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Jon Hamm

Marvel’s M.O.D.O.K.: Mutant Mid-Life Crisis Makes M.O.D.O.K. Marvellous

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I mean, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

Wait. Maybe I should rewind a little bit.

Marvel’s M.O.D.O.K. follows Marvel supervillain MODOK (voiced by Patton Oswalt) who has come to major crossroads in his life. After years of failure in his attempts to defeat the Avengers and take over the world, MODOK (which stands for Mobilized Organism Designed Only for Killing) has broken his villainous tech company AIM financially and it falls into bankruptcy. When AIM is sold to tech rival GRUMBL, MODOK is displaced as CEO and left in somewhat of a mid-life crisis. Things become even more challenging when his frustrated wife asks him for a divorce. Frustrated and hurt, the criminal mastermind must suddenly navigate a new chapter of his life and pick up the pieces with his family.

Created by the team behind Robot Chicken, Marvel’s M.O.D.O.K. is wild, hilarious and (somehow) charming. Offering a behind-the-scenes look into the life of AIM’s brilliant super-mutant, MODOK is a sharp and silly satire of the dark side of superhero films. Consistently having his plans thwarted by the Avengers, MODOK nevertheless remains undeterred and continues to look for ways to prove to the other supervillains that he belongs among their ranks. In this world, superheroes are beloved by all yet, from MODOK’s perspective, remain nothing but a nuisance. While the series is not related to the current Marvel Cinematic Universe, MODOK has the keys to the Kingdom with the Marvel characters and manages to create something new and different with familiar characters. (Jon Hamm’s appearances as Iron Man and Nathan Fillion as Wonder Man are particularly hilarious.)

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

Make no mistake though. Despite its Marvel roots and animated look, MODOK is not for kids. Like parent series Robot Chicken, MODOK uses its stop-motion style to go dark with his humour. From severing limbs to blood splatters to sexual humour, MODOK gives its writers the freedom to laugh at its evil acts and dives in with enthusiasm.

Although it’s popping with energy and dark humour, MODOK has a surprising amount of heart. Because of its serialized story-telling, MODOK has the opportunity to explore more than the maniacal machinations of a mad machine/human hybrid. With Loki and Thanos as the exceptions, the Marvel Cinematic Universe seems to rarely take time with their villains to properly flesh them out, creating a ‘monster-of-the-week’ vibe to the majority of their films. However, backed by some wonderful work by Patton Oswalt, Modok becomes more than a mutated floating head. In fact, MODOK manages to humanize its villain. (Not an easy feat for one of Marvel’s strangest villains.) While the entire cast are a joy to watch (especially Melissa Fumero and Ben Schwartz), it’s Oswalt who gives MODOK his soul.

In this way, the funniest part of M.O.D.O.K. isn’t the bizarre shenanigans. Instead, it’s how relatable he becomes. Despite his appearance and motives, MODOK is simply having a mid-life crisis. Though taking over the world remains his ‘job’, his day-to-day issues are relevant to us all. After a major tech company takes over his own, MODOK fears that his job is in peril. Moreover, he has also finally become aware that his over-emphasis on work has been causing problems at home and in his marriage. Realizing that his family is slipping away, his real hope is to make things right with his estranged wife and kids. In MODOK, we see a villain who wants to have it all… but simply cannot find balance within his family/work life. 

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

As such, M.O.D.O.K. empathizes with its lead character in such a way that he becomes relatable and strangely lovable. In Modok, we see glimmers of hope that he can turn things around in his life. This evil genius is not only relatable but also redeemable. In fact, we even root for him. (Honestly, I didn’t see that coming.) While the circumstances are vastly different, MODOK’s story could be many of ours and we want him to be able to make it work.

Violent, hilarious and touching, Marvel’s M.O.D.O.K. is a wonderful expansion for Marvel into the world of adult animation. However, while the writing works on its own, it’s Oswalt who makes MODOK so likable. His affability gives his supervillain a murderous innocence that makes him into someone you’d be willing to bring into your home.

Because, after all, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

M.O.D.O.K — “IF BUREAUCRACY BE THY DEATH!” – Episode 105 — M.O.D.O.K. and Monica reluctantly team up to overthrow GRUMBL’s control of AIM. Their “complicated” history threatens their mutual goals as they work through their grievances the only way they know how… a mad-scientist fight! (Photo Courtesy of Marvel)

Marvel’s M.O.D.O.K. is available on Hulu on Friday, May 21st, 2021.

Wild Mountain Thyme: Irish Wonder and Identity

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Set in the foothills of Ireland, Wild Mountain Thyme tells the story of Rosemary Muldoon (Emily Blunt), a strong-willed farmer who yearns to win the heart of her emotionally-stunted neighbour, Anthony Reilly (Jamie Dornan). Struggling to commit to his role in the family farm, Anthony also struggles to take a risk with his feelings for his beautiful neighbour. When his father (Christopher Walken) loses confidence in his son’s ability to take care of their land, he invites his American nephew Adam (Jon Hamm) to purchase their family farm. However, upon meeting Rosemary, Adam realizes that pursuing a romance with her may be an even better reason to take up residence in the Irish countryside. Torn between the love she has in front of her and the one that she wants but can’t have, Rosemary must ask herself what is most important to her and where she sees her future.

Written and directed by John Patrick Shanley (Moonstruck), Wild Mountain Thyme is a sweeping romantic comedy that works well for the most part, even if it falls short near the end. Based on his play Outside Mullingar, Shanley portrays Ireland as a land embedded in rich mythology and charming characters. Bathing the screen with lush, green landscapes, Thyme is a visual treat that leans into the allure of the Irish countryside and its quirky residents. (Fans of other Irish gems such as Waking Ned Devine may appreciate the characters in particular.) Stars Dornan, Blunt and Hamm have wonderful chemistry together, carrying the film on their shoulders much of the time. (In fact, this is especially true of Dornan and Blunt, who simmer together onscreen in several key scenes.)

Admittedly, the film is certainly far from perfect. While Blunt’s Irish accent works, some of the cast sound almost non-sensical (Sorry, Mr. Walken.) and even distract from the film itself. What’s more, many of the relationship questions feel answered so early in the film that there’s very little left to discover by the film’s finale. Even so, these issues are decidedly minor quibbles that do not take away from the film’s sweeping narrative. (Well, maybe Walken’s accent.)

What will likely be discussed at length is the film’s ‘twist ending’ (which won’t be spoiled here.) Bound to be controversial, Anthony’s confession at the end of the film seems so wild that, if true, there’s little question that this particular reveal may be the most bizarre of the year. (In 2020, that’s saying something…) However, what many will forget is the film’s overall emphasis on whimsy and mythological storytelling. While Anthony’s revelations would make no sense in a more grounded reality, Thyme is never meant to be so. In a world where the dead can return and Rosemary considers herself to be a swan, the finale still manages to work within the context of the film and its culture.

In many ways, Thyme is a film about discovering who you are. Although they live in a world that feels settled and comfortable in its ways, these characters are all in periods of transition. Anthony seems unconvinced of his role at the farm once his father passes. Adam is told that he’s not a farmer, even if he wants to own a farm. Even Rosemary, who seems the most self-aware of them all, seems uncertain as to whether or not she should remain on her land or leave for the grand adventure of New York City. Interestingly though, rather than leaning into the more traditional theme of ‘finding one’s self’, Shanley’s script highlights the fact that such self-inquest is often unreliable. (“Everyone thinks they’re something they’re not,” Rosemary cautions.)  In this way, Thyme is unique in its perspective by pointing to our peers and family as the ones who truly know us for who we are. For Shanley, identity is not merely something we ‘know’, it’s something that we earn based on our interactions and relationships with the people in our lives.

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Flawed but sweet, Wild Mountain Thyme has enough charm and wit to validate a trip to the cinematic countryside. Carried by strong performances from its key stars, Shanley writes a love letter to his home country that can charm in its quirkiness. (Just note that you might need some subtitles along the way.

To hear our conversation with director John Patrick Shanley, click here.

Wild Mountain Thyme is available in select theatres and PVOD on Tuesday, December 22nd, 2020.

Lucy in the Sky: Failure to Launch

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Lucy in the Sky tells the story of Lucy Cola, an astronaut who returns home to Earth after a length mission. Although her life consists of a loving relationship with her husband, Drew (Dan Stevens), and a job that she loves, Lucy feels restless and struggles to reintegrate herself into her daily routine. Looking for the thrill that she has left behind, she becomes involved with roguish astronaut Mark Goodwin (Jon Hamm) and begins to lose touch with reality in a world that is quickly becoming too small for her.  

Written and directed by Noah Hawley (FX’s Fargo), Lucy in the Sky is an ambitious look at the tensions that can take place when our lives simply don’t measure up to our dreams. Based loosely on a true story of a female astronaut who suffered an emotional breakdown after returning to Earth, Lucy depicts its titular star as one who yearns for the rush of the heavens yet remains trapped by her everyday life. (After all, how can you compare unraveling the mysteries of the universe with ‘mundane’ moments like morning coffee and driving your kid to school?)

Unfortunately, while performances by Portman and Hamm are fine, a muddled script that loses its way prevents Lucy from ever really taking off. Though grand in its vision, Hawley’s film simply doesn’t stay on trajectory, proving unable to properly balance Lucy’s struggles with some over-the-top visuals. (For instance, one scene featuring a cover of The Beatle’s iconic Lucy in the Sky with Diamonds looks great but doesn’t match the pace of the film and simply feels out of place.)

Wearing its heart on its sleeve, Lucy in the Sky is very interested in exploring what happens when one loses sight of what’s truly important. Though a decorated astronaut, Lucy struggles to see the beauty of everyday life. Having witnessed the Earth from the perspective of the heavens, Lucy has lost all sense of wonder for anything on the ground.

Despite the fact that she is cared for and appreciated by those around her, she views her life as increasingly mundane, inviting reckless behavior as she attempts to fill the void of meaninglessness that has crept inside her soul. In doing so, Lucy demonstrates on a grand scale what happens when so many often lose sight of the importance of genuine love and relationships over accomplishments. Desperate to return to the heavens, she is willing to sacrifice everything—and everyone—around her in order to once again feel the rush of success and beauty. At the same time, Lucy gradually loses a piece of her soul as her passion gives way to obsession. 

For Lucy, the only thing left that can be good in the world is for her to feel all powerful again by returning to the heavens. However, as a result, the healing quality of loving relationships slowly becomes lost, leaving her without emotional grounding or hope.

Though ambitious in its scope, a confusing script hampers Lucy in the Sky from launching to the heights it could have reached. However, despite its glaring flaws, Lucy does features solid performances from an underused supporting cast that includes Ellen Burstyn, Nick Offerman, Zazie Beetz and Stevens. Even so, despite expectations that soar to the heavens, the finest of talent can’t help a script that is unable to get off the ground.

TIFF ’19: Lucy in the Sky

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Lucy in the Sky tells the story of Lucy Cola, an astronaut who returns home to Earth after a length mission. Although her life consists of a loving relationship with her husband, Drew (Dan Stevens) and a job that she loves, Lucy feels restless and struggles to reintegrate herself into her daily routine. Looking for the thrill that she has left behind, she becomes involved with roguish astronaut Mark Goodwin (Jon Hamm) and begins to lose touch with reality in a world that is quickly becoming too small for her.  

Written and directed by Noah Hawley (FX’s Fargo), Lucy in the Sky is an ambitious look at the tensions that can take place when our lives simply don’t measure up to our dreams. Based loosely on a true story of a female astronaut who suffered an emotional breakdown after returning to Earth, Lucy depicts its titular star as one who yearns for the rush of the heavens yet remains trapped by her everyday life. Unfortunately, while performances by Portman and Hamm are fine, a muddled script that loses its way prevents Lucy from ever really taking off. Though grand in its vision, Hawley’s film simply doesn’t stay on trajectory, proving unable to properly balance Lucy’s struggles with some over-the-top visuals.

Though ambitious in its scope, a confusing script hampers Lucy in the Sky from launching to the heights it could have reached. However, despite its glaring flaws, Lucy does features solid performances from an underused supporting cast that includes Ellen Burstyn, Nick Offerman, Zazie Beetz and Stevens. Even so, despite expectations that soar to the heavens, the finest of talent can’t help a script that is unable to get off the ground.

Lucy in the Sky had its North American premiere at the Toronto International Film Festival and launches into theatres on Friday, October 4th, 2019. 

Marjorie Prime – Do You Remember?

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Think of an important event in your life. Do you remember it the same as someone else who was there? Do you remember it the same as you did a few years ago? Marjorie Prime is about the relationship between reality and memory. Based on a Pulitzer-nominated play, the film is a cerebrally challenging encounter between the past and what it means to us.

Marjorie (Lois Smith) is a woman in her 80s whose memories are quickly fading. We see her talking to a much younger man, Walter (Jon Hamm). But this is set in the near future and Walter is an artificial intelligence hologram of her late husband. He has been programmed to tell her the story of her life. Of course, his understanding is only as accurate as the memories that have been fed into his program. In the interaction between Marjorie and Walter, he is able to adjust his memory to accommodate new facts or perspectives. Perhaps he can even change the story to make it better. Marjorie’s daughter Tess (Geena Davis) finds it a bit creepy that the hologram represents her father as a young man. Her husband Jon (Tim Robbins) believes this is a chance to help Marjorie remember and to continue to have a bit of joy in her final years. In time, both Tess and Jon find new ways of using the technology in their own lives.

The stage play character of the film make this really about the conversations between the various characters. Some of those are about past memories, but some are also about the nature of memory itself. At one point it is mentioned that when we remember something, we are really remembering our last remembrance of it. Each time we may remember it slightly differently, so the cumulative effect of repeated remembrances could actually be much different from the reality. But if that is so, which is more important, the actual event or the evolved memory that we hold? This is especially relevant when our memories are sometimes unpleasant. Do we really want to remember them? Do we never want to forget them?

As I said, this is an intellectually challenging film. (To me, that is a good thing.) When my wife and I saw this with a friend, it led to quite a bit of discussion after the film. This kind of slightly esoteric questioning may not appeal to some. But for those who want to be jarred into thinking about the things you remember (or think you remember), Marjorie Prime will be well worth the time. It’s one of the best films I’ve seen this year.

Three Reasons Style Matters, According to Baby Driver

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you know what matters?

style.

whyzzat?

well, i could tell you
why i think so,
but instead
let me give you
three reasons style matters,
according to the
sleekly-stylish-
yet-(ironically)-
ever-so-serviceable
Baby Driver

ONE – style’s stylish

check out this story:
a bunch of robbers
rob some stuff
and almost get away with it,
but they end up
turning on each other –
as robbers do –
and then one of them
makes it out in the end (kinda)

sounds good, right?

now picture all that again, but
hear:
supercool throwback soundtrack,
see:
sexies like Jon Hamm,
wear:
shades, always shades

(i could go on)

get the point?

same story,
but do it with style –
that elusive,
hard-to-define-
but-you-know-it-
when-you-see-it
*it,*
which Baby Driver
simply ooooozes with –
and everything is
just so much more
. . . stylish . . .
so much more . . .
. . . better

TWO – everything is style

go back to the story above

it’s pretty basic, right?

looking back at some other
Edgar Wright movies,
they’re all kinda that way, right?
Shaun of the Dead, Hot Fuzz,
The World’s End,
all awesome, imo,
(in a lot of people’s o, tbh),
but all generally
formulaic,
got plots you’d see coming,
“work out in the end,” etc. –
all basically basic, yeah?

but this isn’t a negative,
no, this is the point:
at the bottom,
everything is this way –
especially stories –
and there is something
essential and ancient and
meaningful and
not-to-be-missed
about that fact
(i.e. we need to ask
why is it this way?)

well then, what makes
different stories different?
(cuz they do be different)

style.

style:
the different clothes
you put on the
different iterations of the
same body

all these Edgar Wright films
are very different, sure,
but it’s their styles, really,
that make them so –
a zombie flick,
a buddy cop flick,
an apocalypse flick,
a heist flick,
etc. –
while the basicality
of the stories themselves,
of story itself,
remains basically constant

so: everything is the same,
yet,
everything is different,
cuz style;
therefore,
everything is style
(and style is everything)

whoa.

THREE – (good) style wins

so, for the scorekeepers,
so far we’ve meant
“style” as in
that indefinable cool,
and “style” as in
type or kind,
but for this third thing,
we mean “style” as in
the way a person is –
his/her character
or even lifestyle  –
as in “that’s my style”
or “that’s not my style”

in Baby Driver,
it’s not Baby’s style
to kill people;
it’s really not even Baby’s style
to rob people –
he does that cuz
he’s gotta

in other words,
in Baby Driver,
Baby is a good person,
a moral person,
a just person who
tries doing what’s right,
even tho
he sometimes don’t

and this fact allows
Wright to say:
(good) style wins

bad guys get theirs and
good guys get theirs
(though they may need some
lesson learning along the way –
though they might could use some
r   e   d   e   m   p   t   i   o   n
(might couldn’t we all))

(good) style wins

one reaps what
one sows,
(ultimately, eventually)
justice prevails,
yada yada

(good) style wins

cuz good > evil

you know,
(good) style wins – 
that same basic story,
again
(surprise)
(but, again, why?)

so, to sum and say goodbye,
you should do a few things:

  1. check out “Cruising with BABY DRIVER” 
    for even more analytic goodness
  2. stream that supersweet
    Baby Driver soundtrack
  3. see the movie, obv,
    which is excellent,
    so’s you can
    see all these style insights
    in person, yourself, and
    ask those couple “why?” questions
    from above,
    plus other interrelated ones
    that might come
    (like “am i stylish?”
    “what style of the story
    do i be in?”
    “what’s my style
    and do it win?”
    and so on
    and on

3.24 Cruising with BABY DRIVER

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This week, author Jeffrey Overstreet rolls in to talk with Steve about BABY DRIVER, Edgar Wright’s hit heist film!  This film has it all — action, romance and a fantastic playlist — but is there more to the story?  In a fun conversation, they talk about defining ourselves and what it means to be ‘good’.  Plus, the guys give their surprises of the year (so far) and most anticipated titles to come!

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.

3.24 Baby Driver

A special thanks to Jeffrey for coming on the show!