I’m currently writing a review of (Tom Cruise’s) The Mummy and a look at the state of Universals fledgling dark universe.
It’s been widely reported that The Mummy is a bad movie and it is on most fronts though it has the potential for a good (if not great) movie within it. One of the bigger problems I have with The Mummy is that the story is completely linear and the story time, as far as I could tell, is perhaps only 12-16 hours.
Linear story lines with short story times seem to be relatively common over the last year. Rogue One was a very straight ahead story and other than a flash back in it’s opening scene the events took place over the course of less than 12 hours. Wonder Woman uses a present day framing device to tell the story of the movie within flash back and also shows Diana’s upbringing through flashback but is otherwise also a very linear story with maybe 48 hours of total story time.
There doesn’t seem to be any obvious connection between these films. The Mummy and Rogue One share the commonality of not being great films that probably should have been. Wonder Woman fares better though it’s third act suffers because of the usual poor CGI boss battle common to all DC films to date.
My theory is that all of these movies have sought to model themselves after Mad Max: Fury Road and it’s linear story with a scant 12 hours of story time. Mad Max worked because the action was so tactile, sensational and innovative. It was also a chase movie and didn’t ask for the audience to need know or care to much about the titular or support characters.
By contrast the films above insist and rely upon empathy with the main characters, are trying to tell stories and to fit into bigger universes (Star Wars, DC, and Dark Universe respectively) and don’t provide enough or big enough action for such straightforward stories.
It’s a shame that these films were probably created under such heavy influence from Mad Max: Fury Road. I wonder what they could have been otherwise? I also wonder how many other films will try and fail with the same formula?
Perhaps the upcoming Dunkirk by Christopher Nolan will create a new trend. There is no running time released yet but the trailer hints at multiple character arcs and story lines and it seems safe to assume the movie will come close to the three hour mark. I don’t expect it will lead to superhero movies running to three hours but perhaps, hopefully, it will mean a return to less linear and longer style of story within big budget films and an end to trying to emulate a movie as unique as Mad Max.
I also forgot that there are at least two references to Josepf Conrad’s Heart of Darkness novel in Kong: Skull Island. Tom Hiddleston’s character is called Conrad and John C Reilly’s character’s last name is Marlow. I didn’t notice the Marlow while watching but the Conrad reference pulled me out of the film a little.
Marc Evan Jackson on the I Was There Too podcast claimed these references just went to show how invested director Jordan Vogt-Roberts was in creating a homage to Heart of Darkness and Apocalypse Now. Again I think that might have been more evident and worked better if the film had been prepared to be a cruler film in the way it depicted the humanity as a whole rather than glossing over and racial tensions and making the war/anti-war themes so black and white.
Considered a colonial interpretation of as well as a prequel to Charlotte Bronte’s Jane Eyre. Wide Sargasso Sea is a well-written and constructed book which uses it’s Caribbean setting to provide a gothic landscape and setting for the sins of the father and a ghost in the attic. Rhys draws influence from Charlotte Bronte and Daphne du Maurier in creating this sense of fear and unease in her setting and I found that it was this tone that was the most interesting part of the book.
The setting, the tone and the writing I liked but as usual I personally just didn’t find the themes of power struggles between men and women very compelling. A glimpse into the history of creole and the islands was an interesting bonus but, even so, I wouldn’t necessarily recommend this book unless perhaps it was to someone who was interested or a fan of its influences. That said I read it fast for a uni subject with a massive book list and I do still wonder what I missed and may re-visit one day. That probably won’t happen any time soon as the shelf of books waiting to be read is fast outgrowing those I’ve read. As it is this one may have to join the stack of classics which I haven’t appreciated and, in that, at least Rhys will have good company with Dickens and George Eliot.
Jason Aaron & Jason Latour
I’d heard a lot about this book. Well, actually no, not a lot to describe it but just general buzz around it. Eisner winner, good word of mouth and I’d known about and been attracted to the title for quite a while. This, the first issue, is good and perhaps even great. Volume 1 delivers enough to warrant the buzz though it seems too that this is also a kind of prelude to what this series is ultimately about which is, I’m guessing revenge, the sins of the father and ownership of places and communities.
It’s hard to say much else without spoiling the story and as I haven’t read the next volume yet I don’t know just how important these initial events are. It seems though that this series is seeking to create a history around a place. This idea of place is also emphasized in the intro by Jason Latour where he talks about his love/hate relationship with the South. As someone from country Australia the feelings he expressed rang familiar and inclined me to like the book more than I might have. The idea of the southern gothic is threaded through the story and the books explores the idea of our birth place and what it means in relation to identity and how we may seek to revisit a place and/or attempt to reject its meaning.
Again, it’s hard to judge the series off this, the prelude first volume. Having read this far I know that I still really like the title and that it relates well to the content. This is a graphic novel grounded firmly in reality, there’s a good amount of violence and the art is suitably rough but full of detail and though I was going to say the story shines stronger perhaps the art sits on an even level in its stylistic choice.
Very keen to get more volumes of this series.
Carmilla is said to be the first vampire novel. It pre-dates Bran Stoker’s Dracula by 26 years and Stoker is said to have taken influence from it. Sheridan Le Fanu was an Irish journalist and uses the minimalist spare style you’d expect from his vocation. From what little I know of him Le Fanu was a workmanlike author intent on writing ghost stories for money. The novel is interesting in its use of using the young female character Lauraas the protaganist and the allusion to lesbian sexuality between her and the vampire Carmilla. It is also interesting that it’s style has not dated as badly as other novels of the time.
This is said to be the beginning of a different perception of the vampire myth. The start of the vampire being a representative fear of the aristocracy. Until Carmilla vampires had been represented as poor shambling zombie-like monsters.
Published in 1897 this is a surprisingly readable book. Leagues ahead of Frankenstein from earlier in the 19th century and arguably more interesting to read than Dracula. It’s not even the proto-type vampire novel you perhaps expect. Instead it an almost very matter of fact ghost story. It doesn’t establish the vampire rules, I think that comes with Dracula, and probably benefits from being read by the modern reader who automatically attributes these rules into a story which doesn’t state them but into which they easily fit.
Scott Snyder & Greg Capullo
I’m still not sure what I’m supposed to be reading in the new 52 DC universe. I’ve tried a few different series and they’ve been a bit hit and miss. Some of the continuation is confusing for me as well. I thought I could read the core batman series by itself and have a good understanding of what was happening in the universe but it seems as if events in Detective Comics and Batman Eternal have an effect in this story line. It seems as though to understand Batman 8 you have to read the Endgame story line which collects events just as the A Death in the Family story line collected different strands from various New 52 books.
Edit: No, I actually missed reading Batman 7: Endgame. It’s not that confusing at all. This is the continued effect of trying to buy more books in stores rather than online and totally forgetting what I do and don’t own. I brought Batman 6 twice, forgot, and then skipped to this, Batman 8.
Even so this book is still readable. (Even after skipping a book… so credit to them). Snyder and Capullo are still trying to make their mark and do something different even after having created such iconic new batman tenants as the court of owls and the Joker of A Death in the Family and the origin story of Zero Year. I think in some of their origin work they tried too hard to be different, particularly some of the art and colour choices, but here despite similar bold colour work they are more on track and succeed more consistently than they have in the past several volumes which have been hit and miss and suffered particularly when Capullo hasn’t supplied the artwork.
Batman 8 is set shortly after zero year, I think. So the idea and evolution of Batman is still young. The events of Endgame have meant that Bruce Wayne no longer wants to be Batman and so Commissioner Gordon steps into the role, if not the suit (at least as we know it) of Batman. It’s a controversial move but one that I don’t mind as it allows Snyder to play with new gadgets and explore ideas which would be impossible, canonically, to do in an actual Batman book. As it is Snyder and Capullo have finally walked the fine line of balancing the unusual art colour palate, bringing Batman into a contemporary setting and involving new ideas and stories methods within and sometimes outside of the restrictions of the character, setting and genre. I loved their first three batman volumes and my interest has lessened since Zero Year. This book I liked and am again looking forward to catching up on other volumes as well as branching out to Batman Eternal and Detective Comics.
I’m still not sure which title to follow in the DC’s New 52 but I’m glad Snyder is continuing to do such interesting work on this their lead book.
I re-watched this film at the start of 2017. It was around this time I started keeping track of what I was watching and reading. Mainly because I was bored and housebound. I had wondered if perhaps some sort of pattern might emerge in my media consumption. Or, if nothing else, I might start to understand what I kept coming back to and perhaps what I should concentrate on in the future.
As far as I can remember I’ve only seen this film twice. The first time was circa 2004 when I hired it from a video store in Preston. It had a little more novelty then. Though consuming foreign indie film was much different as well.
*edit: the films wasn’t released until 2009. I had moved back to near Preston and was hiring videos from a different but similar store.
Twelve years (actually eight) later this sort of idea of the double hinged camp horror film has been fairly well mined and yet this film still holds up well. The zombies look great, it’s all shot perfectly and the acting is fine. The plot is bare and doesn’t try to do anything other than play as expected. Group of friends travel to remote location, a ghost story signposts coming horror, said ghost(s) materialise and kill and terrorise until what is left of the group can turn on and destroy the ghosts.
For the budget this is a good film and I respect how well they executed a flimsy concept. Still I don’t think I’ll watch this a third time. Though still I’m curious about the sequel even as everyone campily combines Nazis into their speculative/sci-fi/horror stories. It’s true there’s nothing more evil then a Nazi. It’s depressing though seeing true evil so easily defeated by sexed up bumbling Norwegian teens. Even Bed knobs and Broomsticks treated the concept more seriously.