What classics did you see last week, July 4 to July 10?
Jul 11, 2021 2:20:43 GMT
teleadm, wmcclain, and 7 more like this
Post by Chalice_Of_Evil on Jul 11, 2021 2:20:43 GMT
GoldenEye (1995).
Black Widow (2021).
Black Widow (2021).
Back to black...
There've been complaints about the ‘lateness’ of this film, how it should’ve been made years ago and now that we've finally gotten it, it’s ‘too late’. I beg to differ, as I feel all good things come to those who wait (and those too impatient for something don’t deserve it to begin with). However one may feel about Scarlett Johansson as an actress, there's no denying she’s been in the MCU longer than most (if there's one 'good' thing about IM2, it's that it introduced this awesome character). She’s done the hard yards and the fact that it’s taken until now to get her well-deserved solo film isn’t her fault (blame the higher-ups). While some dismissed her as ‘not special’ because she didn’t possess super powers, she’s proven her detractors wrong by enduring for so long.
Johansson isn’t given the credit she deserves for bringing such a complex character to life. Natasha is someone with some real demons in her past and she’s done everything humanly possible to make up for her mistakes (unlike certain other so-called ‘superheroes’). When the movie starts, we’re in 1995 with young Natasha (Ever Anderson, who does a great job of not just looking like a young version of Scarlett Johansson, but also conveying so much for such a young actress) and her adoptive sister, Yelena (Violet McGraw, also doing a fine job for one so young), who’re both capable of doing the ‘spider walk’ from The Exorcist. While those with short attention spans may find the opening ‘boring’, to those who aren’t so easily bored, it’s important for the movie to establish this sibling relationship, as this movie is all about family.
When the sisters are whisked away in an exciting airplane sequence and then separated, you really feel it, as young Natasha has shown her utter devotion to Yelena, willing to take on anyone to keep her safe. It’s then that we’re treated to probably one of the best montages in a comic book film that I can think of in recent memory, involving chilling images set to an unsettling version of ‘Smells Like Teen Spirit’. It immediately sets the mood for the rest of the film, which is actually a lot more brutal when it comes to the fights/kills than we’ve seen before in the MCU, and lets you know this will be a more ‘mature’ film. That’s not to say there isn’t some humour sprinkled throughout. It’s there, but not overdone, and when the laughs do come, they’re all the more effective because there hasn’t been constant wisecracking (the biggest laugh had to be Yelena bringing up Natasha’s superhero pose that she does and then acting it out).
The best thing this movie did was casting Florence Pugh as grown-up Yelena, as she plays exceptionally well off Johansson and their onscreen chemistry makes for a believable sibling relationship. Their fight, after being reunited, is one of the film's best scenes, but the quieter heart-to-heart talks they have are equally important, as is their complicated relationships with their adoptive parents, Melina (Rachel Weisz) and Alexei (David Harbour), who bring different dynamics and add even more depth. ‘Dysfunctional’ doesn’t begin to describe this family, but when it counts, they’re there for each other. It’s a shame that we’ll likely never see all four together again, as their interaction proved quite compelling.
On the side of the bad guys, there’s the masked ‘Taskmaster’ who can mimic the Avengers fighting styles, hence why we see the use of a shield and bow/arrows among other fighting moves. Whilst able to hold her own, the first face-off between Taskmaster and Natasha shows that she’s not some unbeatable ‘perfect’ fighter, but she uses her smarts and her brains over brawn is what sets her apart from all the characters that rely on muscle. If there’s one letdown in the film, it’s Ray Winstone’s Dreykov, but it’s kind of worth him being so pathetic a human being just to see Natasha outsmart him and smiling more than I think we’ve ever seen her smile before.
This is a more 'intimate' MCU film, and as such the climax may not be quite what some were expecting/hoping for, but it’s still satisfying because of what it means for Natasha, Yelena and all the other Widows. As for any ‘unbelievable’ elements in the film...at this point, if you’re willing to accept things like helicarriers and talking raccoons/trees, then having a problem with the ‘fantastical’ elements here seems a bit hypocritical. It’s not just the acting, action, humour, and music that the film has going for it, but also the way it looks. Cate Shortland should be commended for her directing, as there are some truly great/beautiful shots throughout, the fights are never confusing and the effects on display are used sparingly, but really well. All three lead actresses look smashing in their costumes (Scarlett proves that whether she's wearing black or white, she looks good in ANYTHING). David Harbour? Not so much.
While some believe ‘it's all downhill’ after Endgame, I personally feel it’s actually the opposite. With a certain character no longer hogging all the focus/screentime, we can now focus on other characters who deserve to have their stories told. This is one such instance. The main disappointment is that this is, for all intents and purposes, Scarlett Johansson’s/Natasha Romanoff’s swansong. While I would’ve liked to have seen more films with the sisters together, at least ScarJo can rest assured that the mantle of Black Widow will be in safe hands with Florence Pugh (assuming, of course, she takes over the role, though they’d be foolish not to see what a stand-out she was here and feature her in future MCU projects. The post-credits scene suggests she will be, but the conflict it sets up could be resolved with a simple conversation between her character and the target she’s sent after). So long, Natasha. Thanks for all the crotch-throat grabs. Fade to black, Widow.
There've been complaints about the ‘lateness’ of this film, how it should’ve been made years ago and now that we've finally gotten it, it’s ‘too late’. I beg to differ, as I feel all good things come to those who wait (and those too impatient for something don’t deserve it to begin with). However one may feel about Scarlett Johansson as an actress, there's no denying she’s been in the MCU longer than most (if there's one 'good' thing about IM2, it's that it introduced this awesome character). She’s done the hard yards and the fact that it’s taken until now to get her well-deserved solo film isn’t her fault (blame the higher-ups). While some dismissed her as ‘not special’ because she didn’t possess super powers, she’s proven her detractors wrong by enduring for so long.
Johansson isn’t given the credit she deserves for bringing such a complex character to life. Natasha is someone with some real demons in her past and she’s done everything humanly possible to make up for her mistakes (unlike certain other so-called ‘superheroes’). When the movie starts, we’re in 1995 with young Natasha (Ever Anderson, who does a great job of not just looking like a young version of Scarlett Johansson, but also conveying so much for such a young actress) and her adoptive sister, Yelena (Violet McGraw, also doing a fine job for one so young), who’re both capable of doing the ‘spider walk’ from The Exorcist. While those with short attention spans may find the opening ‘boring’, to those who aren’t so easily bored, it’s important for the movie to establish this sibling relationship, as this movie is all about family.
When the sisters are whisked away in an exciting airplane sequence and then separated, you really feel it, as young Natasha has shown her utter devotion to Yelena, willing to take on anyone to keep her safe. It’s then that we’re treated to probably one of the best montages in a comic book film that I can think of in recent memory, involving chilling images set to an unsettling version of ‘Smells Like Teen Spirit’. It immediately sets the mood for the rest of the film, which is actually a lot more brutal when it comes to the fights/kills than we’ve seen before in the MCU, and lets you know this will be a more ‘mature’ film. That’s not to say there isn’t some humour sprinkled throughout. It’s there, but not overdone, and when the laughs do come, they’re all the more effective because there hasn’t been constant wisecracking (the biggest laugh had to be Yelena bringing up Natasha’s superhero pose that she does and then acting it out).
The best thing this movie did was casting Florence Pugh as grown-up Yelena, as she plays exceptionally well off Johansson and their onscreen chemistry makes for a believable sibling relationship. Their fight, after being reunited, is one of the film's best scenes, but the quieter heart-to-heart talks they have are equally important, as is their complicated relationships with their adoptive parents, Melina (Rachel Weisz) and Alexei (David Harbour), who bring different dynamics and add even more depth. ‘Dysfunctional’ doesn’t begin to describe this family, but when it counts, they’re there for each other. It’s a shame that we’ll likely never see all four together again, as their interaction proved quite compelling.
On the side of the bad guys, there’s the masked ‘Taskmaster’ who can mimic the Avengers fighting styles, hence why we see the use of a shield and bow/arrows among other fighting moves. Whilst able to hold her own, the first face-off between Taskmaster and Natasha shows that she’s not some unbeatable ‘perfect’ fighter, but she uses her smarts and her brains over brawn is what sets her apart from all the characters that rely on muscle. If there’s one letdown in the film, it’s Ray Winstone’s Dreykov, but it’s kind of worth him being so pathetic a human being just to see Natasha outsmart him and smiling more than I think we’ve ever seen her smile before.
This is a more 'intimate' MCU film, and as such the climax may not be quite what some were expecting/hoping for, but it’s still satisfying because of what it means for Natasha, Yelena and all the other Widows. As for any ‘unbelievable’ elements in the film...at this point, if you’re willing to accept things like helicarriers and talking raccoons/trees, then having a problem with the ‘fantastical’ elements here seems a bit hypocritical. It’s not just the acting, action, humour, and music that the film has going for it, but also the way it looks. Cate Shortland should be commended for her directing, as there are some truly great/beautiful shots throughout, the fights are never confusing and the effects on display are used sparingly, but really well. All three lead actresses look smashing in their costumes (Scarlett proves that whether she's wearing black or white, she looks good in ANYTHING). David Harbour? Not so much.
While some believe ‘it's all downhill’ after Endgame, I personally feel it’s actually the opposite. With a certain character no longer hogging all the focus/screentime, we can now focus on other characters who deserve to have their stories told. This is one such instance. The main disappointment is that this is, for all intents and purposes, Scarlett Johansson’s/Natasha Romanoff’s swansong. While I would’ve liked to have seen more films with the sisters together, at least ScarJo can rest assured that the mantle of Black Widow will be in safe hands with Florence Pugh (assuming, of course, she takes over the role, though they’d be foolish not to see what a stand-out she was here and feature her in future MCU projects. The post-credits scene suggests she will be, but the conflict it sets up could be resolved with a simple conversation between her character and the target she’s sent after). So long, Natasha. Thanks for all the crotch-throat grabs. Fade to black, Widow.