In the grand, 21st-century tradition of Gravity, Interstellar, The Martian, and First Man comes another tale of an A-lister shot into space with a massive budget both in-story and in reality. Honorable mention goes to Duncan Jones’ Moon, which had to make do with a fraction of the cash but was more relatable than at least two of those tentpoles.
Previously on Midlife Crisis Crossover: with weeks to go till vacation and no pressing obligations, my wife Anne and I have been bingeing a few different shows together, while I’ve done some additional grim watching on the side. Certainly not through careful planning on our part, each of the shows has had their own depressing and/or tragic aspects. As I wrote at the time, Veronica Mars season 4 fit right in once we finished the finale. The second season (part 1) of Hulu’s Light as a Feather broadened its scope and tightened up its ensemble interplay, but still had Death lurking around every corner. The Netflix documelodrama The Last Czars was a downbeat bummer in its subject matter as well as its various letdowns.
I’ve been selective about which new shows I add to my docket. I’ve skipped many a popular show over the years, which means I stay ostracized from all the best online discussion groups. Among those I’d been procrastinating till now was Black Mirror. The base concept of “Twilight Zone, but cutting-edge and extra nihilistic plus F-bombs” wasn’t an easy sell for me. Also, I heard about that first episode. My son, aghast at the repressed memory of it resurfacing, recommended I skip it and just watch the rest. The suggestion was wise and tempting.
I had no intention of seeing Men in Black International, but a funny thing happened while waiting for it to show up on basic cable three times a week.
Ever since the Blade Runner 2049 debacle, I’ve curtailed my visits to the theater closest to our house and spent most of my moviegoing dollars in the next town over. Last week I received an email from their frequent-watching club, despairing that I’ve only been there twice so far in 2019 and, as incentive to pretty please come back we miss you omg we’re dying over here, they loaded a free movie pass onto my card. That was unexpected, but nice of them…though the pass had a one-week expiration date and this week’s lineup was four movies I’ve already seen and written about, one R-rated comedy that was not quite tempting enough, and lots of dross in varying amounts of CG.
After fifteen minutes of severe overthinking, I cleared my head, blinked a few times, and lined up for the one with Thor and Valkyrie in it.
No one in their right mind walks into a Predator flick expecting cinema genius. They’ve never known the respect that the Alien series originally garnered among sci-fi-horror fans, which may explain why viewers are swiftly enraged whenever an Alien sequel is terrible, but merely shrug and move on when another Predator drops and flops. The series to date, ranked for newcomers:
- The original, From The Director Of Die Hard, still my favorite Schwarzenegger movie
- Predators, in which renowned character actors are stalked and slaughtered for morbid fun
- Alien Vs. Predator, because director Paul W. S. Anderson guarantees at least one great action scene per film, which is all we got
- Predator 2, which defies any attempts at remembrance
- Alien Vs. Predator: Requiem, the closest I’ve ever come in the past ten years to stopping a movie halfway through because it was That Bad
In a similar vein, fans of Shane Black films know what they’re getting — sarcastic tough dudes spouting quotable quips while firing very loud weapons at henchmen and everything around them explodes, and sometimes there’s as many as one (1) actress holding her own in their midst while rolling her eyes a lot. They’re effortless steel coaster rides, but always easy to nitpick later for hours if you dwell on them for more than three minutes. The original Lethal Weapon remains Black’s most cogent potboiler to date, but if you’ve seen such films as The Long Kiss Goodnight, The Last Boy Scout, Kiss Kiss Bang Bang, or the thoroughly idiotic yet sometimes compelling Iron Man 3, you know what I mean.
Like Reese’s with chocolate and peanut butter, someone at Twentieth Century Fox wondered what would happen if they did the same with Shane Black and The Predator. Why not throw them in the same vat and watch what happens?
Much as I’d love for John Boyega to be successful in everything he touches, I felt sheepish about my issues with Detroit and hoped I wouldn’t have to harp on him again too soon. Then I rushed out to see Pacific Rim: Uprising in its second week of release, and realized…well, uh, here we go again. It’s still better than at least three of Michael Bay’s Transformers films, but that’s…well, I wouldn’t call that a “low bar” so much as it’s me whispering to Boyega and director Steven DeKnight that I won’t tattletale if they want to walk around the climbing wall and skip the bar as a courtesy.
I try not to hold MCC to too many inflexible rules, but one of the few remaining is that every film I see in theaters gets its own entry. Now that Uprising‘s home video release is coming up this month, maybe it’s past time to hold myself accountable for that promise and face down this long-delayed entry, no matter how fruitless it may end up.
(Look, I’m not a great self-promoter. Anyone who’s been here long enough know this. We persevere together anyway.)
It’s been years since we’ve seen a major studio act so sheepishly about a film of their own doing as Paramount Pictures has with Annihilation, the strikingly “intellectual” new brainchild from writer/director Alex Garland, whose past successes include science fiction head-trips like Sunshine and the Oscar-winning Ex Machina. Paramount’s last-minute no-confidence vote has denied it an international theatrical release in favor of dumping it on overseas Netflix. Paramount’s official page for the film provides only the trailer embedded via YouTube and a link to the film’s “official site“…which just redirects to a Facebook page. I’m accustomed to short films and indie projects setting up shop on Facebook, but it’s disappointing for a corporation of Paramount’s size to limit their own product to such a minuscule online footprint. Apparently they were holding out hope that Garland might rewrite and reshoot to add some super awesome monster fights.