It’s schmaltz. It’s schlock. It’s kitsch. It’s dreck. There aren’t enough words in the entire Yiddish language to put this show in its place.
It’s still a more satisfying fight than anything Floyd Mayweather is in.
With Spider-Man: Homecoming officially in the books as both a critical and financial hit (over $700 million globally), we all know what that means! Okay, yes, a sequel that’s going to suck and make...
For Spidey, the 1960s were a never-ending parade of humiliation that helped shape Peter Parker into the rancid swamp of self-loathing and textbook school shooter personality that has made him one of Marvel’s most identifiable heroes.
Expressionist film is incredibly high concept, and trying to mix that with the over-the-top nature of superhero characters is like trying to perform heart surgery with a chainsaw–technically possible, but you’re more likely to end up with a gross mess and a mountain of lawsuits.
Logan says goodbye to the Wolverine in a way that’s respectful to Hugh Jackman’s tenure and tackles what mortality means, which is generally difficult to do for characters who are either literally immortal or too iconic to fade away.
Villains in the 1960s were so bad at covering their tracks that a group of suburban brats regularly just stumbled across their schemes while hula-hooping and drinking malt shakes and enforcing segregation or whatever the hell kids did in those days.
Considering their earlier efforts to downplay or explain away any and all “supernatural” characters and occurrences in the MCU as simply “aliens” or “really advanced science”, I do get the impression that Marvel made this movie less because they wanted to than because the fans wanted them to.
Daredevil is a dark turn for the Marvel movie/tv universe… but is it the right turn? Like so many superhero stories before it, the answer lies in the villain.
Classic cartoon underoos for adults! With bonus sexism!
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