Category Archives: Fantasy

“The Mummy” Movie Review

Oh, the things I do for you guys. This horror action thriller from debuting director Alex Kurtzman released nationwide on June 9th, 2017, surprisingly earning back nearly $300 million at the box office. It also marks the beginning of a brand new cinematic universe franchise entitled “Dark Universe,” a highly publicized reboot of the Universal Monster series from the 1930’s and 1940’s. Tom Cruise stars as a looter named Nick Morton who accidentally stumbles upon the grave of a thousands-year-old mummy princess, played by Sofia Boutella. Once she awakens, it’s up to him and Annabelle Wallis to prevent all hell from breaking loose in the modern world, while a mysterious organization looms over everything. Now this movie has been raked over the coals by critics and audiences everywhere, saying that it is a betrayal of everything this franchise stood for. Confession time: I was never a fan of Stephen Sommers’ original The Mummy from the late 1990’s or its two sequels. I haven’t seen them in years. I also think that some of the early Universal Monster movies are a bit overrated. In short, I genuinely do not care about this series, so I was able to enter the theater with a completely open mind. And after 107 minutes of my time absorbed, I walked out blown away… at how bad this actually was. Let’s start out with the positives in this movie, as I typically like to do. Like most of his other movies, Tom Cruise totally brings it to his role as Nick Morton in physical demand. The fact that this man is willing to perform most of his own stunts and retain that iconic All-American smile gives an edge and sense of being fun to watch that most action stars miss. While yes, he does run a lot, his character arc is essentially the same one he’s been playing for the last several years. Meanwhile, Anabelle Wallis plays his love interest with some great feistiness and is able to keep her wits about her. Their love story follows all of the beats you’d expect rather predictably and lazily. Sofia Boutella is a greatly underrated actress and action heroine who deserves more recognition than she already has. Her mummy actually had a relatively intriguing backstory Despite the rest of the cast consisting of A-list talents such as Courtney B. Vance, Jake Johnson, Javier Botet, Marwan Kenzari, and Russel Crowe, they feel wasted and wanting of more to say and to do. And that’s apparently because Cruise reportedly had way too much creative control over the production of The Mummy. From rewriting the meager script (Which already had six people credited to writing) to teaching Kurtzman how to properly direct to downplaying the roles of actors, this might as well have been his own directorial debut, Stanley Kubrick style. No wonder Universal Studios gave a monster salary for this film. Now I’m left to wonder if the movie would have become better if he had let the creators do what they wanted. I haven’t even gotten to the technical parts of the picture, which are an extremely mixed bag. The sound design and surround audio are crisp and nice, especially during gunfights or tomb looting moments. But the visual effects are the most inconsistent aspect of the film as a whole. Some scenes, it looked fine; not nearly impressive, but fine enough. Other times, it looked a wholly unconvincing sequence of greenscreen voodoo magic infused with whatever few practical sets were built on a studio lot. The design for the mummy herself, Princess Ahmanet, was pretty cool and showed off some impressive make-up, but that’s about the extent of it. Action movie man Brian Tyler composes his fourth feature film score this year, and can be deemed as “passable.” While it does lean on the tense strings during some of the more horror-driven moments, for the most part, the tracks often feature rousing orchestral arrangements in the vein of high-flying adventures like Indiana Jones. Which I find funny, considering that Stephen Sommers’ The Mummy actually started out as an Indiana Jones rip-off, which itself was a parody of tomb raiding adventures like the original from the 1930’s starring Boris Karloff. Everything that goes around eventually finds a way to come back around. But above all else, The Mummy is simply frustrating in its attempts to set up the much-talked about “Dark Universe.” Alex Kurtzman is so convinced that he has to create this world in which we can have sequels and spin-offs in the future that he and the other five screenwriters end up rushing through many beats. Whereas Marvel Studios took their sweet time establishing the whole universe and set of characters to come, The Mummy wants to get it all out of the gate immediately, using Russel Crowe’s character of Dr. Henry Jekyll and his organization as a thread tying it all together. Hell, even the DC Cinematic Universe seemed more patient than this one does. To be fair, that whole segment involving Jekyll and his people was the most genuinely entertaining part of the entire 107-minute runtime, and as far as I’m concerned watching the origin of his character and organization would have been a much more interesting movie than the one we ultimately got. All the hype around this new cinematic universe of iconic movie monsters coming together and this is the best thing they could come up with? Unless you’re the curious completionist or fan of brainless action, The Mummy is a desperately rushed and wholly underwhelming barrage of boneheaded potential. Confusing in tone and disappointing overall, there is honestly a compelling movie SOMEWHERE underneath this foundation; it’s there. I’m just waiting for the first person who finds it.

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“Blue Velvet” Movie Review

Hmm… I’m not quite sure if I should love this movie for challenging me to think or hate it for leaving me unsatisfied. I guess I should write a review and see what comes up from it. This off-kilter erotic mystery thriller came out in September of 1986, where it barely turned a profit on its $6 million budget and garnered initially mixed reviews. Eventually, writer-director David Lynch’s 4th theatrical feature film gained great critical acclaim and analysis in the years that followed- though it was still famously hated by critic Roger Ebert even after revisiting it. The plot is a mystery where Kyle MacLachlan plays a perve who, through a series of circumstances, gets wrapped up in a plot of sadomasochism and murder involving a night club singer and a really demented gangster. I call him a perve because what other kinds of person would hide in a woman’s closet and then return the following nights to have sex with them? This actually happened in the movie. Twice. Look, I get it. David Lynch is an absurdly creative talent with an eye for the visually and narratively strange. In fact, he often embraces that weirdness with open arms to wrap around the audience. But sometimes, he just gets so caught up in his amount of weirdness that it becomes rather hard to enjoy his movies. Take Blue Velvet, for example. To be clear, I’m not saying this is necessarily a bad film. In fact, there are moments of Blue Velvet that are genuinely entertaining and watchable, particularly when it gets into the noir elements. Lynch has always been a master at that level of storytelling with the cult classic show Twin Peaks and his later film Mulholland Drive, both of which I adored. And the performances are alright from the main actors, but let’s be real. The only truly great actor here is the late, great Dennis Hopper as Frank Booth. This is basically the movie that relaunched his dormant career with his surprising turn as an unpredictable if outrageous villain. It’s always fascinating when a movie has a hidden meaning or message underneath the surface, as it can often time warrant watching the film a few more times to soak in everything that needs to be. David Lynch himself has professed that his art is meant to be interpreted freely by the viewers. And the ideas that Blue Velvet brings to life are pretty interesting. But more like his first feature Eraserhead, this film became so obsessed with what it was trying to say that it virtually eliminates the need for a rewatch. My politics being my own private business, I tried to watch this movie without any feeling of demoralization or anger. But truth be told, this movie really got under my skin early on. The level of sadomasochism and sexual pleasure these characters take in is not very believable and borderline unrealistic. To be fair, Lynch has always gotten close to the surreal and blending fantasy with reality. But here, Blue Velvet seems so determined to make Isabella Rossellini as abused as possible and make her ask for even more from a totally innocent man. Considering the amount of press that feminism has gained recently, it’s arguable that this may be Lynch’s most dated movie out of his whole catalog. When sitting down to watch a film by David Lynch, there are usually a set of expectations I set for it: a completely self-absorbed, overly-indulgent showcase of thematic fingerpaintings featuring good actors playing unrealistic characters. Not everything in a movie has to be realistic. I mean, shit, some of my favorite movies are in the sci-fi and fantasy genres. And with Blue Velvet, it’s not quite as much of a fantasy as Mulholland Drive, but it was a bit better than I had expected it to be. If you like serious films with interesting messages, then definitely check it out. Others may be off-put by its excessive weirdness. But this is not conventional filmmaking in the slightest. I’ve already established that about David Lynch. He thrives off of the refusal of formula or convention. I like Blue Velvet and I don’t like it at the same time. It’s as simple as that. It’s a fascinating if a somewhat pretentious portrait of suburban lust that’s just not worth watching too many times. Maybe twice, but that’s about it.

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“The Prestige” Movie Review

Thought it would make sense to review some of Christopher Nolan’s best films in preparation for Dunkirk this July. I’ve already done Interstellar, though, I’m tempted to do an update. You can expect the Dark Knight Trilogy to show up soon, as well as Inception, but let’s begin with one of his more overlooked projects. This magic-based mystery thriller was able to triple its $40 million budget after its premiere October of 2006. Released just after Batman Begins, it also marks a rare time when Nolan adapted a pre-existing material, as it was based on the novel by Christopher Priest. Set in 1890’s London, the incredibly complex story follows two magicians, Robert Angier and Alfred Borden, who compete with each other to create the greatest stage illusion imaginable. Their game of one-upmanship turns into a series of tragedies. Of course, this being a film by Christopher Nolan, the PG-13 rated plot is much more involved and layered than that, and some really mind-bending stuff happens. Hugh Jackman is the real star of this film as Robert Angier, with all the charisma and showmanship that most real-life magicians lack. The things that happen to him are very sad and damaging. And as he goes down the path of competition, he begins to lose sight of what got him on that path to start. Continuing their relationship with the director, Michael Caine and Christian Bale are fabulous in their roles. Unlike many of his other films, Bale is actually allowed to retain his British accent, which added more heft to his emotional punch. Caine, meanwhile, plays a disconnected mentor who essentially works as a mediator between the two magicians. His wisdom is reminiscent of Alfred Pennyworth from the Dark Knight Trilogy, as he seems to be the one person who wants both of these men to settle their feud. The strong supporting cast includes Scarlett Johannson, Piper Perabo, Rebecca Hall, Ricky Jay, a rare live-action stint from Andy Serkis, and the late musician David Bowie. Bowie is particularly enigmatic as a man with many secrets on how to make a show even more dazzling than it already is. But he doesn’t use magic, he uses science. To go any further into any of these actors’ characters would spoil the plot. One of the things Nolan is known for is how all of his films are not what they initially appear to be. For example, his first directorial outing Following looked like a cheap student film, (And it kind of was) but turned out to be a focused and engaging mystery thriller. With The Prestige, he crafts a compelling narrative out of a subject that shouldn’t be that interesting; stage magicians. Through his trademark storytelling techniques, the story doesn’t initially progress in chronological order and jumps around in time. This makes the film even more intriguing and keeps the audience guessing from start to finish. Another trademark of Nolan’s is how practical and technically brilliant his films are. The production and costume designs are all top-notch and help it feel like a gritty and lived-in 1890’s London. When Borden or Angiers are on-stage, it feels as if we are actually watching a magic show unfold before our eyes. And the visuals are nice as well. In one scene, Angiers is standing in the middle of a snowy ridge when all of a sudden, these fluorescent lights come out. It added more beauty, atmosphere, and mystique to the 130 minute-long picture, topped by Wally Pfister’s surreal camera work. As pretty much the last film before Nolan’s long-term collaboration with Hans Zimmer, the musical score in The Prestige is provided by David Julyan. It is often consisting of eery synthesizers building up in a crescendo, punctuated by a shocking set of strings in revealing moments. And there are many. Holy mother of God, there are revealing moments. Like a traditional magic show, the film is broken up into three intertwined acts. The first two are impressive feats of visual flair and emotionally engaging performances. But in the final act, a jaw-dropping plot twist is thrown in to pull the rug from underneath the audience in a way that is both shocking and brilliantly believable. Were you watching closely? I was, and it worked. Without giving away anything, the twist also brought to light the philosophical themes hidden just beneath the crust. Because these two characters are neck-and-neck, they often give in to their inner ambitions and obsession. That obession to become the greatest at their profession leads to many bad outcomes and ultimately makes them less humane. To put it in the words of David Bowie’s character, “You’re familiar with the phrase ‘man’s reach exceeds his grasp?’ It’s a lie; man’s grasp exceeds his nerve.” If you love the type of movies that make you think about the story and maybe even tempt you to watch it again to make sure you didn’t miss anything, you need not look any further than The Prestige. It blends seamless production and technical merits and fantastic performance with breathtaking precision. This is a very underrated piece of humanistic filmmaking that deserves all the recognition as Christopher Nolan’s other endeavors have endured.

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“Star Wars Episode VI: Return of the Jedi” Movie Review

As of this entry, all entries from the original Star Wars trilogy (the ones that matter) have been reviewed. In hoping that Disney will continue to recapture such memories, I get into spoiler territory with a movie that apparently a lot of fans hate. The third and then-final installment in the epic space opera trilogy received its widely anticipated release on May 25th, 1983, accumulating over $570 million worldwide in box office receipts. Like the previous movie, series creator George Lucas chose not to take the director’s chair in favor of Eye of the Needle‘s Richard Marquand- though he stayed credited in screenwriting and making the story. As the film opens, our favorite robotic duo from a galaxy far, far away C-3PO and R2-D2 arrive on the desert planet of Tatooine. After trying to convince Jabba the Hutt, a nasty criminal lord in the Outer Rim and a cool showcase for ILM’s makeup department, to give up a frozen Han Solo, both of them are forced into Jabba’s servitude. A similar thing happens when a disguised Leia, played by the late Carrie Fisher, attempts to save the man she loves and ends up in chains. Any boy who grew up in the 80’s was bound to have some sort of fantasies about her now-iconic metal bikini. (I may have been one of them) After all of this, Luke Skywalker finally pays a personal visit to the Palace. And at this point, Luke is a completely different person than he was in the previous movies. He’s calm, calculating, but still willing to shoot first. Once he overcomes a tense battle with the mechanical Rancor, he and all his friends are sentenced to be throw into the Sarlacc Pit. Thankfully, former traitor Lando Calrissian shows to rescue them, making for arguably the most exciting part of the whole movie. But this also gave Boba Fett, one of the coolest characters in the Star Wars franchise, a lame death. A blind Han Solo bumping into him and setting off his jetpack is such a cartoony way to kill him off. However, because they filmed the scene from the graphic novels, it’s been confirmed that he is still alive in canon. Before meeting up with the Rebel Alliance, Luke keeps a promise and visits Yoda one more time on Dagobah. In one of the saddest scenes of the original trilogy, he dies at the age of 900, telling him, “There is another Skywalker.” Thanks to a ghost Ben Kenobi, Luke learns that the other Skywalker is his twin sister Leia, and they were separated at birth to hide from their biological father, Anakin Skywalker/Darth Vader. This revelation makes perfect sense, but also makes the kiss the two had in Empire Strikes Back gross. Later, the Rebellion learns that the Empire is building a second Death Star, and is guarded by an energy shield projected on the nearby moon of Endor. While Lando leads the space cavalry, Chewbacca, Leia, Han, Luke, and the droids take a small squad of soldiers to the surface of the moon to destroy the generator. And this is when we come to the most controversial part of the original trilogy: the Ewoks. Some like them, some loathe them, some can’t enjoy the movie altogether because of them. Were they a tool for George Lucas to sell more toys? Yes, they were. But I rather enjoyed them as a kid, and watching them take down the technologically superior Empire is reminiscent of how the Viet Cong defeated the U.S. Army. While these little fuzzballs are giving our heroes a welcoming feast, Luke decides the only way to truly confront his father is if he leaves and surrenders to Darth Vader’s forces. And when he turns himself in, he just doesn’t understand that Anakin Skywalker is not there anymore. The two of them finally meet the Emperor, played like a Shakespearean villain by Ian McDiarmid. The man is a word smith, knowing exactly how to manipulate his subjects into his will, and reveals that not only is the second Death Star fully operational, but that they are fully aware of the impending invasion. At that moment, as the forces on Endor are fighting for control of the battlefield, the Rebel fleet arrives, completely caught off guard by the entire Imperial fleet. Starting one of the greatest memes in internet history, Admiral Ackbar responds by declaring, “It’s a trap!” And then, after getting constantly taunted by the Emperor, Luke Skywalker grabs his lightsaber and is stopped by Vader, turning into a battle of father-versus-son. Not only is this three-way battle extremely entertaining, but it shows that Luke is a relatable Jedi who’d do anything we’d do in his shoes. After a threat to Leia, Luke wails away on Vader and cuts off his hand. I think he would’ve actually killed him. But when he refuses, the Emperor does something never seen before, and attacks Luke with lightning. Vader is absolutely conflicted, looking back and forth between his master and his son. In the end, he lifts the Emperor up and throws him over a precipice. And late in his dying moment, he takes off his helmet and James Earl Jones doesn’t voice him anymore. Redeemed in the eyes of Luke, Anakin Skywalker dies a hero, fulfilling the prophecy in the prequels. Later, after the Death Star is destroyed, John Williams’ score is sounding off in celebration, a funeral pyre is held for Vader. And Luke is the only one attending. During the final celebration, when all the characters have gathered in joy, the Force ghosts of Yoda, Obi-Wan, and a young Anakin are shown one last time before the film cuts to black. Many MANY changes were done in the Special Edition, particularly using crappy CGI early on. And later, Vader yells NO!” when he throws the Emperor to his death. But these changes aren’t enough to hurt the overall quality of the film. Star Wars Episode VI: Return of the Jedi is a satisfying end to a magnificent saga. It may be super late, but May the Fourth be With You Always!

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“Guardians of the Galaxy Vol. 2” Movie Review

Now I know for a fact that I need to own a walkman. In fact, if anyone would be so kind as to send me one for Christmas this year, I will be the happiest man on Earth. This science-fiction comic book superhero movie was released worldwide on May 5th, 2017, officially becoming the 15th installment of the ever-expanding Marvel Cinematic Universe. Following in the footsteps of its predecessors getting released on the first week of May, the film opened to about $440 million worldwide at the box office. Taking just a few months after the vents of the first installment, the titular team have become a renowned intergalactic mercenary group. The leader of the group, Peter “Starlord” Quill, unearths some new discoveries about his ancestry and sets out to find his father, Ego. All the while, the company of mercenaries called the Ravagers, led by Yondu, are hot on their trail for glory and gold. Now way back in 2014, Guardians of the Galaxy was one of the very first movies I ever did a review of on my blog. It was hilarious, heartfelt, and perhaps the most ambitious production ever taken up by Marvel Studios, as these were previously characters whom very few people were familiar with. And now we get to see a sequel written and directed by James Gunn, and how is it? To be honest, it was a bit of a letdown in some regards, but still really enjoyable and entertaining. Right off the bat, Chris Pratt leads the big ensemble cast with his traditional likability and overall sense of humor. Previously a “nobody” just a few years ago, this man has been taking over Hollywood one blockbuster after another. Zoe Saldana returns as his green-skinned love interest Gamora, who is kicks a lot of ass and looks sexy while doing it. Former wrestler Dave Bautista may not be given much to say or do for a majority of the 136 minute-long film, but I’ll be damned if he didn’t make me laugh a lot. His great sense of timing and wicked physical comedy makes him probably the funniest member of the titular group of misfits. Bradley Cooper and Vin Diesel reprise their voice roles as the genetically modified Rocket Raccoon and Baby Groot, both of whom were just adorable in their own twisted ways. Big names like Kurt Russell, Karen Gillan, Sylvester Stallone, Chris Sullivan, Elizabeth Debicki, and Michael Rooker round out the impressive supporting cast. Rooker and Russell were both particularly noteworthy in their roles as Yondu and Ego, respectively, bringing a sort of human element to this otherwise otherworldly tale. Most everyone else seems like they were there just to say that they were part of the Marvel franchise. One of the distinguishing factors of the first movie was the astonishing, if somewhat overused visual effects. These effects continue to dazzle in the second installment, with a beautiful use of bright and vibrant colors for the ships, planets, and even the characters. The makeup design of several aliens is pretty impressive, especially of the gold-skinned Sovereign race, an arrogant people whose stoicism makes for some unexpected laughs. Though by the second half, it becomes pretty easy to tell when there’s a green screen in the background because some locations just look too fantastical to build with real sets or shoot on-location. And yeah, Guardians of the Galaxy Vol. 2 is really funny just like the last one, albeit not quite as much. Often, the humor comes out from the awkward dialogue among the characters, such as Starlord referring to his semi-romantic relationship with Gamora as “this unspoken thing.” One notable standout is when the Sovereign race tries to attack the Guardians after screwing them over on a deal, and send spaceships out to fight. But all of these ships are remotely controlled from their home planet and emulate something of a video game. One has to wonder how long it will be before any real-life military will start using this system to virtually train its soldiers for combat. Tyler Bates returns from the first film to provide the original score. But like many other Marvel productions, the main theme and other tracks are forgettable and sub-par, only standing out in moments where it all intensifies. However, Gunn attempts to make up for this with yet another soundtrack of old tunes. Mostly consisting of pop songs from the late 70’s and the early 80’s, my personal favorite was “Father and Son” by the controversial Cat Stevens. It evoked the right amount of emotion for the overall theme of the lost bond between father and son found in the relationship Starlord and his mysterious patriarch. Aside from this, and a brilliant addition of “Lake Shore Drive” by Aliotta Haynes Jeremiah in the opening sequence- which was all shown on a single, uninterrupted shot -this soundtrack, I feel, is not worth buying as a whole. Most of them did fit in with the story, but others felt somewhat gratuitous. In the end, Guardians of the Galaxy Vol. 2 is a solid, if a little disappointing, space romp that just doesn’t quite hit the heights of the original. Excellent visuals and a bevy of characters that we love keep this superhero story aloft in memory and enjoyment.

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“Iron Fist” T.V. Show Review

This was bound to happen. I knew it, you knew it, we all knew it was coming- we just weren’t sure it would be this far. Marvel Entertainment has finally released their first true stinker. This supernatural comic-book superhero television series released all 13 episodes of its first season on March 17th, 2017. The final solo series in the lead up to the Marvel/Netflix crossover event The Defenders, it thus far remains one of the online network’s most-watched original series., if not critically successful. Set against the backdrop of Upper Manhattan, the show focuses on Danny Rand, a young billionaire who returns after being presumed dead for about 15 years to reclaim his parents’ enormous company. What did he do that entire time, many characters ask? He was adopted by Buddhist monks who taught him the ways of kung-fu and how to use the power of an ancient force known as the Iron Fist to fight against the evil organization known as The Hand. Now he has come back to New York to reunite with his childhood friends, the Meachums, and hopefully continue his campaign of defending his people. Alright, let’s get this out of the way right now before you make a decision to watch it: Iron Fist is not a good show. Firstly, the main character of Danny Rand is not very compelling or interesting. Contrary to popular belief, he was not actually whitewashed with the casting of Finn Jones, as he was a white man in the comics, to begin with. But even if that were a problem, then that would be the absolute last thing wrong with the show. No, Finn Jones is just unfit to carry this show on his shoulders, coming off as annoying and bland as the titular hero. Previously, he had been excellent in his small but memorable role as the Prince of Flowers in Game of Thrones, so what happened? I don’t blame him, considering the fact that his backstory is super lame. In all fairness, though, I will give it to both Jessica Henwick as Colleen Wing and Tom Pelphrey as Edward Meachum. They were clearly the most interesting characters all season, and really did the best they could with the limited material that was given. Henwick elevated herself above the stereotypical superhero love interest as a badass martial arts teacher, while Pelphrey was an unpredictable billionaire with a bad drug habit. Meanwhile, Rosario Dawson, Wai Ching Ho and Carrie Anne Moss reprise their roles as Claire Temple, Madam Gao and Jeri Hogarth, respectively, from the previous Marvel/Netflix shows. The three of them did a respectable job, despite their criminally limited screen-time. Other cast members include Jessica Stroup, Ramon Rodriguez, Sacha Dhawan, and Lord of the Rings alumni David Wenham. No matter how much they all try, none of them are able to escape the character archetypes you expect them to be. Leading into my next point, Iron Fist is absurdly predictable at every turn. One of the things that made shows like Jessica Jones and Daredevil so compelling was the fact that the storylines were extremely well-written and smart. I couldn’t have predicted many things that played out over the seasons. But here, I called out every single major plot point and piece of character development from the first two episodes alone, and I was right on all counts. Speaking of the first two episodes, they’re just awful. The time it takes to set up the whole story of the season is dreadfully pompous and frustratingly boring. None of the main characters are likable at the beginning, when you’re supposed to start caring about them and getting invested in them. However, to the show’s credit, the next couple of episodes were entertaining. Especially in the sixth, when we’re getting an idea of the threat that Danny Rand is facing off against: The Hand. And as soon as they came into the picture, this show picked the fuck up, and I started having some fun. It was at this point that I was starting to get won over after all my initial complaints… but then the last three episodes came. That’s when the writers lost themselves and just slapped together an ending that feels like a completely different show than what started out. In fact, easily the largest flaw with this show is that it’s completely confused in the tone and genre. You’d think that with the Marvel name slapped in front, it’d be an exciting superhero action story. But the fights are often underwhelming and it instead focuses on the melodrama of a rich family in Manhattan. So then, it’s got to be an engaging soap opera, right? But then, it also focuses a lot of the story on board meetings and business litigation in Rand Enterprise. So it tries to be some sort of socially relevant commentary on corporate greed and corruption, even though our hero is the heir to a billion-dollar company. This series has no idea on what it actually wants to be about that it compromises everything else in the process. Here’s the main purpose of Iron Fist: It can’t stand on its own because it’s too weak. It establishes the big picture and what the problem is, and what they’re fighting in The Defenders. It pains me to say, but Iron Fist is a frustrating hodgepodge of conflicting ideas. Though they do come together to occasionally provide some fleeting enjoyment, this is not a show worth more than one marathon, as I finished it in two days.

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“Star Wars Episode VIII: The Last Jedi” Trailer Analysis and Speculation

*Disclaimer: The following post contains huge spoilers from the events of Star Wars Episode VII: The Force Awakens. If you have not yet seen the movie… stick around cause you need this.

Happy Easter weekend to all of you. Speaking of the Resurrection of Jesus Christ, we now have our first official teaser trailer for Star Wars Episode VIII: The Last Jedi. This is actually what consider to be a late reaction. I’ve watched the trailer roughly 88 times, and after carefully looking at each frame, I’m ready to give my thoughts. It begins with what we initially believe to be the stars of the galaxy before the frame fades into a rock. We then see Rey falls down onto it, breathless with something she has just witnessed. My guess is that she has just experienced a Force vision that Luke Skywalker has given to her as part of her training. In fact, much of this trailer is spent showing some of Rey’s time on the mysterious planet of Ach-To, training with the self-exiled Jedi. One shot shows her approaching a shelf of old books at the center of an old tree. This makes me think that she will not only be learning the ways of The Force, but also its history and how the Jedi and the Sith have been fighting for eons over the same cause. When it isn’t, it cuts over to quick cuts of the Resistance trying to hold its own against the might of the First Order. Seriously, we see what looks to be a fighter hanger get destroyed and the Resistance fleet is under an intense space combat scenario. That’s actually something I’m looking forward to most because it’s been a long while since we’ve seen a real space battle in the Saga films. And now, with improvements in technology and visual effects, I’m eager to see it all unfold. The thing I’m looking forward to the most, however, is how different of a movie this will be from the others. As much as I loved The Force Awakens, it’s impossible for me to deny how similar it was to A New Hope in terms of the plot and character development. Well, writer-director Rian Johnson has repeatedly professed that The Last Jedi will try to distinguish itself as much as it can from the other entries in the franchise. And of course, the trailer is filled with an epic montage of awesome, with zero context given for any of it. Why, you might ask? To keep the plot in the dark, obviously. The people in charge of marketing these films bend over backwards to ensure that the movies remain shrouded in secrecy and that absolutely nothing about the plot is revealed until the release this December. But that doesn’t stop us fans from scrutinizing every single frame of the trailer(s) while we still can. In this montage, Finn is shown to be asleep in a ship during hyperspace. I’m very curious to see what the Resistance plans to do with him in this film, as John Boyega has been very mum on information regarding his character’s new arc. Still, considering that this film begins immediately after The Force Awakens ended, it wouldn’t be surprising that he’s still recovering from his battle wounds with Kylo Ren. Speaking of Kylo Ren, who else saw that shot of his helmet completely destroyed on the ground? And later we see a tiny glimpse of him pointing his jagged crossguard lightsaber at someone. Something tells me that not only are we getting a new costume from him, but also more internal conflict. Because if you saw the previously film, you’ll remember that he was both literally scarred in battle and torn between his allegiance to The Force. But the real star of this teaser trailer is the star of the original Star Wars trilogy, Luke Skywalker. I was one of the only people who felt satisfied by his 30-second cameo at the end of The Force Awakens, and now it’s established that he’ll be taking center stage. His voice-over is heard throughout the 90 second-long teaser, mostly telling Rey how to prepare for her training of the ways of The Force. But then it takes 180 turn when he mysteriously announces, “I know only one truth. It’s time for the Jedi to end.” Which is something I’ve been thinking about for a while now. Most of the Force users in the galaxy are dead now, and the ones that aren’t are nearly spent on their energy. Maybe by the time that Episode IX ends, every Force user from both the Light Side and the Dark Side will die and there will be no more religion or space magic. Just the age of technology. Some ask me why I do this, and I have answer for you: Because it’s fun to theorize! That’s the purpose of the Internet: Criticism, speculation, and entertainment- sometimes all wrapped into one package. I can’t wait to see how The Last Jedi unfolds when it hits theaters on December 15th. Have you seen the teaser trailer? What are your thoughts on it and your theories?” This is definitely a trailer worth talking about. Put your thoughts in the Comments, and if you want more cool content like this, be sure to Like and Follow my Blog.

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