, this becomes a time where she can stand and fight.

Whereas fire decimates, so too can it make something new.

Well-written and anchored by fierce performances, Those That Wish Me Dead is a thrilling ride from start to finish. With each film, Sheridan continues to develop his skills as a story-teller and he attacks this story with focus and heat. At the same time, he also shows that the fire we fear may also be the very thing that we must face in order to heal.

Those Who Wish Me Dead is available in theatres and on HBO Max on Friday, May 14th, 2021.

Come Away: The Paths to Freedom

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Come_Away_07.08.18._0115_AB Keira Chansa stars as Alice Littleton in COME AWAY, a Relativity Media release. Credit: Alex Bailey / © Maginot Line, LLC 2020

Two stories, both beloved by generations. One of a girl who slips through the looking glass and finds herself in a magical world of singing flowers, a grinning cat, and a red queen. The other of the boy who wouldn’t grow up, and instead journeyed to the second star on the right and straight on to morning – never to become a man but to spend his days in play. 

In Come Away, these stories are joined in the lives of the Littleton family. Siblings Peter and Alice (Jordan Nash and Keira Chansa respectively) along with their eldest brother David (Reece Yates) spend their idyllic days creating adventures and soaking up the affection of their doting parents Rose (Angelina Jolie) and Jack (David Oyelowo). Tucked away in the country, the Littletons seem to have all the peace and contentment any family could long for – until tragedy strikes.

As they reel from grief, Rose and Jack slip into despair – Rose turning to drink and Jack retuning to his long-ago gambling past…and those debts come calling. Peter and Alice strive to hold onto the joy of youth, but Peter is burdened by his quest to save his family from the reality knocking at their door, and Alice seeks out the comfort of her high class aunt (and Rose’s sister) Eleanor (Anna Chancellor). Their paths begin to drift –  one into a temporary Wonderland and the other into the timeless Neverland. 

Come_Away_20.08.18._3412_AB (ctr) Jordan A. Nash as stars as Peter in COME AWAY, a Relativity Media release. Credit: Alex Bailey / © Maginot Line, LLC 2020

From a conceptual standpoint, the joining of these two stories was intriguing. I’ve written before how I’ve always been a fan of Peter Pan lore, so it made sense for me to check this one out. Alice in Wonderland has never been a favorite of mine so I wasn’t sure what to really expect, but this is pretty much set up as a prequel of sorts. And I think it works. The dynamics that lead Peter and Alice onto their respective paths create another level of dimension into their “why’s.” For Peter, it wasn’t just about not wanting to grow up – it was about recognizing the reality of pain and change and a way to hold onto an untainted joy. For Alice it was less about escape and more about being unsure what was real and what wasn’t, and about finding where she would feel at home. 

The casting is phenomenal, with Angelina Jolie in her element playing the once ethereal and doting mother turned despondent and dismissal of her children. David Oyelowo is engaging as a craftsman who encourages the play of his children, but still struggles with both his lower class position and debt-riddled past. Anna Chancellor (of the BBC miniseries Pride and Prejudice) is perfectly balanced between disappointed sister and doting aunt. And the children carry an impressive range of emotions and believability. Rounding out this stellar cast is Gugu Mbatha-Raw as the adult Alice narrating, and Michael Caine as an acquaintance from Jack’s past. Together they tell a dynamic story of what happens when the veil of sanctuary is ripped away.

Come Away_0209_R Gugu Mbatha-Raw stars as adult Alice Littleton in COME AWAY, a Relativity Media release. Credit: Alex Bailey / © Maginot Line, LLC 2020

Overall, I found Come Away engaging and thought provoking. I imagine I’ll uncover even more of the treasures (both real and fanciful) that Peter and Alice sought in the midst of trial and transition with a second or third watch – something that is definitely on my list.

6.05 Exposing the Light of MALEFICENT: MISTRESS OF EVIL

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This Hallowe’en, MALEFICENT: MISTRESS OF EVIL brings us back to the Kingdom of Ulstead to get reacquainted with one of Disney’s most iconic villains… or is she? Years after the death of the king, Maleficent rules the Moors and lives in peace with the magical creatures of the forest. However, her paradise is disrupted with Aurora tells her that she wishes to marry Prince Phillip and unite the two kingdoms. As Maleficent attempts to build bridges with the neighbouring kingdom, she also finds herself in the middle of a potential war that could tear the nation (and her family) apart.

This week, TeenFish host Daniel Collins and ScreenFish veteran Allen Forrest return to talk about the nature of evil, the dark side of protectiveness and which Disney Villains we would team up with in the coming Zombie Apocalypse.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

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Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

The Huntsman’s Nicolas-Troyan on Cooking, Charlize Theron, & Highlander

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cedricCedric Nicolas Troyan, who was nominated for an Academy Award for Best Visual Effects on Snow White & the Huntsman, directed The Huntsman: Winter’s War out now on Digital HD (and on Blu-ray on August 23). After directing Chris Hemsworth, Jessica Chastain, Emily Blunt, and Charlize Theron in his debut, Troyan shared his thoughts on conveying strong visuals, and the challenges of showing audiences something new.

As a first-time director, Troyan found himself leading a group of A-listers into a new enterprise, but after initial jitters, Troyan said he was unfazed. “When you do visual effects, you’re there from inception, working beside the director. It’s a grew school to learn from them. So, I figure in twenty years, I have put in my share of set time,” the director said with a chuckle. “But you ask yourself, how will you interact with the cast? Will they get what they need from me? Will I flounder around like a bowling ball? I was confident that I had the knowledge necessary. And in the end, I could see that these people were all great.”

Troyan’s confidence was potentially bolstered by (in his mind) the surprise nomination for the Academy Award, because he was so focused on creating what he needed to. “At the end of the day, you try to make something you think people will like, something cool. That’s the job: trying to take the ingredients and make something great, like cooking up a dish for your guests. But there’s no full-on recipe for success. There are just things you think are good, and you hope people will share your enthusiasm.”

While The Huntsman varies in tone from the original in the series, Troyan saw the way that the characters were influenced by a variety of backgrounds in legend and style. The director was focused on telling those stories, and making sure that it looked cool (a regular adjective for Troyan’s understanding about the way things would appear). But he admitted that a different take on an old story can be tricky.

“You have Hans Christian Andersen’s Snow Queen not exactly but inspired. You have the Snow Queen in Narnia or Elsa, the queen in Frozen. You’re mixing the different worlds but trying to stay in the same world as Snow White & The Huntsman.”

“It’s like most people when they wake up in the morning; they don’t stay in the same mood all day long. When you explore the world [of these fairy tales] mixed with changing emotions, it’s kind of cool. Some people like the way we presented that and some people don’t. You flavor it thinking it will fit but the important part is that you’re trying.”

cedric2Troyan’s path continues to draw him into stories (like Maleficent) where female characters show us more than we had seen before. It’s clearly of interest to Troyan as he creates these ‘meals’ for us to enjoy, and he warmed to the subject, especially when it came to Theron.

“I’m definitely more interested in female characters in my life. I tend to sway toward those females. It’s not that male characters aren’t interesting but I think there’s more variation in female characters. There’s a broader spectrum. We need to hear those different voices.”

When the subject of the hyper-visual Mad Max: Fury Road was broached, Troyan admitted that he hadn’t seen it in theaters because he was filming. “I told Charlize I was sorry. I wasn’t sure I’d like it because I’m not a huge Mad Max fan. But because of Charlize I went to see it. As soon as I got home, I emailed her that I absolutely loved it – especially her portrayal of Furiosa. It was just so rock’n’roll! The most rock’n’roll thing I’ve seen in a long time.”

As our time drew to a close, I had to ask: what could Troyan tell us about the Highlander remake that has been rumored about for the last few years? Troyan laughed, and measured his response. “Highlander was always supposed to be my first film, never my second. Now that’s my first has already been done, I just can’t say too much.”

Ah, the heart of a fan. We must wait to see what Troyan is cooking, and then dig in. Each meal won’t be for everyone, but this chef is cooking a buffet of visual and storytelling delight.