Author: BRWC

  • Where Will The MCU Go From Here?

    Where Will The MCU Go From Here?

    Where Will the MCU go From Here?

    Avengers Endgame was an epic conclusion to a number of storylines for various characters. Indeed, the Marvel Cinematic Universe had been leading up to this momentous event for over ten years and moments from the picture can be traced all the way back to 2008’s Iron Man.

    The ending of the movie certainly left viewers with a number of questions as to the direction the franchise would now go in. Brie Larson’s Captain Marvel is likely to be the new central protagonist now that Robert Downey Jr. and Chris Evans have stepped aside as Iron Man and Captain America respectively. 

    Spider-Man: Far From Home is to be the last instalment of Phase 3, and little is known about what will come in Phase 4. The only picture confirmed so far is Black Widow. This could easily be a standalone movie detailing the history of Scarlett Johansson’s character, and may not be connected to anything else in the universe.

    Of course, this is only speculation at the moment. The next web slinging movie could provide some answers about what the main focus of the upcoming films will be, and which characters are likely to collaborate. 

    The MCU has been heavy on the space themes up to this point, especially with the Guardians of the Galaxy movies. And there could be more focus on space travel moving forward. This is because Endgame teased that Thor would be joining Star-Lord and his team, and also because of the fact that Captain Marvel is known to fly to the far corners of the universe.

    Space themes are always a big selling point in mainstream culture, which is why games like Star Wars and Mass Effect have been so popular. In the iGaming industry, players can play Starburst slot game, which is designed to look like planets in space. If the MCU takes viewers to distant worlds, there are endless possibilities for new characters. 

    Endgame left Marvel fans with a feeling of contentment, but also one of emptiness. There were farewells to certain characters who had become massive parts of people’s lives. However, with the universe being home to a high number of heroes already, it did make sense to say goodbye to some of them. This will mean that other characters can be fleshed out a bit more. Many would argue that the movies in the franchise have improved over time, so Marvel can be trusted to up the ante again in Phase 4. 

    The MCU has made over $18 billion worldwide, and is not going to slow down any time soon. It will head in a few new directions, though. There could well be more focus on the wider universe with Captain Marvel and the Guardians of the Galaxy. Black Panther, Doctor Strange, and Spider-Man are also likely to be huge figures in the next stage in the franchise.

    In terms of a superhero collaboration movie like The Avengers, viewers will have to wait and find out. 

  • Swamp Thing Cancelled Over Creative Difference

    Swamp Thing Cancelled Over Creative Difference

    By Maria Hart.

    Swamp Thing: DC Comics superheroes are seeing their heyday on TV all over the different networks and subscription services. Between the Arrowverse on the CW and the DC Universe service, DC fans are riddled with great content from all over. There was a ton of excitement, understandably so, when Swamp Thing was announced to have a new show coming.

    Unfortunately, it may not be happening anymore, at least for now. After a single episode aired, it was cancelled. Let’s talk about who Swamp Thing is for context, and then go over why the show fell apart for the DC Universe.

    Who is Swamp Thing?

    Swamp Thing is not the typical superhero. Created by Len Wein and Bernie Wrightson in 1971, Swamp Thing has changed quite a bit over the years. At its heart, the character is a humanoid monster hybrid that mixes human traits with plant elements to become a super creature. In its first depictions in the 70s, Swamp Thing served as a horror story villain for stories set in the early 20th century.

    The character made many subsequent returns to the comics, including solo runs as well as run-ins with DC heroes like Batman. Swamp Thing resembles a sloppy pile of vegetable matter and uses its strength and forms to battle for its home. Overall, his villainous ways are seen as a way for him to protect the environment and humanity from supernatural and terrorist threats. It’s a good reason why some see him as a hero, and others a villain.

    After its debut, Swamp Thing really started getting popular once movies began coming out starring his likeness. Swamp Thing debuted its first movie in 1982, starring Dick Durock as Swamp Thing and Ray Wise as Alec Holland. Durock returned later in The Return of the Swamp Thing, and again in the 1990s TV series.

    For a long time since the first show’s cancellation, fans have wanted a new Swamp Thing series. When DC launched the DC Universe app and subscription service, it seemed like it might happen. Then, it was announced that producer James Wan would bring Swamp Thing to live in a reinvisioned version of his character. Despite one episode airing, it was cancelled immediately after its debut. The first season, which is 10 episodes, will still release, but no more episodes will come out.

    Why was it Cancelled?

    Swamp Thing was far from an easy show to contrive. For a few different reasons, including a poorly planned ending, the original version of the DCU show was meant to be 13 episodes. After seeing the show in its entirety, DC decided to cut it down to 10 episodes.

    This made an already hard ending even harder to pull off. Now that the show is dead after one season, it is likely that a good ending is the last of their worries. Something seems very troubling about this all. The show didn’t receive terrible ratings and was even seen as a good start to the new series by many. This led DC to come out and issue a statement, simply putting it that they “appreciate there are questions as to “why,” but unfortunately we are not in a position to answer at this time.”

    That’s a pretty bad answer, especially to those that are seeing more and more DC Universe shows see problematic issues. There are a lot of rumours that the DC Universe could be closing down, meaning all its shows end too. DC denies this and even says more shows are coming. So, what is there to make of all of this?

    What to Make of The Cancellation?

    It’s likely that the older, longtime producers from DC Universe are struggling with the needs of the company’s new desires for the streaming service. Wan was a part of the DC Universe from its beginning, and now that this show he helped reinvent is over, he may be on his way out. A total revamping of the subscription service is desired by a lot of fans. The shows are not bad, but older content is desired that released in the 90s and 00s, and some is missing from the service.

    A more likely outcome from all of this will be the end of the DC Universe in favour of a WB streaming service that is coming soon. Like the Disney service coming in November, this is meant to put together all the shows that WB and Time Warner own. That would connect the CW’s shows as well as DC Universe shows, making it possible for crossovers to occur.

    But then other DC shows, like Krypton and Lobo, are left out of everything. Who’s to say this is just as confusing to the executives as it is to fans? For now, we know Swamp Thing is bearing the brunt of all the uncertainty and will end after these 10 episodes.

  • Natural Disasters & Movies

    Natural Disasters & Movies

    Are Natural Disasters Portrayed Realistically in Movies?

    By Frankie Wallace.

    There’s nothing like a good doomsday action-adventure movie where the world is coming to an end and the protagonist goes to great lengths to save humankind. Usually, the protagonist battles unforgiving natural forces and saves the day against all odds. Over the past few years, disaster movies have expanded their focus to catastrophes as a result of human intervention, such as climate change and global warming. 

    But how realistic are these scenarios? 

    Disaster Movies and Human Perception

    As humans, we use stories to understand the world. Movies are fun to watch, but they also are cultural works that provide a lens through which we can make sense of various real-world issues. Movies like Waterworld (while critically panned) have shaped the way we perceive natural disasters.

    An article featured in Quartz states, “Back in 1994, Waterworld imagined a planet flooded by global warming, with a ragged bunch of survivors searching for any traces of land … (It) offered a vision of how something like soil—a key element of our environment, which we take utterly for granted—could become rare and precious.” 

    The movie raised awareness about key environmental issues, bringing important issues to the forefront of public discourse. In fact, filmmakers’ ability to influence behavior and change perceptions around sensitive topics makes for one of the reasons why corporations and individuals alike have placed a renewed focus on sustainability. 

    While depictions of disasters in film can sometimes oversimplify the relationship between cause and effect, they do emphasize the urgent need to address our impact on the planet. To quote the Quartz article referenced above, these movies “affirm the connections that scientists have made between some natural disasters and human-caused environmental degradation, especially between climate change and the greater likelihood of extreme weather events like hurricanes.” 

    This concern is clearly warranted, as evidenced by real-world statistics. The total spending on sustainability engagements is predicted to grow to over $1 billion this year.  After all, no one in their right mind would want anything close to a Geostorm or Exploding Sun situation on their hands. 

    True or False? Looking at Disasters in Movies

    There will always be a bit of doubt in regards to how realistic the movies are. No doubt natural disasters make for an interesting and exciting movie plot — but is the way they’re portrayed in movies actually accurate? The answer depends on the movie. Let’s look at some examples:

    Dante’s Peak

    Consider Dante’s Peak, inspired by the 1980 eruption of Mount St. Helens in the state of Washington. Volcanologists consider it one of the most accurate disaster movies ever created. The movie properly depicts the composite volcano eruption. Still, it did have some flaws. For one, the movie showed lava flowing quickly; in reality, composite volcanoes have slow-moving lava that typically forms large domes after an eruption occurs. 

    Deepwater Horizon

    Another movie that was mostly accurate is Deepwater Horizon. In an article on the Washington Post, Joel Achenbach, who covered the infamous BP oil spill, writes that the movie admirably got most of the facts right: “You could imagine all manner of ways in which Hollywood could have turned the blowout in the Gulf of Mexico into a more traditional disaster movie. You could invent love stories, improbable acts of square-jawed heroism, maybe throw in a sea monster.” On the contrary, the film sticks to true events and is a pretty accurate portrayal of the oil rig explosion. 

    However, where the movie slightly veers from the truth is when it establishes culpability. The movie focuses blame on Donald Vidrine, the BP well site leader on duty. In doing so, it seems to side with an argument made by BP — “that this disaster was the result of mistakes on the rig, rather than a broader array of mistakes and compromises by BP engineers in Houston.” 

    In reality, the disaster was a result of several missteps and oversights by many of the stakeholders — not the fault of just one employee. Eventually BP paid billions in fines and damages. So while the movie was pretty accurate in its representations of events, the aftermath seems to be overly simplified. 

    2012

    While a lot of disaster films will depict catastrophes somewhat accurately, some are based on hypotheses that are simply impossible. For instance, consider 2012, crams every possible natural disaster into one. From volcanic eruptions and earthquakes to ice worlds and tsunamis — 2012 has it all. 

    Unfortunately, it’s based on the premise of “mutated neutrinos,” which, simply put, don’t exist. An article by Forbes that details five of the worst natural disaster movies states, “It’s hard to imagine how they came up with that premise; it would be difficult to come up with a more impossible series of events. On top of that, the amount of energy needed to heat up the inner core, especially to a liquid state, is nearly impossible.” 

    The Day After Tomorrow

    Another such film is The Day After Tomorrow. Unlike 2012, the movie is based on a plausible hypothesis put forth by Wally Broeker, a well-respected paleoclimatologist. However, the timing of events is completely off. 

    Experts claim that there’s no way that the movie’s portrayal of events — shifting from an overheated Earth where all the continental ice has melted to be in the midst of an Ice Age within just one week — is remotely possible. To quote the article in Forbes, “The process by which fresh, melted ice water slows down ocean circulation does happen rapidly in geologic timescales, but that’s over the course of hundreds of years, not days.” 

    How Do Depictions of the Effects of Climate Change Affect Discourse?

    Movies like these are exciting to watch and often result in major adrenaline rushes — but they can also result in major apathy. According to Bulfin, because of the scale of disasters shown, these movies often leave us feeling like “it is pointless to bother with mitigation behavior for real-world environmental problems, or even with being realistically prepared for smaller-scale real-world natural disasters.” 

    In reality, this apathy can be dangerous, especially in the face of a real-life natural disaster. We must be prepared for imminent threats due to climate change. For instance, an accessible emergency kit is integral in the event of a disaster and should never be overlooked just because of the feeling that they too big for individuals to do anything about. 

    Movies differ in their portrayals of catastrophic events. While some movies tackle disasters realistically, other films choose to explore unlikely premises that may even generate unnecessary negativity and apathy. That being said, movies provide for an accessible and far-reaching lens through which we as humans can interpret environmental and global crises. 

    Thus, even when they’re unrealistic, we stand to learn a lot from disaster films. If nothing else, they force us to face issues like climate change and think about what we can and should do to prevent a doomsday situation. Ultimately, disaster movies make for a great tool to shed light on the environmental issues that plague the world as we know it.

  • Romantic Comedy: Sheff Doc Fest Review

    Romantic Comedy: Sheff Doc Fest Review

    Romantic Comedy: Review

    In her new documentary, filmmaker Elizabeth Sankey breaks down the many complications and tropes in cinema’s most formulaic genre: the romantic comedy. The film is purely visual; a feature-length montage of clips from around 160 films, tracking the long history of the rom-com, from the classics of the ‘30s and ‘40s such as His Girl Friday and It Happened One Night, to later standouts like When Harry Met Sally, and modern pictures such as (500) Days of Summer and Crazy, Stupid, Love that take a more self-aware stance to the genre. 

    Romantic Comedy is essentially one big video essay, that will likely appeal to viewers of YouTube channels such as Every Frame A Painting, Now You See It and Lessons From The Screenplay, all of which tackle film form in one way or another, but what makes Sankey’s essay stand out is her personal slant. Sankey is simply detailing how the genre has affected her over the years, as is every other contributor who narrates along with her, in a structure that does away with the idea of talking heads in favour of putting the subject out there for its audience to see. 

    It’s clear that Sankey has specifically picked a variety of contributors from various backgrounds, with different races, genders and sexualities, so as to fully determine the impact these films have on every type of viewer, but not being able to physically see them sadly defeats the object. The various narrators all blend into one in an admittedly natural way, but the clear aim of offering the audience a wide array of differing perspectives gets lost.

    This is not to say the structure Sankey has opted for doesn’t have its upsides. It’s certainly effective in grabbing the viewer’s attention and forcing them to re-evaluate their own memories of these films, be it in a positive or negative way (Sankey invites you to do both). 

    However, the slightly misjudged narration is sadly not the only issue with this puzzling documentary. Sankey offers many examples in Romantic Comedy that, for anybody who has seen the films she is discussing, have clearly been taken out of context to assert her point. It’s all very well cherry-picking a scene to demonstrate that a character presents as possessive or psychopathic, for example, but that loses meaning when the film that scene is taken from is actually a satirical look at exactly that. It’s unfair and inaccurate to criticize a film for being problematic, when the whole point of that film was to demonstrate precisely how problematic rom-coms really are. Case studies such as this give the film a very manipulative feel. 

    The film’s primary failing is that it just feels completely irrelevant and outdated. The great many issues present in romantic comedies have been talked about in great detail, to the point where the only films that find success these days are the ones that satirize them, such as Ruby Sparks and Isn’t It Romantic?, or ones that are a little more diverse and/or progressive, such as Crazy Rich Asians, The Big Sick and Love, Simon. The old-fashioned idea of a ‘rom-com’ isn’t really a thing anymore.

    Perhaps Romantic Comedy would have made more of an impact twenty years ago, but in 2019 it just seems to be stating the obvious for much of its run-time. It’s hard to think of a single point Sankey makes that one could call ‘groundbreaking’.

    In spite of these fundamental flaws, it should be noted that there is still plenty to like about the film. Sankey’s script is very well-articulated, researched, witty and often humorous. It’s her personal stance that gives the documentary its edge, precisely because it is clearly coming from someone with a clear love for the genre, despite its failings. 

    This is perhaps the most pleasant surprise about Romantic Comedy. This is anything but an attack on the popular genre, but rather a celebration of it, addressing why they still appeal to all of us, what they actually do right and what they can improve on in the future. Above all else, the film is productive. Sankey proudly states how much she adores the films, in spite of her now matured mind telling her otherwise. She’s happy with the history being the way it is, but she wants them to do better in the future; to become less problematic and more inclusive.

    This isn’t a film that could’ve possibly been made by anyone who didn’t have a clear passion for the subject, and that’s undoubtedly the charm of it. Sankey’s love of the rom-com is ever-present, and it’s precisely that that makes her worth listening to. 

    If anything, Sankey is optimistic about the future, describing I Love You, Man as a film that uses the rom-com formula to tell the story of a platonic relationship, and citing films such as How Stella Got Her Groove Back and Saving Face as films that aim to be more inclusive, but simply need to find their audience. 

    Romantic Comedy is a problematic documentary that feels in many ways irrelevant, perhaps best viewed simply by film students for educational purposes, but it’s still an entertaining and nostalgic look back into a genre that we all engage with, brought to us by a filmmaker who clearly cares very deeply about her subject matter. 

  • Amin: Review

    Amin: Review

    Amin: Review

    By Halli Burton.

    French director Philippe Faucon’s Amin presents a vivid insight into the mundane lives of African immigrants in France, a stark contrast to the clean romantic streets of central Paris, home to the Louvre, Eiffel Tower and the beloved Notre Dome that moviegoers are accustomed to. 

    The film centres around its titular character Amin (Moustapha Mbengue), a Senegalese construction worker living in France so that he can earn precious euros to provide for his wife Aïcha (Mareme N’Diaye) and their three children ‘back home’ and build a dream house. 

    Amin works in Paris, but lives in a workers’ hostel in Saint-Denis, an almost segregated northern Parisian suburb, made up mostly of African migrants. His life in France and the lives of his fellow immigrant friends are dull, monotonous and lonely.

    Unsurprisingly, and rather disappointingly, Amin starts a relationship with Gabrielle (Emmanuelle Devos), the white divorced owner of the house that Amin is renovating. Her seduction – for want of a better word – of Amin is both unromantic and mechanical. There’s no flirting nor courtship and it’s difficult to grasp what they get from each other, even the sex is unconvincing!

    The film’s most striking feature is how flits effortlessly between France and Senegal: the former being cold, grey and unwelcoming while the latter is poor yet vibrant and sunny. Amin’s bright children miss him and desperately want to join him France, while devoted Aïcha battles against Amin’s mother and domineering brother. Aïcha also torments herself with the idea that Amin doesn’t visit often because he is being distracted by something other than work. 

    Back in France, Amin’s friends face personal struggles of their own, in particular Abdelaziz who is torn between his family in Algeria and his French children in Paris. Elsewhere, Amin’s side-piece Gabrielle is fighting her own demons, namely a bitter ex-husband and a moody teen who makes it clear how she feels about her mother’s indiscretions.

    The film’s theme is obvious: migrant life is tough and unfair, and the French government isn’t helping much either. What’s more tragic however, is Amin’s uninspiring narrative.