Years from now we’ll all look back on the historical debacle that was the Not-Great Captain Marvel Flame War of 2019 and we’ll laugh about it if only to keep from breaking down in tears at how deeply the fandom-at-large had reached yet another embarrassing nadir. Until then, here’s a shout-out to those millions of kids out there finding delight and inspiration in the sight of a wondrous super-woman punching her way through an evil spaceship armada at hyperspeed, like a young Princess Diana plowing through German soldiers.
New rule: anyone who was in line opening day for the King Kong reboot Kong: Skull Island hereby relinquishes all rights to complain about too-soon Spider-Man reboots. Peter Jackson’s 2005 cover of the original Kong isn’t dead and buried yet. The return on its $250 million investment wasn’t as robust as the studio would’ve hoped, but considering its Tomatometer rating tops Skull Island‘s (84% vs. 78%), I wouldn’t call it a failure that needed to be erased — unlike, say, Spider-Man 3.
Every year there’s always at least one Oscar contender for Best Picture that was shot for $50 and had a marketing budget of about $20. This year’s Little Engine That Could is Room, which I’ve been interested in ever since we saw the trailer at the Heartland Film Festival preview night back in September. Unfortunately, its initial run lasted in Indianapolis for a week or two at a single theater on the other side of town, in a month when when we had far too many things going on. Its Best Picture nomination gave it a new reason to live, its distributor dug some spare change out of their couches, and it reopened here on twice as many screens last month. Behold the power of awards-season prestige.