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On the new Ghost in the Shell movie

Racefail aside, it's felt much more juvenile than the anime. It's a movie about finding and taking ownership of yourself, while the anime *begins* with the Major knowing very well who and what she is.

Also, of course, in that you never get the feeling that movie!Major, physical skills aside, is the consummate hyperprofessional tactician and world-class badass that is anime!Major. We have Tomb Raider, Resident Evil, etc, for physical female badasses (and never forget Ripley), but I don't know if we have in a major movie, or the industry is ready for, a female badass who's not only part of an elite paramilitary unit, but calls the shots. I suspect there's a cultural line there, where female badasses are ok (if sexualized enough), but not, like, running the badassery. E.g., how the DCEU keeps undermining Waller, who's more Aramaki than Major anyway.

IMHO, an slightly-above-average cyborg-with-existential-issues movie, but that's it.
Here's Stewart doing Macbeth's "Tomorrow, and tomorrow, and tomorrow" soliloquy, and here's McKellen. I'm sure directors, by definition, had much to do with the different approaches, but look at Stewart's utter despair, and compare it with McKellen's utter *disdain*.

In a better world, we would've had an Star Trek:TNG movie where the Federation finds a wormhole to another galaxy and learns that most civilizations in the universe are cybernetic and either Data- or Borg-like. Then it goes from first contact plot to spy thriller, as reluctant Ambassador Picard and internment camp candidate Data must prevent a Pearl Harbor first strike with a horrifying self-replicating smart antimatter bomb from Section 31, headed by the imperious and brilliant (McKellen character's name).

You know, X-Men with the Federation as mutants.

Just saw Star Trek: Beyond

(Not my fault, they released it in Argentina last Thursday.)

What a ridiculous movie. But then, no more ridiculous than some stuff TOS used to pull off.

That said, the plot structure is getting way too repetitive. I realize this is just my "whatever first aired when I was at the right age to enjoy it is the peak of that particular art genre" prejudices showing through, but a TNG episode-like movie (not a TNG movie-like movie, gods, no) would be my preferred choice.

A side note: the trinity seems to hinge on Bones rather than Jim in this continuity, although to be fair it's rather more of a
(Jim -- [Bones) - (Spock] -- Uhura)
structure. Not a complaint, just an observation. Makes sense, in that this Kirk is less intellectually inclined (not saying less smart, although if he's a tactical genius we still have to see it, Kobayashi Maru repeat aside), and this Spock seems to be more socially inclined (not sure why the difference in Watsonian terms, as it precedes the death of Vulcan; maybe he did(n't) strike an early friendship with Kirk at the Academy?).

  • Much more sexually R-rated than I expected it to be (the violence was, of course, a given).

  • The fourth wall is broken, the pieces are reduced to rubble, the rubble is thrown into the sea, and the area where the fourth wall used to be is salted with radioactive material.

  • Related to that, 97.3% of the movie consists of Wade Wilson making a quip, either in-universe or metatextual. A fair amount of them are downright crude, mind you, but not all. ETA: Although some of them could be triggery for "humorous" mentions of sexual violence.

  • There's a romantic relationship, because this is a Hollywood movie after all, and it being forced was one of my concerns, but it works quite well, I think (within the male protagonist wish fulfillment assumptions).

  • In fact, sexually explicit (for a Marvel movie) as the it is, it's also very unashamedly sweet. I think both things are related; the relationship side of the plot has nothing to do with the more usual tap-dancing around and platonic (in the philosophical sense) idealization of sex.

  • The end credits scene made me squee.

All in all, I went with the expectation of an ok time, and it was quite better than that.


Mad Max: Fury Road

I can understand why the Men's "Rights" (not enough scare quotes in the world for that one) movement is unsettled as hell about this movie. It's the most straightforward send-up of what Western patriarchy wants to be I've ever seen, and then, well, Emily Autumn's Fight Like a Girl might as well be the movie's unofficial theme song, that's what I'm saying.

The spoilery bit.Collapse )

Anyway, in summary: first-rate as feminist statement/operational plan, quite entertaining as an action movie, has the wrong title. But the already planned sequel will fix that last issue.


Hansel and Gretel

According to pretty much all reviews, the main critical question regarding Hansel and Gretel: Witch Hunters is: It's clearly bad, but is it bad enough to be good?

I'm going to go with yes. It makes no sense whatsoever, race and gender politics are awfully mishandled, it rates somewhere between Supernatural and Dexter in the incest-vibe-o-meter, and everybody is much better at snarking than fighting.

In other words, it's awful, but eminently fanficceable, even while you're watching it, and that's one of the ways in which a movie can be enjoyed.


Abraham Lincoln: Badass

That was pretty much the movie Abraham Lincoln: Vampire Hunter. Absolutely insane story- and history-wise, but of course that was to be expected.

Movie theaters are missing a huge profit opportunity by not selling "movie toys" for grownups: imagine the sales of dark glasses as people left the first Matrix movie. For this movie, axes would have been a hit.



cass, can you not

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