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One of the cool things about YouTube is that you never know when a video is going to hit a nerve. I recently saw Star Wars: The Last Jedi, and then posted my review. The post racked up over 50,000 views and roughly 2,000 comments in one week.
Here’s the abridged version for those who are in a hurry: Director Rian Johnson has given generations of fans a giant “middle finger chin scratch.”
If you want to see male characters get emasculated in a $200 million commercial for producer Kathleen “The Force is Female” Kennedy’s political agenda, then see it soon.
If, however, you want to see a product that honor’s George Lucas’ original trilogy, then you should avoid Last Jedi at all costs.
Below are my latest YouTube uploads on the movie, although you can head on over to Conservative Book Club if you want a more traditional review.
NOTE: There are SPOILERS in all of my videos. You have been warned.
Next up is my video titled: “Last Jedi: ‘Milking’ Luke, ‘leaking’ Fozzi Finn not in trailers for a reason.
Finally we have my two-hour live-stream on “sellout critics, spin doctors and more.”
Remember: Star Wars: The Last Jedi apologists say this guy has no agenda…
Question: How much do you want to bet that somewhere in Hollywood there is a producer who is thinking up schemes to make Wonder Woman vs. Alien happen?
The past weekend was rightly dominated Gal Gadot’s solid handing of Diana Prince, but if you’re like me and had to deal with sold-out shows, then you faced the “Do-I-stay-for-the-later-viewing-or-go-home?” predicament. There was a third option — seeing Alien Covenant — but I shirked my writerly duties and got you this review late. I hope you can forgive your humble (I try) blogger and consider the analysis below as similar situations unfold in the weeks ahead.
Here is an except from my latest review for Conservative Book Club, with a link to the full text once I’ve pushed fair-use content to its outer limits:
Director Ridley Scott’s latest foray into the universe he made famous roughly 40 years ago is a bit like a Rorschach test. Is it primarily a Prometheus (2012) sequel or an Alien (1979) prequel? Is it a highbrow science-fiction flick about the origins and meaning of life, or is it just another opportunity to show seemingly smart people make stupid decisions that lead to gruesome deaths? Alien: Covenant, like a quickly scurrying “xenomorph,” is hard to nail down.
One of the big challenges with bringing a film like Alien: Covenant to the big screen is making it fresh. Die-hard fans of any beloved franchise (e.g., Star Wars) understand that on some level they’re paying for the same roller coaster ride, but that doesn’t absolve creators from supplying a few new twists and turns. Luckily for Alien fans they have a 79-year-old Scott, whose lifetime of experience brings forth a gorgeous film that demands respect despite its flaws.
Alien: Covenant’s plot revolves around a crew of would-be planetary colonists who are wakened from hypersleep due to an emergency. Their captain dies, and a pensive man of faith named Oram (Billy Crudup) takes his place. Newly widowed Daniels (Katherine Waterston), an android named Walter (David Fassbender), and a small band of explorers decide to investigate a radio signal from a nearby planet instead of reentering hypersleep and risking another calamity. The chaos that follows serves as the bridge between Prometheus and Alien.
As expected, Oram and much of his crew soon find themselves overwhelmed by a hostile planet filled with xenomorph-producing spores that burrow inside ears and noses. The team is saved by David (Fassbender), the older — but more problematically human — model of Walter from Prometheus. He hopes to hitch a ride on their orbiting spaceship once an electrical storm subsides, but for reasons he has no intention of disclosing to his innocent human visitors.
Without spoiling the movie, the key to understanding David’s motivations lie in Alien: Covenant’s prologue, in which he speaks with his inventor.
“If you created me, who created you?” asks David.
His “father” (Guy Pearce) calls it the “question of the ages.”
“Allow me then a moment to consider — you seek your creator; I am looking at mine,” replies David. “I will serve you, yet you are human. You will die, I will not.”
A further window into David’s digital mind comes later in the movie during a conversation with “brother” Walter. He references fallen angel Satan from John Milton’s Paradise Lost: “Better to reign in hell, than serve in heaven.”
Check out the full review over at CBC here.
Marvel comics made quite a bit of news this week after its Vice President of Sales, David Gabriel, gave an interview with ICv2 on sluggish sales. He completely distorted the cold hard reality that fans are tired of politicized comics to say that we really just have a problem with “diversity.”
To see just what a disingenuous liar Mr. Gabriel is, I have provided a review of Marvel’s America by Gabby Rivera. I purchased the first two issues, which appear to be a perfect storm for social justice activism.
Check out my latest YouTube review to learn all about the “privileged” and evil white cyborgs who try to destroy Sotomayor University, or the being of “white energy” that imprisons an entire planet until it is defeated with America’s “brown fist.” I wish I were joking, but I’m not.
As always, I look forward to hearing your feedback in the comments section below.
Editor’s Note: Our good pal Dave Huber just wrote a piece for The College Fix that touches on Marvel’s partisan politics problem: Don’t be fooled: ‘Get Woke’ campaigns really mean ‘Agree With Me (or else)’. He was also kind enough to reference my review of America.
Imagine a science fiction film starring Chris Pratt and Jennifer Lawrence. It’s directed by Morten Tyldum (Intimidation Game) and written by Jon Spaihts (Doctor Strange). That sounds like a winner, right? Not necessarily, because that’s exactly what moviegoers got with “Passengers” with uninspiring results.
If you’re thinking about seeing Passengers, then here is what you need to know:
- Chris Pratt plays Jim Preston, a mechanical engineer who is on a spaceship called Avalon. Its destination: a colony planet called Homestead II.
- A meteor shows damages the Avalon, which causes Jim to wake from a state of suspended animation roughly 90 years too early.
- Jim desperately tries to figure out a way to reenter a sleeping state while also dealing with extreme isolation. He has an AI robot named Arthur (Michael Sheen) to keep him company.
- Jennifer Lawrence’s character, Aurora Lane, also is awakened midway through the film.
- The Avalon begins to malfunction, which forces the two passengers (along with Laurence Fishburne — very briefly — as Captain Gus Mancuso) to work together to avoid a catastrophe.
This is a spoiler-free review, so I won’t go into many more details other than to say that Passengers is most intriguing for the number of missed opportunities racked up by Jon Spaihts. With a few tweaks of the script, Passengers could have turned into an instant classic. Over and over again the stage is set for a stunning reveal, only to inform theatergoers, “Nope. This is just a by-the-numbers sci-fi flick that will hit embarrassingly predictable beats by the time the end credits roll.”
If you decide to see Passengers, then ask yourself the following questions before the curtains open:
- Will A.I. ever reach the point where it can become lonely and yearn for human interaction?
- Would a company accused of treating customers like cattle ever engineer a disaster to see how the “animals” respond — perhaps as a way of garnering larger profits down the road?
- If a character puts the proverbial “smoking gun” in a place where an individual would obviously find it over the course of a relationship, then that needs to happen — right?
Again, I note that this is a spoiler-free review, which means that asking the above questions only draws attention to the fact that Passengers explored … none of them. There are more, but for the purposes of this blog post we’ll stick to three.
In short, if you’re a science fiction junkie who needs a fix, then see on Sunday matinee of Passengers. It’s passable, but in many ways that is only attributable to Mr. Pratt’s likability and professionalism. He did the most with what he was given, but he wasn’t given much.