Alright, Finn Jones, I watched Iron Fist. No, sorry, I stand corrected: I watched two episodes of Iron Fist and then it was so uninteresting that I stopped watching. All of the whitewashing controversy aside, I just did not enjoy it.
I was honestly surprised by how much I liked Kong. It drew a lot more on the Kaiju genre than its predecessors and the end fight scene was well choreographed (especially coming off the heels of what I felt were let downs in Jurassic World and Godzilla). I have a lot of thoughts so they’re here in no particular order.
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I just got out of the theatre after watching Logan (2017) which inspired me to write this post about serial narratives both on TV and film. Spoilers under the cut.
I rewatched Kingsman recently and was struck again simply by how much I liked it. Matthew Vaughn, director of Kickass and X-Men: First Class, both plays with and subverts various tropes of the spy film (or more specifically, the Bond spy films) in a way that is definitely on the nose but still entertaining. If you do not like over the top, outrageous action movies, then this movie is just not for you. I, however, love over the top, outrageous action movies and thought this one was great (except for the fact that it could have easily passed the Bechdel test through a brief conversation between Roxy and Gazelle, and yet it didn’t).
Recently I got into watching Riverdale on Netflix. It follows the classic characters from the Archies comics (Archie, Betty, Veronica, Jughead, Josie and the Pussy Cats, and the Blossom twins) through their high school lives, albeit with a darker twist to it
Recently I was asked why I refused to pay for a movie and my answer was because I didn’t want to encourage certain tropes being perpetuated through film. When box office numbers are the sole indicator of a ‘successful’ film, it only rewards films that make money. Because of this, studios resort to formulaic, often harmful stereotypes or lack of diversity, to ensure they have a box office ‘success’. This hurts cinematic discourse as a whole because risk-taking filmmakers are either not rewarded for their risks or are glossed over by studios in the first place.
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