





33 – The Marvels
I liked this movie but I didn’t love it. As a matter of fact I must confess, this might be my least favorite of the entire MCU franchise, though Thor: Love and Thunder comes in at a close second. And I have a few very specific reasons why. But while I usually say that out of ten, an eight is still an eight, I would probably put The Marvels at a seven, maybe even a six. The movie was still enjoyable to watch, but those specific reasons make me roll my eyes hard.
So let me get my grievances out of the way as quickly as possible. First, the singing planet was just stupid. It was almost embarrassing to watch. And the way that Prince Yan was bilingual because he could speak just made it dumber. Auto-tune has taught us that all speaking is just singing without specific pitch. If one forms words with the lips, teeth, and tongue, the pitch is irrelevant. It was just a dumb concept. Second is the whole sub-plot of the Flerken kittens. I’ve said it a hundred times. Cute for the sake of cute is never cute. Never. And that’s all that was. This stupidity of this was emphasized to the n-th degree when they started to play the song Memory from the musical, Cats. The song had nothing to do with the action taking place in the scene, except that it was the popular song from that Broadway show. And to add insult to injury, they played the Barbara Streisand recording of the song instead of the Elain Paige version! Ugh!
But even those two things were superficial. The biggest and most egregious flaw in the movie was once again, the villain. She was called Dar-Benn, played by Zawe Ashton. She was terribly under-developed. Her powers were never clearly defined, her back-story was barely mentioned, her motivations were there, but they were pretty weak. Ever since Thanos, the MCU has a problem with giving us bad guys that matter, ones that have a snowball’s chance of winning against the heroes, ones that we have any sympathy for. Because I didn’t know who Dar-Benn was, I didn’t hate her when she had her small victories, and I didn’t care when she died. When I think of the movie, as a whole, she barely even registers in my thoughts.
But the three leads were awesome. We knew who Carol Danvers was and what she was capable of. If you watched the shows Wanda-Vision and Ms. Marvel on Disney-Plus, you knew who Monica Rambeau and Kamala Khan were, what they could do. And we root for them because we know them. It was like in the earlier movie in the MCU, The Eternals. It was hard to care about them because we didn’t really get a chance to know who they were. But the three leads, played by Brie Larson, Teyonah Parris, and Iman Vellani were great. They had a good on-screen chemistry and I enjoyed watching them. I have to give a special thumbs up to Iman Vellani. The other two ladies were seasoned veterans and this wasn’t their first rodeo. But Vellani was a young girl who was new to the action film genre, and I think she handled it well. And I liked that they made a point of showing that Ms. Marvel was an inexperienced fighter. And I loved her reaction the first time she saw a Flerken swallow someone. “OH MY GOD!!!” Because really, how else could you react to that? And it was also believable that by the end, she was a little more competent in the use of her own powers. And now she has both bangles, which will increase her power levels. We’ll have to wait and see where that goes. Nice mid-credit scene, too. The Young Avengers are being recruited, starting with Hawkeye’s protégé Kate Bishop.
As always, the visual effects were top notch. The action was exciting. I really loved the characters and the cast. You can never go wrong with Samuel L. Jackson as Nick Fury, and Gary Lewis as the Skrull Emperor, Drp’ge did a great job, too. Like I said, the cast was very good. I just wish they could have cut out, or somehow changed the singing planet and the forced cuteness of the kittens. Unfortunately, these things stood out to me when watching the movie, and not in a good way. I’m not saying the movie was terrible or unwatchable, but the movie might have been better if they had taken those things, and the evil Dar-Benn more seriously.
Top 10 Favorite Parts
2024 – Dune: Part Two
Dune Part Two, of course, is a science fiction movie that lends itself to fantastic visual effects, and it certainly didn’t disappoint. There were flying space ships, explosive action sequences, dust storms, those really cool dragonfly flyers that we saw in the first Dune movie, and also returning, the gigantic Sand Worms. Here, we see more of them, and we see men riding across the desert sands on their backs. We saw more of those cool personal shields in action, and we saw more sword battles that utilized them. But therein lay the problem.
Nearly every effect in Dune: Part Two was one that we saw in Dune: Part One. They were done perfectly, without a doubt, but was there anything new? And as I think about it, I’d say yes. Yes, there was. For example, the entire Birthday celebration scene was a pretty cool color effect, turning everything into a stark black and white vista that still had depth and life. The effect actually helped tell the story in a unique way.
And to quote Sofia Atkins, writing for TopicRooms VFX, “The film’s standout visual effects sequences included the opening eclipse, the breathtaking sandworm-riding scenes, the harrowing attack on the spice harvester, and the epic battle of Arrakis. The VFX team also meticulously crafted Giedi Prime’s menacing aesthetic and achieved the distinctive blue eyes of the Fremen using advanced machine learning techniques.” And to be sure, those things were all very impressive. I especially liked the attack on the spice harvester, the battle that ended with a sand worm opening its maw beneath the harvester and swallowing it whole. And yes, even the glowing blue eyes of the Fremen were very cool. It was consistent, and was even a plot point for two of the characters.
But if we’ve seen all these things before, what earned it the Oscar? Well, I’ve done a little research, and from what I can gather, it was that Director Denis Villeneuve used as little CGI as possible. He filmed as much as he could in camera, opting to use practical effects whenever he could, and strategically enhancing them whenever necessary, to get the effects he wanted. He filmed in a desert location in Jordan, making use of a real environment rather than digitally re-creating one. This technique of blending the two resulted in a hyper-realism that was impressive on so many levels. I hope it is a trend that continues. But really, it was the sand worms that we all came to see. And in this second installment of the franchise, there were just more of them doing more things. They looked as real as anything and were pretty terrifying in their scale and power. And the fact that mere mortals were using them, if not taming them, was a pretty bad-ass part of the story. So I’d say yes, Dune: Part Two deserved its Oscar win.
Wicked: Part 1
This movie was so fun to watch because the filmmakers understood the medium they were working with. They looked at the Broadway show and figured out the magic that required a suspension of disbelief on the stage, and turned it into movie magic on the big screen. And it was beautiful and thrilling to see it done right. The movie was a nearly perfect adaptation of the first act of the stage show.
And the story is a fantasy that took place in OZ, a world full of magic and color, glitz and glamor. A trend that I really like is one in which not everything is CGI. What we see on the screen is a wonderful blend of practical, in-camera effects, and CG effects, used to enhance them. For example, something I wouldn’t normally think of is the green color of Elphaba’s skin. Yes, she was wearing green makeup, but the color was enhanced by computers, filling in places where makeup might be difficult, like where makeup might get onto a costume or inside the mouth.
Of course, there were all the talking animals like Dr. Dillamond and Dulcibear, among others. CG artists have gotten pretty good at anthropomorphic animals, and these were pretty good, though from a design standpoint, when I see a goat drinking out of a teacup, I have to wonder how it is gripping the cup. Well, the cup had a hoof-shaped fixture instead of a handle for the hoof to go into. Never-mind the fact that a goat’s body is not structured for it to lift it to his mouth, nor is its mouth equipped to drink out of a cup without making a mess. But I digress.
But that technology is getting pretty impressive. For Dr. Dillamond, a puppet was used on set for the other actors to interact with. Then they filmed Peter Dinklage, who voiced the character, and used his facial expressions to animate the fully CGI goat. In that way, Dinklage was not just a voice actor, but an actual physical actor.
I was also pretty impressed by the flying monkeys. First, they were blue, and we got to see the magical process where they grew their wings. The flying feathers and painful contortions of the creatures was actually a little scary on the screen, but so well-done. And speaking of flying, when Elphaba finally takes to the skies, the film did it in a way that cannot be done on a stage, they gave her speed and agility on her broom, though they still went out of their way to give us many of the signature shots and images that made the stage show so exciting. I especially liked the Wizards giant steampunk metal head effect. Again – Practical but enhanced with CGI. Just like the Emerald City Express
Though, I have to mention two things that enhanced the fantasy of the movie, but were ultimately silly and unnecessary. We could have done without the hummingbirds playing bells at Shiz, and the stupid-looking band at the Oz Dust Ballroom. I’m sorry, but quick as the shots were, they just looked baaaaad.
2024 – Dune: Part Two
This was an incredible movie. The visual effects were top-notch, and took home the Oscar in the category. The casting was perfection. The acting was fantastic. The direction was amazing, the soundtrack was mesmerizing. The sets and costumes were elaborate. And the story was intense. It was a phenomenal follow-up to the first installment in the franchise.
Director Denis Villeneuve really pulled out all the stops and gave us a great science-fiction movie that both critics and audiences loved. Famed directors like Stephen Spielberg, James Cameron, and Francis Ford Coppola all had wonderful things to say about Dune Part Two. Christopher Nolan called the film miraculous and said, “If, to me, Dune was like Star Wars, then Dune 2 is The Empire Strikes Back.” And I couldn’t agree more. The first Dune was good. Part Two was even better.
One of the things I loved was that it didn’t shy away from some of the stranger and more fantastical story-telling. One of the characters was an unborn fetus, voiced by Anya Taylor-Joy, who has a surprising amount of influence on the course of the story. They showed the dreams and visions of the lead, Paul Atreides, played by Timothee Chalamet, as strange and as disjointed as the images that appeared on the screen were. There were slow and introspective moments as well as some thrilling action sequences. There were little shots of characters without any dialogue that just showed the expressions on their faces as indications of their reactions, motivations, and thoughts. It was nuanced, relying on the perceptions and intelligence of the viewers to drive the intensity of the story being told.
As far as the cast went, I was impressed with everyone, but especially with Chalamet, Zendaya, playing Chani, Paul’s love interest, and Rebecca Ferguson, playing Lady Jessica, Paul’s mother whose allegiance to the Bene Gesserit order supersedes everything, including her love for her son. Both of these women did a fantastic job, creating layered characters who fully grasped the parts they play. Ferguson was amazingly good. I loved that she created a character who isn’t nearly as delicate as she looks. She was strong and powerful, ambitious, and capable. I loved the way she easily took control of nearly every situation.
Other great members of the cast were Josh Brolin as Gurney, Paul’s friend and mentor from House Atreides, Austin Butler, as the psychotic Feyd-Rautha, Baron Harkonnen’s nephew, Dave Bautista as his other nephew, and Stellan Skarsgard, as Baron Harkonnen, himself. Christopher Walken and Florence Pugh were both engaging as the Emperor and his daughter, Princess Irulan. And lest I forget a powerful performance by Charlotte Rampling as the Bene Gesserit Reverend Mother Mohaim. Her role was small, but incredibly important. She was such a delightfully dangerous character who practically controls everything from the shadows.
But I think my favorite thing about the movie was the script. It was smart. There was nothing in the film that didn’t enhance the narrative in one way or another. The social and political intrigue was interesting rather than boring. The slow but inevitable arc of Paul’s character from a humble refugee among the Freman people to a prophet, and eventually to a religious icon. And beyond that, by the end of the movie, he goes to war against the Emperor, winning himself the throne, and agreeing to a political marriage to Irulan. The narrative took its time propelling him along his journey and I was totally on-board with it.
The scene where Paul strides into the meeting of the Freman tribes and announces himself as The One, the fulfillment of prophecy, stirring the Fremen nation into a religious frenzy. Chalamet was really good in that moment. And I loved Javier Bardem as Stilgar, a true believer in Paul as that fulfillment. He really portrayed the hope and the fanaticism perfectly. And in that scene, I have to wonder if they enhanced Chalamet’s voice to make it sound move authoritative, more commanding, stronger, because it didn’t seem like a voice that would come out of the actor’s mouth. And Hans Zimmer’s score in that scene was captivating.
And lastly, I have to mention the cinematography. Greig Fraser was nominated for the category, but lost to Lol Crawley for The Brutalist. Having now seen both films, I think I would have voted for Dune Part Two. The scale of the production, the sweeping vistas, the wide shots that showed us the immensity of the desert, the size of the armies at war, the grandeur of the buildings and ships, and even the gigantic sizes of the Sand Worms, was beautifully captured on the big screen, lending itself to the epic nature of the story being told.
And ultimately, it did what a second film in a franchise is supposed to do. As soon as I finished watching, I went online to look up when part three is coming out. I want the story to continue. As of this writing, the word is December of 2026. Man, I have more than a year and a half to go? Apparently they haven’t started filming yet, but it’s good to know that the third installment has been green-lit. And even though Villeneuve will be directing, he has said that it will be his last Dune film. And if it is as good as Dune Part Two, it will be worth the wait.
Anora – 2024
I’m not exactly sure if I agree with the Academy’s decision to award Anora the top prize. I might. The movie might be deserving, but I’m uncertain. The movie was about two hours and twenty minutes, and I didn’t really care for the graphic nature of the first forty minutes. When it comes to films, that’s just not my style. But I didn’t mind the explicit sex scenes. I didn’t mind having to look at naked women. I didn’t even mind the glorification of the sex industry. But it just isn’t my cup of tea, and I think it could have been toned down a bit.
But right about the forty minute mark, the focus of the story went off the rails in a really great way. After that, there was drama, a tiny bit of comedy, and an intense story that kept me engaged. It kept me interested to see what would happen next, and that’s good movie-making. The acting was incredibly good. It all felt very realistic and natural.
The incredible lead actress, Mikey Madison, was perfectly cast. Other standouts for me were Darya Ekamasova, Karren Karagulian, and Yura Borisov. The whole cast was great, but these were the best of the bunch. Especially Ekamasova. Her character was supposed to have a superior and commanding presence, and she nailed it.
The story begins in a Brooklyn sex club. We meet Ani, whose real name is Anora, played by Madison. She is happy and smiling, working hard to invite men into private rooms with her for a lap-dance. Once she gets them there, she quickly undresses and goes to work. But her shift takes an unexpected turn when her boss introduces her to Vanya Zakharov, played by Mark Eydelshteyn, the son of uber-wealthy Russian Oligarch, Nikolai Zakharov. Vanya is a partier, a drinker, and a drug user, and he pays Ani thousands of dollars to spend time with him away from the club. He pays her for sex, and she does her job. (And we get to see it all.) But then he escalates the arrangement, paying her fifteen thousand dollars to be his girlfriend for an entire week, which she agrees to do.
While on an impromptu trip to Las Vegas, Vanya tells her that the parents he hates will soon be taking him back to Russia. But then an idea takes him. If he got married to an American girl, his parents would have to let him stay in America. Ani agrees, and they go straight to a Vegas shot-gun wedding chapel. They get a real marriage license and start living together in Vanya’s mansion. Anora stops working at the sex club.
But this is where the movie took its turn. Word gets back to Vanya’s parents that their son has been married. The mother, Galina Zakharov, played by Ekamasova, who everybody seems to be afraid of, gets his Armenian godfather, Toros, played by Karagulian, to collect him, get the marriage annulled, and have him ready to return home. Toros’s two heavies, Garnik and Ivan, played by Vache Tovmasyan and Yura Borisov, arrive and force their way into the mansion. After a shouting match, Vanya runs out the door, leaving Anora behind. He escapes into the city.
An enraged Anora tries to leave as well. She goes into hysterics and screams and fights the two men, biting Igor and breaking Garnik’s nose. But she is restrained, tied up, and eventually gagged to keep her quiet. From there, the insanity just continues to grow. The story keeps ramping up the intensity, and the film keeps the pace going.
Toros arrives and tells Anora that the marriage will be annulled. He offers her ten thousand dollars to agree. She refuses to go through with it, though she does agree to help him find Vanya somewhere in New York City. The three Armenians and Anora search all night and find him. Igor shows signs of being attracted to Anora. They eventually find her husband getting a lap dance from her old rival at the sex club where they met. Vanya is so drunk he can barely stand.
Meanwhile Vanya’s parents arrive. Galina walks into the scene like a powerhouse and takes control of the situation. Anora tells Galina that she’ll grant the divorce, but she will get a lawyer and sue Igor for assaulting her, and the Zakharov family. Galina puts her in her place like a boss. I loved her speech. “Do that, and you’ll lose everything. Any money you may have–although I doubt you have much–will be gone. Do you have a house? Do you have a car? All gone. Your life and the lives of your family and friends, everything will be destroyed.”
On the plane trip back to Vegas for the annulment, Anora finally figures out that Vanya is a child and an asshole. She yells at him and fully agrees to the divorce. In Vegas, the annulment happens and Anora willingly signs the papers.
Igor takes her back to New York and she stays in the mansion for the last time. The two bond a little while smoking some weed. Anora tells him that if Garnik hadn’t been present when she was assaulted, Igor would have raped her. He denies it. She asks him, “Why wouldn’t you have raped me?” I loved his simple answer. “Because I’m… not a rapist.”
There was more that happened before the end, but that’s the main gist of the plot. The film was good, but it’s being toted as a work of recognition and respect for the sex-worker community. Apparently, Director Sean Baker made a point of not only interviewing real members of the profession, but hiring Andrea Werhun, an actress who used to be a sex-worker, as consultant for the movie. The film got mixed reviews from the sex-worker community. Some thought we were shown a positive portrayal of the profession, while others disagreed, criticizing the trope of a female sex-worker who is in need of saving by a man.
But Madison’s performance, while crude and intensely annoying, actually has some power behind it. She played the character the way it was written. I didn’t have to like the character to see that she acted the part perfectly. And what made it even more impressive was the preparation that apparently went into her performance. Madison learned to speak Russian, visited strip clubs, and studied a Brooklyn accent to create the character of Ani. And if it wasn’t her natural accent, she maintained it incredibly well throughout the movie.
Interesting Note: Baker apparently cast Madison without an audition after seeing her in Once Upon a Time in Hollywood as Sadie, a member of the Manson Family, and also in Scream two years after that.
But of course there were other actors in the film who did a great job. I have to mention my favorite character in the movie, Igor, played by Yura Borisov. He was the only character in the entire movie who wasn’t an asshole. He never did anything to physically hurt Anora. He showed that he was just there to do a job, and that he eventually came to care for the girl a great deal. He felt sympathy for her, and in the end he’s the only one who showed her real kindness.
Because I see it the way I’m supposed to see it. Yes, Ani was the victim. She did nothing wrong except make incredibly bad decisions, and I’m not talking about her profession. She was not dumb because she was a sex-worker, or vice-versa. She was dumb because she made very bad decisions, the biggest of which was not seeing that Vanya was an immature child and marrying him. So, yes, Anora got the short end of the stick. But she brought a lot of it on herself.
And Igor saw that. He felt sorry for her, and he did his best to support her and care for her, in his own way, through the trauma. And the supreme act of kindness he showed her when he gave her back her ring just proved that even though he was little more than a thug, he had a heart.
And it was there, right at the end, the last moment of the film that we see Anora’s walls crumble and she lets loose her true emotions. Sensing that Igor liked her, she thanked him in the only way she knew how. She undoes his pants, climbs on top of him and begins having sex with him. But he ruins the moment for her by trying to kiss her. She ends the sex, slaps him, and then finally brakes down in tears. And all Igor could do was hold her and comfort her. He was the real hero of the film, and he did it with simple kindness.
I thought Vache Tovmasyan, as Garnik, was going to be the biggest heavy, but after Ani breaks his nose with a well-placed vicious kick, he turns out to almost be a strange comic relief character. I had to laugh when he threw up in Toros’s car. I also thought Karren Karagulian did a great job as Toros, a man who was just desperate to follow Galina’s orders. He was obsessed with getting the job done, and he didn’t care who he had to go through to do it. And speaking of Galina, I’ve already mentioned how much I loved her character. She was so dominant in every scene she was in. Well done Ekamasova!
And as much as I hate to admit it, the worst character in the film, Vanya, was perfectly played. We aren’t supposed to like him. Mark Eydelshteyn did a great job of making me hate Vanya. He was a spoiled son of ridiculously wealthy parents, and Eydelshteyn couldn’t have been more convincing. He was so immature, and selfish, and smarmy, and… Man, he was a douche!
And finally, I want to mention one actress who had a part that was small but necessary. Lindsey Normington played Diamond, Ani’s rival at the strip club. She was just that perfect blend of bitchy and pathetic, and she kept up with the rest of the cast easily. I loved the scene where she is having a private session with a wasted Vanya, specifically to spite Ani. Toros and his thugs break in and Ani is trying to talk to Vanya who isn’t even fully conscious. And Diamond is in the background shouting that Vanya’s hour still isn’t up.
Now, on to the big question. Do I think this should have won the Best Picture award? I don’t know. Parts of the narrative had that quality, and fit into what I have come to expect from a Best Picture winner. But the first forty minutes of the movie were just dressed-up soft-core porn. And I have to ask, would the movie have suffered if some of that was taken out? Would what happened after that have had the same impact if we hadn’t spent so much time in the strip club looking at bare breasts and butts, or watched Ani and Vanya having sex in various positions? Would the movie has lost its intensity without all the sex and the drugs and partying in the first act? Would we have less understanding of the character of Anora in the second half of the film, without going through her experiences with her in such graphic detail in the first?
Maybe. But the movie is what it is, and it did win. Obviously, the critics loved it just the way it is. It has a 93% rating on Rotten Tomatoes, and Metacritic gave Anora a score of 91 out of 100. Per Wikipedia, Richard Lawson of Vanity Fair called it a wild profane blast. Acclaimed director Greta Gerwig called Anora “something we collectively felt we were transported by, we were moved by.” I don’t know if that’s true or not. I mean, I felt sorry for Ani, but I wouldn’t say I was transported.
And now that I’ve seen all the movies that were nominated for Best Picture, would I have chosen Anora for the win? I don’t think so. It was a good movie, but I liked Conclave, Nickel Boys, and Emilia Perez better. I thought they had better messages, were more creative in their story-telling, and they held my interest better.
32 – Guardians of the Galaxy Vol 3
The first time I saw the third movie in the Guardians sub-franchise, it didn’t make that much of an impression on me. I’ve always thought it was good, but not as good as the other Guardians movies. But every time I have watched it, I have gained a greater appreciation for the fantastic emotional content of the story. A lot of this installment focuses on Rocket’s backstory, and to be sure, it is a heartbreaking story. The pain, suffering, and terrible loss that the character has endured is actually emotionally devastating, and this movie does a great job of taking us on that journey with him.
The ending also has a sense of closure as the core group we have come to know and love, which was fractured when Gamora died in Avengers Endgame, dissolves. Several members leave the family, as they call themselves. We lose Drax, Nebula, Mantis, and the variant version of Gamora, each of them going their separate ways. We even lose Star Lord, though a post credit scene indicates that he might return at some point. It feels like the ending of an era, though there is also the hope of a new beginning with a new roster. At the end of the movie, Rocket and Swole Groot are still with the Guardians, and they are joined by Kraglin, Cosmo, Adam Warlock, his pet Blurp, and Phyla, some of whom we know next to nothing about. Apparently Phyla is one of the children that was rescued from the main villain, but I have no idea what her abilities are, so it’s kind of hard to care who she is or how she will fit in to the future of the franchise.
Unfortunately, I think the biggest dropped ball in this movie was the character of Adam Warlock. In the comic books, he is one of the most powerful characters in the universe, a being with intelligence and depth. He has super strength, the power of flight, and can survive in the vacuum of space. But this movie portrays him as mentally and emotionally simplistic, like a child. He is used as comic relief, and little more. And the even had a fantastic actor to portray him, Will Poulter. He could have been so awesome, but he was actually pretty forgettable.
But at least they fixed one thing that the last Guardians movie did that always bothers me. In Vol 2, they turned Drax into the comic relief. He was nothing more than a moron who laughs at the dumbest things. I though he was supposed to be a bad-ass who kicks butt with the best of them. Well, here, we see him still being pretty dumb, but not as bad as before, and he proved that he is still a dangerous man. They gave him his teeth back, and I liked it.
Of course we have to get a new bad guy, and I think they did a pretty good job with this one. The High Evolutionary, played by Chukwudi Iwuji, was your basic mad scientist. He had no moral compass, no scruples, no respect for sentient life, and a penchant for cruelly torturing animals in his attempts to genetically create evolved species of life. I found it interesting to learn that it was he who was not only responsible for turning a baby raccoon into our beloved Rocket through years of painful torture and experimentation, but it was also he who created the race of the Sovereigns, who then created Adam Warlock. The High Evolutionary was so evil and despicable that you just can’t wait for him to get his comeuppance.
But really, the thing about this movie that stands out to me the most was the emotional content. The flashback scenes that show Rocket and his gentle Frankenstein monster friends as they form their own little group, were beautifully done. And then, when they are all murdered in front of him was just heart-wrenching. Rocket is in tears, and I cried right along with him. But there was also plenty of great action and the bright and colorful visual effects we have come to expect from a Guardians of the Galaxy movie. It is a good movie that seems to get just a little better each time I watch it.
Top 10 Favorite Parts