ScreenFish

where faith and film are intertwined

Marvel

She-Hulk: Attorney at Law – Roaring for Justice

by Leave a Comment

Not every Hulk is the same. And that’s okay.

She-Hulk: Attorney at Law follows Jennifer Walters (Tatiana Maslany), a brilliant and successful defense attorney. When travelling with her cousin, Bruce Banner (Mark Ruffalo), a car accident results in her receiving his Hulk-infused blood, transforming her into the She-Hulk. Determined to resume her life, Walters returns to her old life with her new body and begins to specialize in superhuman-oriented legal cases, while still navigating life as a single, 30-something.

(L-R): Tatiana Maslany as She-Hulk/Jennifer “Jen” Walters and Drew Matthews as Dennis Bukowski in Marvel Studios’ She-Hulk: Attorney at Law, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Now in the second year of the Disney+ experiment, we have seen that other Marvel series like Hawkeye, The Falcon and the Winter Soldier or Wandavision have taken themselves with a sense of urgency or seriousness. (Even more comedic entries such as Ms. Marvel or Loki still carried a sense of importance.) But She-Hulk has its own tone and style. Villains are more laughable than fearsome. Playfulness in its lawyer drama akin to famed 90s comedy Ally McBeal gives us a winking eye into the world of the MCU. Appearances from characters such as Ruffalo’s Banner/Hulk combo, Benedict Wong, and Tim Roth help place the series firmly within the Marvel Universe and the goofiness seems to flesh out their characters, in some ways. (And, surprisingly, Ruffalo seems quite comfortable with more comedic material.) 

What is apparent, however, is that She-Hulk wants to create something new for the Marvel universe. Billed as a comedic ‘lawyer show’, the series feels more like a sitcom than any of the other standard MCU fare. Unlike their more tepid style of humour, conversations about Captain America’s virginity, Hulk-sized hangovers give the show an edge that points the needle more firmly in the direction of Deadpool. (In fact, in a move also similar to the Merc with the Mouth, Jessica also frequently breaks the fourth wall to address the audience.) As a result, there’s a silliness about the show that makes it different. 

Tatiana Maslany as Jennifer “Jen” Walters/She-Hulk in Marvel Studios’ She-Hulk: Attorney at Law, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

To be fair, ‘different’ is always welcome, especially in the cookie-cutter MCU. 

Whether or not that always works is another story entirely.

Interestingly, one of the more divisive parts of the series may be Maslany herself. While only the first few episodes have been screened to critics, Maslany feels both instantly likeable and out-of-place at the same time. Maybe it’s the show’s tone or writing but her performance initially feels as split as her personality within the series. Without question, Maslany is a remarkable talent and fully willing to engage in sci-fi material. (Just revisit Orphan Black. You’ll thank me later.) When she steps into the role of Walters as lawyer, Maslany lights up the screen with confidence. To Walters, her most powerful weapon is her mind and she is willing to defend the most controversial of characters so that they can have a fair trial. However, when she ‘hulks out’, part of that confidence seems to fade away. Perhaps it’s the CGI or even just her newness to the role but, at times, it feels like something gets lost in the transformation.

(L-R): Mark Ruffalo as Smart Hulk / Bruce Banner and Tatiana Maslany as Jennifer “Jen” Walters/She-Hulk in Marvel Studios’ She-Hulk: Attorney at Law, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

What is most interesting about the series though is the fact that this She-Hulk is a more fully integrated version of Ruffalo’s Big Green Beast. Unlike Banner, Walters is also stronger, faster and instantly psychologically integrated. Within her, there is no other ‘hand on the wheel’ or battle for control of her mind. Instead, she is at once both She-Hulk and Jessica, able to control herself more easily than her tormented cousin. But, in doing so, thankfully She-Hulk avoids any potential ‘man-splaining’ of her training. (Though not for lack of his trying…) In this way, there’s an empowering spirit to Walters onscreen. She maintains her passion for justice and fights for her clients. She is willing to express her femininity and ferocity equally in positive ways. There’s a self-awareness within this series that allows Walters to embark on her own personal journey, without mimicking the original character. 

Again, there’s genuine potential in this series. Like Walters herself, the series simply hasn’t fully realized it… yet…

The first episode of She-Hulk: Attorney at Law is available on Disney+ on Thursday, August 18th, 2022 with new episodes available every Thursday.

Thor: Love and Thunder – [Faith, Hope] and Love and Thunder

by Leave a Comment

(L-R): Natalie Portman as Mighty Thor and Chris Hemsworth as Thor in Marvel Studios’ THOR: LOVE AND THUNDER. Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.

Set after the events of Avengers: Endgame, Thor: Love and Thunder sees the once-mighty titular hero (Chris Hemsworth) set out with the Guardians of the Galaxy on ‘wacky adventures’, saving planets from threats to their safety. Having not dealt with the deaths of various family members and loved ones, Thor is avoiding his feelings of grief and loss. However, when he is called back home to defend Asgard against Gorr the God Butcher (portrayed wonderfully by Christian Bale), he must face his past. Teaming up with Valkyrie (Tessa Thompson) and Dr. Jane Foster (a returning Natalie Portman), who has now become the Mighty Thor through a heart-tugging series of events, Thor begins a new set of adventures as he attempts to re-discover his value.

Chris Hemsworth as Thor in Marvel Studios’ THOR: LOVE AND THUNDER. Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.

As we’ve come to expect from Taika Waititi (the director/co-writer, who is also back as Korg), the film is heavy on the silly. But, when all the ‘wackiness’ is peeled back, Thor: Love and Thunder deals with some important themes of loss, fear, and doubt, especially as Gorr questions the usefulness of gods to the people who believe in and, in many instances, suffer for them.

What is the importance of faith, especially in the midst of hardship? Is there some reward that we receive after the hardship that makes enduring it worthwhile? As someone who believes in God and has struggled with prayer myself, it was honestly kind of uncomfortable to be faced with those questions within the film. But I find that kind of discomfort useful because it made me examine myself and ask, “why do I believe what I believe?” and “why bother having any hope at all?”

Christian Bale as Gorr in Marvel Studios’ THOR: LOVE AND THUNDER. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Those are questions you can only answer for yourself, but Love and Thunder doesn’t leave us without offering some hope. Its central theme is that “it’s better to have loved and lost than not to have loved at all,” reminding us that love is worth the pain of possibly getting your heart broken. This sentiment is maybe cliché to some people and I, for one, would love it if we could skip the ‘loss’ part of life, even if it meant functioning as emotionless creatures who are just effective in running the world. Yet, neither of those is the case. Love and Thunder reveals the real complexities of being human and what it takes to thrive as one.

Chris Hemsworth as Thor in Marvel Studios’ THOR: LOVE AND THUNDER. Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved.

It’s really impressive that writers, Waititi and Jennifer Kaytin Robinson, are able to present these heavy subject matters with such humour. And, yes, the humour is wild. (Personally, it cut back the jokes just a little bit and let the emotion play out more.)

Still, Marvel is showing no signs of slowing down and seems bent on giving us at least one multiverse full of reasons to keep our hopes up.

Thor: Love and Thunder is available in theatres on Friday, July 8th, 2022.

Morbius: It’s Morbin’ Time!

by Leave a Comment

The relationship between Sony and Morbius is… complicated.

As they lean further into their SPUMC (or ‘Sony Pictures Universe of Marvel Characters’), Sony continues to fight for their share of the Marvel box office pie. After the success of the Venom films, one can almost see Sony salivate over the potential of creating their own extended universe of super-characters. Plans to merge characters such as Spider-Woman, Kraven the Huner, Vulture and even the rumoured return of Andrew Garfield as Spider-Man into the Venom-verse have driven this (sub)Marvel franchise forward with surprising speed over the last couple of years.

But things hit a speedbump with Morbius. 

Morbius tells the story of Michael Morbius (Jared Leto), a brilliant doctor that has suffered from a rare blood disorder since childhood. Determined to save himself and others who are suffering from the same fate, Morbius allows his DNA to be fused with that of vampire bats in the hopes of creating a cure. However, while his experiment seems to be successful, the effects on him are far worse than he could have imagined. Now with a taste for human blood, Morbius must decide if he can quell his evil urges and become the hero he wants to be.

After a disastrous run in theatres, Morbius didn’t take well with audiences for any number of reasons. Whether it’s Jared Leto’s more serious tone, bad writing or removed Spider-Man teases, the Living Vampire was not seen as a success in taking their plans to the next level. 

But that’s when things took a turn. All of a sudden, the Twitter-verse took over. Memes and TikTok clips celebrating ‘Morbin’ Time’ began to mock the film constantly. Tweets about the hilarious nature of the film seemed to make it trend popularly once again. Unable to recognize the fact that the film’s trending popularity was due to the brutal mocking of internet trolls, Sony even re-released the film in theatres, trying to capitalize on the film’s (sarcastic) buzz. When the film failed again to garner money, they seemed surprised. (Personally, my favourite response from one TikTok’r was ‘We were busy that weekend. Please release it a third time.’)

They may have missed the memo.

But seriously, is Morbius misunderstood? Misguided? Or just plain awful?

In truth, it’s probably a bit of all three. Directed by Daniel Espinoza, Morbius is an ambitious project that continues to develop the more horrifying aspects of Sony’s universe. However, whereas Venom appears to own its silliness (especially in its second film), Morbius leans into the seriousness of its darker tone. Frankly, it doesn’t work. While Leto seems committed to his character, his performance is somewhat joyless in the midst of a ridiculous concept. (At least Tom Hardy appears to be having some fun with his evil symbiote…) While one can’t expect (or even potentially, want) Sony’s superhero universe to mimic Marvel’s blend of action and humour, one would hope that they would understand that their characters lack both the grit of Batman or the silliness of Iron Man. 

They’re something different. And different can be great, if done well.

As with Venom, Morbius has the opportunity to explore what it means to battle our darkest impulses and even potentially use them for good. Is it possible to find redemption after our inner demons have been unleashed? As Morbius wrestles his own desire for human blood, Espinoza could have used the character to take a deep dive into the human experience. It’s ripe with potential. Yet, unfortunately, all that we’re given is a bland photocopy of other films we’ve received over the last decade, without the fun that could’ve been had along the way.

Admittedly, the disc transfer does look good. Morbius features a lot of heavy shadows and backlit areas, yet the film is clear and looks surprisingly sharp onscreen. However, special features are lacking. While Defining the Antihero is a relatively interesting look at the dark side of heroes, few other features are notable. (If anything, this is a project which needs to have a director’s commentary attached, especially one that acknowledges the mixed reaction to the film.)

So, while Morbius may not a ‘good’ film (or even a ‘so-bad-it’s-good’ film), it may make for a night of laughs with friends who are in on the joke.

Because, apparently, Sony is not.

Morbius is available on Blu-ray, DVD and VOD on Tuesday, June 14, 2022

Ms. Marvel: For the Dreamers

by Leave a Comment

“The change is here. The change is her.” – Ms. Marvel

It’s no secret that, ever since Iron Man flew across screens roughly 13 years ago, the Marvel Cinematic Universe has perfected the art of selling superheroes. First, create an origin story for a loveable outsider who is struggling to find themselves. Then, after they encounter an otherworldly power, they are transformed and finds their true calling. Using the same formula, Disney has managed to dominate a box office (and streaming world) with no signs of slowing down.

Though, there is a wind of change blowing in the MCU. As we transition out of a world dominated by white male superheroes, Marvel has done an excellent job celebrating the vibrancy of voices within our own world. Whether it’s Sam Wilson’s Captain America, the rise of Wanda Maximoff or the global celebration of Eternals, this new phase of the MCU has changed the faces of their stories. Now, with the release of Ms. Marvel on Disney+, Marvel has created another solid example of how diverse casting and cultural representation opens up new worlds for storytelling. 

And the story of Kamala Khan feels like it’s going to be something truly special.

Set in New Jersey, Ms. Marvel introduces the Marvel Universe to Kamala Khan (Iman Vellani), a 16-year-old high school teen and fangirl of the Avengers, especially Captain Marvel. Living at home with her Islamic family, Kamala spends her nights dreaming of one day becoming like her hero. So, when she hears about the very first ‘AvengersCon’, a convention honouring Earth’s Mightiest Heroes, Kamala knows that she must be one of the first ones in attendance. Dressing up in cosplay of Captain Marvel, she adds a golden bangle that she discovers in a box of old junk in the house in order to secure her victory in the Con’s costume contest. However, when things go wrong, Kamala discovers that she has the power to create energy constructs and begins to wonder if becoming a hero may be more of a reality than she’d ever imagined.

Marvel excels at bringing the imagination to life but here they have created a world of such vibrant, youthful enthusiasm that one cannot help but be drawn in. In many ways, Ms. Marvel is reminiscent of Spider-Man Homecoming or the introduction of Miles Morales in Sony‘s animated Into the Spiderverse. In both cases, those films walked the line of style and substance by giving their characters colourful worlds to play in while never losing the character’s passion and soul. 

Ms. Marvel takes a similar approach by selecting a charismatic lead and immersing her in a world of neon vibrancy that bursts off the screen at all times. Whether it’s the seamless integration of animation or the bright, engaging visuals of the world, Ms. Marvel wants the screen be flooded with colour and joy. (In fact, powered by music from the ‘80s and ‘90s, there’s even a slightly retro feel to the series that adds some extra snap.)

Most importantly though, Feige & Co. have truly found someone extraordinary for their Kamala Khan. Young lead Iman Vellani has such charm that she absolutely sparkles on screen [pun intended]. Balancing innocence, humility and fire, Vellani has the soul of a dreamer and the spirit of a hero, making her perfect for the future of the MCU. 

Although the series pops with a Western style, the series does an excellent job of highlighting Kamala’s Islamic heritage. Living with her devout parents, Kamala takes her faith and culture extremely seriously. Trips to the mosque, conversations in Urdu and more help ground her world in the Islamic traditions and faith. At the same time, she also lives in a world of Instagram and pop culture.

In Ms. Marvel, it’s important to still honours the old ways, even as Kamala lives in a new world.

What interesting is that, at this point in their storytelling, the MCU has begun to pass the torch to those who have grown up with it as part of their livelihood. Characters like Iron Man and Captain America have left their mark and faded away for the next generation. Kamala is no exception. To her, the world has become a place where superheroes are admired (and, dare I say, common?) and the greatest of them all is Captain Marvel. Revered for her strength, power and fierce example of womanhood, Captain Marvel is held up in the highest esteem by the young hero-in-waiting and she yearns to be like her. Plastering her room with posters and dressing up in cosplay at the first AvengersCon, Kamala will do anything she can to honour her idol. 

Kamala is a dreamer. And the life of a hero is her ultimate fantasy.

And therein lies the true spirit of Ms. Marvel. This is a series about honouring the past but still leaning into our dreams. Whether it’s her mother or Captain Marvel herself, Kamala holds the women of her life in the highest respect. But she’s also growing up and wants to be figured out what it means to herself in the process. She recognizes the value and power of the women who have blazed the trails but she also wants to become who she was meant to be.

For Kamala, it’s time for her dreams to become reality.

The first episode of Ms. Marvel is available on Disney+ on Wednesday, June 8th, 2022 with new episodes streaming every Wednesday afterwards.

SF Radio 8.24: Bending our Minds Around DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS

by Leave a Comment

Directed by Sam Raimi, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS opens up the MCU in incredible (and horrifying) ways. When a new threat calls the good Doctor and his new companion, America Chavez, to jump from universe to universe, they enlist the help of Wanda Maximoff in an effort to get things under control. However, they very quickly discover that Maximoff may herself be the very threat they’re attempting to prevent from ripping apart the multiverse. This week, Dina Hamdieh and Miriam Ibrahim return to discuss the ramifications for Universe 616, the evolution of Scarlett Witch and why we care about the multiverse.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad 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.

8.24-Doctor-Strange-in-the-Multiverse-of-MadnessDownload

Doctor Strange and the Multiverse of Madness: Emphasis on the Madness

by Leave a Comment

Have you ever had regrets in your life or made decisions that you wish you could’ve done differently? 

Now, what if you had the opportunity to go to any possible reality that you can think of? A place that would allow you to change anything that you’ve ever done or have whatever life you want. For those who struggle with guilt or shame, the idea would be very tempting.

Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Following the events of Spiderman: No Way Home and WandaVision, Doctor Strange and the Multiverse of Madness takes us on a trip through the horrors and wonders of the multiverse. With the universe seemingly falling apart Doctor Strange (Benedict Cumberbatch), Wong (Benedict Wong), and Wanda Maximoff (Elizabeth Olsen) take on threats they’ve never faced before. In the wildest MCU movie to date, Multiverse really opens up the Madness of the live-action cinematic universe that Marvel has spent so long developing.

Directed by Sam Raimi, the creativity of the film is spectacular. Although the first Doctor Strange began to feel like an acid trip in places, the reality jumping that happens in Multiverse is absolutely nuts. Ranging universes of animation to one of paint, Raimi makes good use of the opportunity to push the boundaries of the MCU. (For what it’s worth, Marvel’s What If series is a good primer that prepares the viewer for all the different possible realities that the MCU can give us.) 

A scene from Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios 2022. ©Marvel Studios 2022. All Rights Reserved.

Without question, this is the bloodiest MCU film to date. In fact, by leaning into its horror potential, Multiversebecomes not only becomes the first to attempt this style from the MCU, but the first successful attempt in the genre. (BrightBurn doesn’t count…) With her powers finally unleashed, Wanda is perfect at being horrifying. Broken by the loss of her kids in WandaVision, Wanda has become increasingly unstable as she pushes to get what she wants. Covered in blood and performing reality-bending witchcraft, she becomes almost an unstoppable ghost. (It’s worth noting that the magic fighting has also become more creative. For example, Wanda’s fight with the Illuminati is just horrific and beautiful at the same time.)

One of the best additions to the franchise is their new character America Chavez (Xochitl Gomez), a young girl from another universe who can travel through dimensions. Bringing great banter with Strange that balances out his seriousness and cool powers of her own, she’ll likely be key to setting up any major multiverse related stories in the MCU. 

(L-R): Xochitl Gomez as America Chavez, Benedict Wong as Wong, and Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Personally, I also really am noticing and appreciating Marvel’s diversity initiative as well. Despite the controversy created by the fact that that America Chavez has 2 moms, Marvel continues to push forward towards inclusion. Handling her story with love by showing her parents and treating it as “normal” was great. It really normalizes same-sex marriage and I respect Disney for not cutting it out.

As they reach infinite possibilities for stories and universes, the overarching theme within Multiverse is the idea of regret and coming to terms with that decisions that we’ve made so that we can move on. In many ways, the journeys of both Doctor Strange and Wanda parallel each other throughout the film. Unable to accept her actions in Westview (see WandaVision), Wanda wants to find a reality where she can really have the family and life that she has always wanted. [Potential Spoiler] For her, the quest is so important that she’s willing to go out of her way to steal another version of herself in order to find the reality that she wants. [Spoilers end]

Elizabeth Olsen as Wanda Maximoff in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

At the same time, Doctor Strange’s regrets stem from a deeply personal loss that took place during the Blip. Similar to Wanda, his guilt consumes him, pushing him to become something sinister. As a result, both are living unhappily and are willing to take the lives of others in order to have the universe that they want. After meeting alternate versions of themselves, Multiverse shows that you never really know which choice was the “right choice” and living in regret because of your choices is foolish. No matter how terrible the little decisions may be, they lead you to who you’ve become now and accepting that these moments happened allows us to move forward.

Overall, Doctor Strange in the Multiverse of Madness is a horrifying and beautiful trip into the multiverse. For his first venture into the MCU, Raimi steps up his game and offers us something that we’ve never seen before that I definitely recommend. Wild and weird, Raimi truly lets the Madness out of this Multiverse.

Doctor Strange and the Multiverse of Madness is available in theatres on Friday, May 6th, 2022.

Spider-Man: No Way Home – A Hero for Everyone

by Leave a Comment

When Marvel unleashed Spider-Man: No Way Home in 2021, I’m sure they knew it was going to be a hit… but could anyone have expected what came next?

More than fun and fury, No Way Home not only became a financial juggernaut, it almost single-handedly saved the 2021 theatrical box office. All of a sudden, this was not your average Marvel success. It became the #6 highest grossing hit of all time. (Seriously. Let that sink in for a moment.)

Who knew Spidey was the measure to which all MCU films would be held moving forward?

Taking place immediately after the final moments of Spider-Man: Far From Home, No Way Home leans into the fallout of having the Webcrawler’s identity revealed to the world. Under constant scrutiny by those who believe he murdered Mysterio, Peter Parker seeks out the help of fellow Avenger, Dr. Strange. After Peter asks him to cast a spell that will make people forget his identity, the good Doctor reluctantly helps. However, when the spell goes wrong, the effects on space/time are devastating. As other characters from the multiverse sneak into their own world, Parker must attempt to capture his mysterious foes before its too late.

There’s really no other way to say it. Despite building hype over the past few years, Spider-Man: No Way Home somehow manages to deliver the goods. Once again directed by Jon Watts, the conclusion to the ‘Home Trilogy’ balances epic scale Marvel action sequences and intimate character-driven moments that work on a number of levels. While Marvel sometimes has a tendency to sacrifice storytelling for the sake of action sequences (and vice versa), No Way Home finds a way to incorporate them into one another in such a way that they actually impact each other. (This is especially true in the film’s third act ‘mega-battle’, which actually furthers the emotional arc of the films characters.) After three films, Watts cares enough about this franchise to tell a story that means something to his team and the results are spectacular. Seamlessly blending genres and generations together, Watts creates an epic finale but never sacrifices the soul of his characters in the process.

Of course, No Way Home is an absolute nostalgia-fest for every fan of the Spidey-franchise over the last 20 years. For years, people of debated which iteration of the cinematic Spidey-verse is superior to the others. Here though, Marvel gets to celebrate them all in one big party. This is a festival of all things Spidey that should delight three eras of superhero filmgoers at the same time. 

Even if Peter Parker has No Way Home, this film is a welcome homecoming for many old friends.

However, while nostalgia may be fun for everyone, what makes the film work is that their appearances are relevant to the story through some sharp writing. By bringing back familiar faces in new situations, No Way Home could have simply devolved into a fanservice mess yet their appearances somehow further developing their original story arcs. (Returning villains like Willem Dafoe, Jamie Foxx and Alfred Molina are allowed the chance to develop their characters further without detracting from their original stories. In fact, Marvel arguably elevates their previous material in the process.)

At the same time, the film becomes a perfect finale for this chapter of the Spider-Man story. Throughout his three Spider-films, Watts has done a (mostly) impressive job spinning interesting stories for the Wallcrawler. Whereas Homecoming told a small and intimate tale of a young boy who simply dreams of becoming an Avenger and Far From Home showed that young man trying to balance his life, No Way Home takes that journey even further. Having almost literally grown up onscreen before our eyes, Holland has exemplified the youthful enthusiasm that we expect from the character. In No Way Home, further completes his coming-of-age into a true Spider-Man as opposed to Spider-Teen. Having moved through high school, Holland’s Spider-Man is now faced with understanding what it truly takes to be a hero. In No Way Home, Parker has to make decisions about his life and the safety of his friends that he would have been unable to make earlier on in the franchise. Without giving away any spoilers, this iteration of Spider-Man needed to learn what it means to sacrifice himself out of love for others. 

Why? Because that’s what heroes do.

However, No Way Home is also about second chances. Although most superhero films of the last two decades have featured heroes battling unsalvageable villains, No Way Home actually makes a point of arguing that everyone deserves a chance at redemption. Rather than writing off these villains as ‘bad guys’, Holland’s Spidey is challenged to view them as more. Here, iconic villains like Doc Ock, Green Goblin and Electro show their vulnerability and humanity more effectively than they have in other films. 

What if the ‘bad guys’ are actually the ‘lost guys’?

There’s a sensibility to this film that, maybe, anyone can change. Despite the ‘fate’ that they are dealt, No Way Home allows the opportunity for a crack in the villainous armor. Despite the negative tone of its title, No Way Home wants to believe that there is a new way for anyone who chooses it. Maybe, regardless of their past actions, there’s an opportunity for these villains to find hope. For Parker, maybe these villains are more than the sum of their darkness.

Admittedly, the special features are a little scant for a film that is–again–the #6 box office draw of all time. However, there are some fun things of note. Alternative Reality Easter Eggs looks to point the viewer in the direction of things they’ve missed and Spider-Men Unite and A Meeting of the Spiders help give the audience more of the Spidey trio that excited the world. Other than that, there’s not a tonne worth noting… but the film is so ridiculously fun, it’s almost not worth noting any disappointment in this area.

While the nostalgia is fun and action is well-executed, it’s the conversations about hope and heroism in Spider-Man: No Way Home that truly leave a mark. Wrapping up this chapter of the MCU’s Spidey-Verse, Watts completes the emotional arc that he began about a crew of high school kids learning how to grow up. But he also manages to tread new ground for characters that we already felt we knew. Leaning into hope for the ‘bad guys’, the film gives Spidey the chance to try to help everyone, not just his friends in his neighbourhood. 

Because that’s what heroes do.

Spider-Man: No Way Home is available on 4K, Blu-Ray, DVD and Digital on Tuesday, April 12th, 2022.

Moon Knight: Marvel’s Wildest Experiment… and it Works

by Leave a Comment

Once again, Marvel has proven that they aren’t the most successful franchise in history by accident. With each entry into their massive (and ever-expanding) canon, they continue to flex their influence by releasing increasingly risky characters and stories that somehow still fit their brand.

A world entirely translated by generations of television.

Multiple Spider-Men from the past 20 years of film franchises.

A giant purple titan who wields an all-powerful gauntlet.

No matter how (doctor) strange their continuity becomes, Marvel somehow manages to make it work. (Yes, there are franchises that are better than others… but the percentage of quality in their cinematic storytelling is surprisingly high, especially considering how long they’ve been doing this.)

Now, here comes what is arguably the most insane story of all: Moon Knight.

Streaming on Disney+, Moon Knight tells the story of Steven Grant, a mild-mannered gift shop employee who is struggling with bizarre dreams. Every night, he fears falling asleep as he finds himself transported to exotic locations and dangerous situations. As his dreams begin to blur with reality, Steven discovers his inner mercenary (literally) as an alternate persona known as Marc Spector battles for control of his body. Fierce and ferocious, Spector is under the servitude of the Egyptian god, Khonshu, who demands that he fight on his behalf. As Steven/Marc begin to unravel their complicated relationship, so too must they defend themselves against a mysterious Arthur Harrow (Ethan Hawke), an acolye of the goddess Ammit.

Moon Knight is ridiculous on almost every level… but it’s also ridiculously fun

Spearheaded by Justin Benson and Aaron Moorhead, Moon Knight is stylish and well-executed. Billed as a ‘horror comedy’, the series is a wild blend of the terrifying and goofy. Known for their work on Synchronic and She Dies Tomorrow, Moorehead and Benson have a background in psychological horror and the put those talents to work here. Flashing hallways, demonic jackals and psychological breakdowns all work together create an unsettling atmosphere of terror. However, the best example of their horror influence comes through the depiction of Khonshu. Voiced by F. Murray Abraham, Khonshu’s bird skull and long, bony physique pushes the boundaries of what Marvel has offered by creating an intimating ghostly figure that ominously follows Spector/Grant. (Note to parents, while it keeps to its PG rating, this image may intimidate younger ones so use caution.)

At the same time though, Knight is also genuinely funny. Although the series features Marvel’s trademark silliness (such as a car chase in a cupcake truck), much of the credit here falls on a stellar performance by Isaac who is absolutely erratic as the psychologically-divided hero. From the Coen Brothers to Star Wars, Isaacs has always been willing to balance his independent work with big franchises. 

But his performance in Moon Knight is truly unique.

As Marc Spector, Isaac is allow to engage his dark side. A mercenary indebted to Khonshu, Spector remains calm, collected and often brutal. However, as Steven Grant, Isaac is practically bouncing off the walls with erratic energy. Armed with a British accent and high anxiety, Grant is constantly in motion as he attempts to figure out what’s taking place around—and within—him. Together, Spector/Grant have a tension reminiscent of the Hulk & Banner as both men battle for control of the same person. When you add in the demanding demonic voice of Khonshu, Disney has invariably created an ‘Odd Throuple’ with each persona attempting to dominate the other. (In fact, the relationship between these characters echoes Sony’s recent rom-com superhero franchise Venom which features a similar silliness between Eddie Brock and his alien symbiote.)

At its heart, Moon Knight feels interested in addressing the nature of justice. Whereas Spector is more than prepared to exact vengeance and violence when called upon, Grant has a gentler approach. To Grant, violence is never the answer and there is always a better way to solve his problems. However, Spector’s strength is often required in order to defeat the baddies that go bump in the night. There is a tension between their styles that creates some interesting conversations about the definition of justice and what sorts of methods are required. (Admittedly, Knight often favours Spector’s brutality as necessary yet, as the series progresses, one gets the sense that Grant’s humility will become important to Spector’s growth.)

Held in juxtaposition to this internal battle is the villainous Harrow who believes that the sins of man require judgment. Committed to the goddess Ammit, Harrow believes that humanity can be judged for actions that they haven’t yet been committed if there is darkness in their hearts. Whether it’s an elderly woman or infants, Harrow is relentless in his belief that those who (may) create suffering should be eliminated before they have the chance to do so. 

When held up against Spector/Grant, the series creates some space for what it truly means to create a safe space for others. To Harrow, man’s sins are inevitable and therefore justifiably erased. For Grant, man cannot be blamed until the actions come to life and then invited to change. Finally, Spector argues that those who threaten peace are justifiably stopped by any means necessary. Between the three of voices, the series highlights the breadth of opinions on justice and tries to hold them all in tension together.

How Moon Knight fits in with Marvel continuity is not yet known. Set in its own space and time, Knight very much feels like a standalone series. (Although, it’s fair to say that we know that’s not the case. Nothing in Marvel ever exits on its own.) However, anchored by a phenomenal performance by Isaac, Knight manages to carve itself its own corner of the Marvel Universe. Once again, Marvel has taken an insane premise and created something infinitely watchable and engaging.

Somehow, they’ve managed to let this Knight shine.

Moon Knight begins streaming on Disney+ on Thursday, March 31st, 2022.

Venom: Let There Be Carnage – For the Love of Carnage

by Leave a Comment

Some relationships just don’t make sense. But they can sure be fun to watch.

In the new rom-com superhero flick Venom: Let There Be Carnage, Eddie Brock (Tom Hardy) has fallen on hard times. After the events of the first film, Brock has fallen on hard times. Struggling to pay the bills while living life with his frustrated (and hungry) symbiote Venom, Brock is doing everything he can to keep things together. When he is called in for an exclusive interview with serial killer Cletus Kasady (Woody Harrelson), Brock reluctantly takes the job. However, after a freak accident transfers some of Venom’s symbiote into Kasady’s bloodstream, a new terror is unleashed upon the city. Suddenly, Eddie and Venom must decide whether or not they can put aside their differences in order to work together and defeat the villainous monster known as Carnage.

Directed by Andy Serkis, Venom: Let There Be Carnage in an energetic ball of silliness. Instead of leaning into the potential gravitas of the evil symbiote, Serkis opts to create a film solely about monster mayhem and wanton destruction. (The title Let There Be Carnage is more than just a character reference.) However, in doing so, the film seems to fight many of the major tropes of modern superhero fare. For example, clocking in at a shockingly brief 97 minutes, the film leans into its story without any extra padding. (Compare that to the next Spider-Man film which has a reported runtime of 150 minutes.) There are no long soliloquys or moments where characters contemplate what it means to be a hero. Instead, the film pushes ahead with the story quickly as it builds to the inevitable superhero brawl at the film’s climax.

What’s more, despite the darkness of the character, Serkis use Venom’s relationship with Eddie to create a bromance comedy with a surprisingly light tone. In fact, the film feels more like the campier Batman films of the 90s than it does with other entries in to the Marvel Cinematic Universe. Despite the fact that Venom speaks openly about his desire to eat people, somehow the film manages to portray the demonic force as a ‘grumpy best friend’ rather than a menacing threat to others. (At one point, Venom even attends a rave wearing glow necklaces and drops the mic after speaking onstage.)

While these may seem like criticisms, the sheer ridiculousness of the franchise makes the film an absolute blast to watch. (Dare I say, it may even be refreshing?) This is a franchise that began with the expectation of darkness but has decided to surprise audiences with something entirely different. Stars Hardy, Williams and Harrelson may best be known for their more serious dramatic work yet they seem like they’re having an absolute blast leaning into the goofiness of the film. Hardy argues with Venom about taking on ‘superhero names’ while Harrelson’s sly smirk barely hides his own madness. Even Michelle Williams speaks to Venom as though he’s some form of estranged best friend as opposed to a terrifying alien symbiote. 

Underneath the laughs, this is ultimately a film about the signs of toxic relationships. Throughout the film, there are several spaces where the flaws between couples are exposed. Whether it’s Eddie and Anne, Anne and Dan, or even Cletus and Eddie, this is a film filled with duos who are struggling to keep things together. However, having said this, the best example of this may come in through Cletus and Frances as they attempt to build something, despite their issues together.

Drawn to the darkest aspects of each other, the would-be supervillain couple feed off each other’s thirst for revenge. However, despite their intense connection, their individual powers are in direct conflict with one another. With every shriek she makes, Carnage experiences pain, forcing Cletus to ask her to not use her abilities. (Incidentally, even though he cares for Frances, one could also read that as a sign of toxic masculinity where the male refuses to let his partner speak for herself.)

On the other hand, held up against the relationship between Cletus and Frances is the connection between Eddie and Venom. On the surface, the tension between host and symbiote is palpable as they want to be free from one another. However, even though they constantly bicker and fight, there’s something strangely supportive about their relationship. Whereas Eddie needs Venom’s strength and brains to find success, Venom has a difficult time finding another person that can properly host his power. For Eddie and Venom, they begin to understand the importance of the other and sacrifice their wants to make things work between them. In other words, whereas Cletus and Frances fail to find common ground, Eddie and Venom recognize that they need to humble themselves for their relationship to function in a healthy manner.

If that all sounds very strange, that’s because it is. 

But, somehow, it works.

Admittedly, special features on the disc are surprisingly sparse. While outtakes and deleted scenes are expected, the disc is definitely missing a commentary by Serkis to discuss his vision. While he does offer his views in a segment entitled ‘Eddie and Venom: The Odd Couple’, it’s really limited. Even a feature entitled ‘Tangled Webs: Easter Eggs’ that may appear tantalizing for tie-ins for future films lacks meaningful content beyond the obvious teases. (Sorry, Sony. Cletus crushing an actual spider does not qualify.)

With all that being said, Venom: Let There Be Carnage may be utter madness but it also might be one of the best comedies of the year. Wild and wacky, Serkis has bizarrely created an Odd Couple-esque relationship out of one of Marvel’s more sinister villains yet hits the right notes to keep it entertaining. So, bring on another entry.

I, for one, am actually interested to see where this relationship goes.

To hear our conversation with Venom creator Todd McFarlane, click here (audio).

Venom: Let There Be Carnage is available on 4K and Blu-ray on Tuesday, December 14th, 2021.

Hawkeye: Marvel hits a Holiday Bullseye

by Leave a Comment

Hawkeye isn’t funny. But Hawkeye definitely is.

Helmed by Rhys Thomas and Bert & Bertie, Hawkeye is an enthusiastic and energetic series that takes one of Marvel’s least charismatic heroes and lets them shine brighter than the Christmas tree in Rockefeller Square. Admittedly, a series about the ever-grumpy Clint Barton (aka Hawkeye) was not something that I expected to be excited about, especially considering the sheer number of Marvel projects we’ve unwrapped in our Disney+ packages this year. Nevertheless, Hawkeye manages to hit a holiday bullseye. Part I’ll Be Home for Christmas and part 80s buddy comedy, the series allows itself to honour Hawkeye’s serious soul while leaning into the silliness of the world around him.

Set two years after the events of Endgame, Clint Barton (Jeremy Renner) is attempting to make peace with his Avenging past. While taking his kids on a family trip to New York City to see the new Broadway smash musical, Rogers: The Musical, Barton simply wants to enjoy the holidays and take in the sights. However, when a threat from his past comes knocking, he must join forces with young Kate Bishop (Hailee Steinfeld) in order to take a bite out of New York’s criminal underworld. 

Known for his dramatic acting in his life pre-Hawkeye (remember, he was nominated for two Oscars), Jeremy Renner has never seemed to fully fit into the MCU’s quippy world of Tony Starks, Captain Americas and Thors. Marvel has done their best to find new ways to make him relatable (family man) or gritty and intense (Ronin’s revenge story). Fans of his have defended his commitment to fighting aliens when he has no superpowers while his detractors have mocked him for the same reason.

However, with Hawkeye, Marvel seems to have finally found the best way to make use of its star. By leaning into his grumpy exterior, Hawkeye let’s Renner play the straight man to the energetic youthfulness of Steinfeld’s Kate Bishop. As a result, Renner actually becomes funnier. Moments where he’s strapped to a unicorn or mistaken for Katniss Everdeen play well when Renner isn’t the one trying to make the joke work. 

We appreciate Hawkeye’s sincerity and focus. But his series reminds us that he could stand to lighten up.

Amidst the silliness and Christmas spirit, Hawkeye also fits in very neatly into Marvel’s 4th Phase. Now, three movies and five series deep (this year alone!), we can officially see the trends that have begun to take place through the MCU’s storytelling threads. Without giving any particular spoilers, Hawkeye taps into two of Phase 4’s key themes and gives it its own spin.

First and foremost, Marvel’s Phase 4 has shown its interest in passing the torch to the next generation of Avengers. By introducing multiple characters such as Yelena Belova, Shang Chi, and the upcoming Miss Marvel, She-Hulk, Ironheart and Echo series, the MCU has begun the process of introducing younger cast members who can take on the mantle of Earth’s Mightiest Heroes when the original cast decide to hang up their capes. In Hawkeye’s Kate Bishop, Marvel continues this trend by creating a character with genuine charisma and energy that’s instantly likeable. As Bishop, Steinfeld shines, portraying the character as a plucky young woman who’s determined to show the world what she’s capable of. What’s more, her adoration of Hawkeye highlights the fact that these heroes are so well known within this cinematic world that they are inspiring the next generation to take up the bow and arrow on their own. (In this way, there’s also a bit of life bleeding through the storytelling as well. While Bishop has always idolized Hawkeye and the Avengers in this world, so too are these young bloods also the ones who grew up watching these stories onscreen as well.)

At the same time, Phase 4 has also leaned heavily into the idea of ‘dealing with your trauma’. From grief to racial injustice to family pain, Marvel’s most recent stories have leaned heavily into its heroes’ abilities to focus on their personal issues while they battle world-shaking events. With Hawkeye, this trend continues as well as Barton is a man who simply wants his past to go away. Having lived his life as the vicious Ronin during the Blip, Barton wants to lean into his life as a husband and father. However, as these things tend to do, the past can only remain hidden for so long. As a result, in addition to Marvel’s trademark ‘battles with bad guys’, Barton’s greatest fight becomes having to deal with pieces of his painful past that stole parts of his soul. While the tone of the series remains fairly light, it is also willing to give Barton the chance to work through his own

With an (almost) surprising amount of fun and pop, Hawkeye is a welcome gift for the holiday season. Wildly different than the ‘time-and -space-threatening’ antics that we’re used to, Hawkeye is a light-hearted and joyful shot in the arm that is enjoyable for the whole family. 

Now, if they’d only focus their attention on bringing that Steve Rogers musical to Broadway, we could all have a Merry Christmas and Happy Holidays.

Hawkeye is now playing on Disney+.