Inspired by Avengers: Endgame, the 182-minute grand finale of the Marvel cinematic saga, I crunched some numbers and examined how blockbusters—especially ones not encumbered by Endgame’s hefty narrative obligations, with so many characters and storylines to pay off—are expanding at a much faster rate than is the human lifespan. I am solely responsible for the math in the piece, and the jokes.
Pal-for-Life Glen Weldon did me a solid with that headline. Of all the giant-shark thrillers that’ve been scaring us out of the water since Jawsinvented the summer blockbuster, The Meg is without question the most recent. Here’s my NPR review.
In olden times, Memorial Day weekend marked the start of what was known as the Summer Movie Season. It’s an obsolete notion, now that would-be blockbuster releases are most heavily concentrated between mid-February (when Black Panther arrived this year) and the first weekend in May, and can come out basically any month of the year other than January. But as a kid who grew up planning my summers based on which hotly anticipated, frequently disappointing tentpole release came out when, I carry the torch for the idea that summertime is the season for escapist genre films that seek to overwhelm the senses.
My pal Alan Scherstuhl, the Village Voice‘s film editor, indulges me, assigning me each May to single out a dozen due before Labor Day that show promise. These features get shared among the whole New Times media ecosphere; sometimes even before they turn up in the Voice. No matter. Here’s the list.
Beloved Pop Culture Happy Hour host Linda Holmes is at the Television Critics Association gathering in Los Angeles this week, so Tanya Ballard Brown and I joined regular panelists Stephen Thompson and Glen Weldon for an uncharacteristically reserved episode. By which I mean, neither of the big summer movies we autopsied, Jason Bourne and Suicide Squad, is very good, though the latter is much worse. I had hopes for both of them, because I admire their directors, Paul Greengrass and David Ayer, very much, and I’ve tended to like their work. You know what late-summer release was not a big letdown? Star Trek Beyond.I endorse it. Continue reading →
The Nice Guys, which I expect history shall remember as my favorite film of the summer of 2016, came out last week; Captain America: Civil War, probably the best of the Marvel bunch, is old news. But Memorial Day weekend is still the traditional start of the summer movie season. Here, for the third consecutive Memorial Day weekend, is my Village Voice list of summer movies I want to see. Light up a phone in any of these and you’ll hear from me. Continue reading →
Since none of us liked this film — in fact we all disliked it so much that the controversial issue of Henry Cavill’s height never even came up — we decided to broaden the topic to try to pin down the elements that make a would-be action blockbuster work or not work. I forgot to say so on the show, but I wrote about this for Linda two summers ago after helping the staff of The Dissolve, may it rest in peace, to determine the 50 Greatest Summer Blockbusters. Continue reading →
The Mission: Impossible film series is 19, long enough in the tooth for its earlier installments to start to acquire the same time capsule effect that makes me love even the worst James Bond movies. I watched Brian De Palma’s 1996 Mission: Impossible the night after I saw the new one, subtitled Rogue Nation, and John Woo’s barely-related 2000 M:I-2 the night after that. Yep, blockbusters are different now.
Trying to articulate just how was part of the chore of writing my NPR review of the fifth impossible mission, from Jack Reacher writer/director Christopher McQuarrie. Short version: I liked it. But I had more thoughts about it than I could shoehorn into the review, so here’re a few outtakes. Continue reading →