I’m not going to waste much time here, since I have a lot of film to talk about, but let me just say something about 2017: it was absolutely god-damn ridiculous. No joke, this might be one of the best years for movies I’ve ever lived through or, at the very least, seen since I started writing about the medium on the internet. The amount of absolutely great (many all-time great) movies released in the last 12 months verged on the insane, and made the formation of such a Top 10 list seem like such a foolish endeavor. I could have had a Top 30 list and still not had enough room to fit everything I loved. That’s how good this year was.
But, hey, I love needless list-making, and I’m a stickler for set rules. Plus I’m lazy, and don’t really want to put the work into writing blurbs for 30 films (though I might publish a separate list of honorable mentions in the coming days — we shall see.) So, instead, I had to go about the painstaking process of whittling down my list to only 10 movies, the cream of the cream of the cream of the crop’s cream, as it were. And by initiating the doctrine of “No Givesies Backsies,” these 10 choices will now remain set in stone. Without further ado, here is my finalized list of the Top 10 films of 2017.
10. The Florida Project
Logic would dictate that the hardest position to decide on a Top 10 list would be the #1 spot…but in my near-decade of writing these lists, I’ve never found that to be the case. No, the hardest one for me has always been the number 10 spot — and that’s never been truer than in my Top 10 movies of 2017 list. There’s literally a dozen (if not more!) films all fighting for inclusion on the list, and the number 10 spot serves as the big gateway to it. For that reason, I think I’ve changed my number 10 pick every week for the past two months. There’s just too many good films.
But, ultimately? I went with Sean Baker’s The Florida Project, a beautiful and devastating drama about life on the poorest end of the poor. A premise like that would seem to lead itself to mawkishness, but it speaks to Baker’s skill as a filmmaker that everything in The Florida Project felt true-to-life, and achingly real in a way that lends itself to the stunning filmmaking at play. The acting from the two unknowns is absolutely unbelievable (especially young Brooklynn Prince in a star-making turn), and Willem Dafoe brings to life one of my favorite film characters in recent years. The Florida Project is a film that destroyed me emotionally, but only in ways that a powerful drama can. And, on that note, the ending is very good and fits the film well — I don’t care what any of you say!
9. War for the Planet of the Apes
Guys. Just…guys. This new Planet of the Apes trilogy is crazy. Never in a million years did I expect a rebooted Planet of the Apes to end my favorite trilogy of the 21st Century so far — but I think it just might be it. Really, the whole thing is a marvel — how director Matt Reeves managed to steer this thing into a deeply powerful, action-packed, wholly cinematic sci-fi masterpiece is beyond me. But with his one-two punch of Dawn of the Planet of the Apes and War for the Planet of the Apes, I completely believe he has. And even though the latter film isn’t quite up to the level of greatness that Dawn was, it’s still bloody great and, more than anything, more ambitious than I ever thought possible. I still can’t believe that Fox gave money to Matt Reeves to make his weird-ass quasi-western mood poem starring Andy Serkis pretending to be a primate. It’s unbelievable that this movie exists, and more unbelievable that it absolutely worked. War for the Planet of the Apes was as fitting an end to this trilogy as I could possibly imagine, and very much cements its status as a blockbuster series we’ll be talking about for decades to come. Plus, Bad Ape. Gotta love that Bad Ape.
8. John Wick: Chapter 2
A good action movie is surprisingly hard to come by these days, what with the world of blockbusters eating up the genre and spitting it back up torn to pieces. The 80’s this is not, and to find a straight-laced, balls-to-the-wall action movie that doesn’t involve someone with superhero powers or magical abilities is, well, quite the challenging task. Except for in February 2017, in which a man by the name of John Wick came to remind us all how invigorating the genre can be. Encapsulating everything a good action movie should be (and a good sequel, for that matter), John Wick’s second turn-at-bat outdid the first in every way. More explosive, dynamic action. A faster-paced plot that never slowed down for even a second. And even more of the batty, silly, but ultimately commendable world-building that makes this entire franchise so unique, even amongst other action movies. John Wick: Chapter 2 is a high water mark for the genre I haven’t seen since the likes of The Raid, and with a more engrossing story to boot. If the original John Wick was the birth of a new action franchise, then John Wick: Chapter 2 served as proof that he was very much here to stay. Bring on John Wick: Chapter 3 — 2019 can’t come fast enough.
7. The Shape of Water
I like Guillermo del Toro a lot, and find most of his movies to be very good (except Hellboy II, which was very fucking great), but he’s not a director that often inspires much passion for me. I can certainly recognize his talents, and appreciate his love of the medium, but even his best stuff (Pan’s Labyrinth, probably) often fails to get an emotional rise out of me. But that very much changes with The Shape of Water, his monster movie love story that is 100% perfect, unfiltered Del Toro. And I pretty much loved it completely. A mesmerizing, magical experience, The Shape of Water is a delight from start to finish. Featuring a whole cast giving fantastic performances (special shout-out to Richard Jenkins, proving how essential he is to any movie he becomes a part of) and boasting some amazing effects (you can always count on Del Toro for that, at least), The Shape of Water has a lot going for it. But like all wonderful movies, it’s how everything coalesces that makes the movie so damn great. And very few movies coalesce as well as The Shape of Water does. It’s my favorite of Del Toro’s work, and a high watermark for his career so far (just let me have that pun, okay? I’m very proud of myself for it.)
6. Your Name
If you want to get technical about it, Your Name is actually a 2016 release, with its initial blockbuster launch occurring all over the world then, including theaters in Los Angeles and New York (for last year’s Oscar qualifications, naturally.) Usually, I’m a stickler for such rules when it comes to making my list…but you know what? Fuck it, Your Name is so fantastic I’m throwing my rules to the side this time around. Regardless of if it is a 2016 or 2017 release, Your Name is a treasure. Funny, exciting, heartwarming, thought-provoking, and absolutely beautiful — Your Name manages to be all these things without even breaking a sweat. And considering how much plot the film ultimately goes through, that’s pretty much a marvel. Your Name is like if Charlie Kaufman decided he wanted to make an anime and, trust me, that’s quite the high compliment. The whole world fell in love with this movie (its made hundreds of millions of dollars, after all), but of course silly Americans and their aversion to Japanese animation failed to pay it much attention. But, hey, their lost. Your Name is a new anime classic, and absolutely should not be missed.
5. The Big Sick
I see a lot of great movies in any given year, but very few of them are so great that they leave me seething with jealousy. A happy seething, mind you (a gleething?), but still just pure, uncut jealousy. Because the only thing I could think about after watching The Big Sick was how Kumali Nanjiani, Emily Gordon, and Michael Showalter just made the perfect modern romantic comedy, and exactly the type of movie I could only dream of making. It’s rare for a filmmaker to so heavily tap into what drives me as a creative, but The Big Sick managed to do that…in addition to being gut-bustingly funny and emotionally satisfying to boot. The Big Sick really has it all, and I can only hope that its success will lead to more films like it down the line. It’s the best Judd Apatow-ian film in years, and that’s including like a decade of the directors own work. And, please, Hollywood — don’t skip on making Kumali Nanjiani a star. After he solidified his talents with this film, the ball is very much in the industry’s court.
4. Lady Bird
A lot of what I wrote above can also be applied to Lady Bird — if not slightly more so, what with the film scoring a rank higher on the list. Lady Bird made me laugh, it made me emotional, it made me awestruck, and most importantly in the film’s favor, it made me reflect on my own life in a way that only a deeply personal, impactful film can. The magic of Lady Bird isn’t in its fabulous performances (though, wow, everyone in that cast) or in its fantastic script (though, wow, Greta Gerwig) or in its great direction (what the fuck were you thinking with that snub shit, Golden Globes?), but in how it manages to impact every single person who sees it. Like every good coming-of-age film, there’s a mix of relatability and nostalgia at play that can elevate the genre at the best of times. I am not a teenage girl from Sacramento who attended a Catholic high school, nor have I ever been one (pretty sure.) But I didn’t have to be in order to find Lady Bird’s story to be achingly, awkwardly, beautifully real. In many ways, I was Christine “Lady Bird” McPherson. Hell, weren’t we all at one point? Many films fail to connect with their viewer in such a powerful way, but Lady Bird does it with ease. And, for that, is one of the best coming-of-age stories ever told.
3. Baby Driver
I am tempted to just insert the “Hocus Focus” foot chase as proof to why Baby Driver is my number 3 film of 2017, but even that I feel wouldn’t do the film enough justice. On my birthday this year, I got the best gift imaginable — Edgar Wright’s Baby Driver, a pop-rock action-opera that is unlike anything else I have ever seen in my life, and makes for some of the most magical 113 minutes of film I’ve seen all year. It’s a film that Wright has been working towards his entire career, and encapsulates everything about him that makes him one of the best filmmakers around: the energy, the humor, the creativity, the insane editing — this is all Edgar Wright at his absolute best. I could watch Baby Driver at pretty much any time in my life, and have a complete and utter blast with it the whole way through. Very few films can do that, but having watched the entire thing over half a dozen times at this point, I’m pretty confident that Baby Driver makes the list. Also, seriously though…that “Hocus Pocus” chase.
The fact there’s also, like, a dozen other moments just as amazing just speaks to how wonderful this little action musical is. Thank god for Edgar Wright. The world of film would be a far less fun place without him.
2. Blade Runner 2049
Trust me, I’m surprised to see Blade Runner 2049 this high on my list as you are. Even after coming out of my first viewing of the film and being extremely high on it, I didn’t think it would be able to get this far up on my overall list for the year. But the more I come away from Blade Runner 2049, the more I love it even more. We simply don’t get this kind of huge, thoughtful, beautiful science fiction that often, especially in this day-and-age. I mean, just look at the film’s box office, and you’ll very much see why. But while it’s disappointing to see Blade Runner 2049 fail to find a huge audience, that’s literally the only disappointing thing about it. Literally every other single factor in Blade Runner 2049 is A+ work. The direction, the cinematography, the production design, the acting, the writing, the action, the special effects — seriously, damn near everything. On top of all that, the film has something very interesting to say about the nature of artificial intelligence, and has the time to also provide a useful and throught-provoking twist on the standard hero’s journey. Blade Runner 2049 is everything I could want from a piece of science fiction, and that’s something coming from a guy who doesn’t even love the original. Everyone always says that Blade Runner is a masterpiece, and I’m just left kind of shrugging my shoulders at the concept. But if they say that Blade Runner 2049 is a masterpiece? I would high-five them effusively, because they are 100% goddamn right.
But, alas, there were TWO masterpieces of film released in 2017…both of which, coincidentally, were co-written by Michael Green (that dude is my MVP of the year, that’s for sure.) But as much as I loved Blade Runner 2049, no film in 2017 had a larger impact on me than James Mangold’s Logan. Which, like Blade Runner 2049, surprised the hell out of me. I liked Mangold’s previous The Wolverine a lot, and thought Logan had a lot of promise in the first trailers, but damn — I never expected to fall head-over-heels in love with the film as I have. It’s the kind of movie that I watch pretty much awe-struck the entire time, absolutely captivated by what is unfolding on the screen in front of me, and mesmerized by how pitch-perfect it all is. The final journey of the X-Men’s flagship character does not deserve to be this incredible, or this unique, or this as emotionally devastating. I was not prepared for how gob-smackingly great Logan would be when I saw it the first time and, after it was done, I just sat in my seat in silence as I took it all in. It was my favorite movie of the year at that point, but of course it was only March — I figured that would change as the weeks went on.
It never did. While my list adjusted wildly on a day-to-day basis (hell, I’ve even made a few switcheroos while writing it right now), Logan never shifted from the top spot of it. Just to make sure I wasn’t inflating my opinion of the film, I rewatched it again (purchasing the $30 Best Buy steelbook version of the Blu-Ray, a rare home video splurge for me that I don’t regret in the slightest.) And I loved it just as much, if not more, the second time. This is everything I love about superhero movies, and apocalyptic stories, and just damn good character dramas. The action is incredible, the writing is incredible, the performances are incredible (goddamn you Academy for ignoring Patrick Stewart’s heartbreaking performance as the dementia-riddled Professor X), and the central relationship at the core of the film is so powerful and true that the final few minutes leaft me a destroyed, emotionally abused mess…in the best way possible, of course. Few pieces of pop culture have left an impact on me as strongly as the ending of Logan did. But it took two hours of other perfect storytelling to get me there, and that alone makes Logan a masterpiece of the superhero genre — and my favorite film of 2017.
But, once again, it was a stacked year, so the competition was fierce for the title. But going into 2018, I can only hope for half as many great films as we got in the past twelve months. Like 2017, we’re going to need it if we hope to make it through another goddamn year of Donald Fucking Trump. Here’s to entertainment in 2018 — may you coddle us all up in a blanket of sweet, sweet comfort for as long as humanly possible.
Also published on Medium.
Disney Is Rebooting The Muppets (Yes, Again) And A Whole Bunch of Other Dormant Properties For Their New Streaming Service
Honey I Shrunk the Kids, Father of the Bride, The Parent Trap, the concept of time itself. You know, the usual.
Disney has conquered mainstream Hollywood. That is an undeniable fact, if you ask me — between their Marvel and Star Wars output (not to mention their live action remakes, animated films, and projects from Pixar), Disney seems to be the only big studio thriving in the modern age. But as much as that seems like a compliment to Disney, it’s also something of a dour note for the industry overall — things are rough for theatrical film, for a variety of reasons. But perhaps the most substantial one is competition from the world of cable, Broadcast, and (especially) streaming outlets. When you are routinely getting things of the same (if not better) quality out of TV and streaming, why even go to the theater? The question is baffling to me (because it’s a movie theater, that’s why!), but not for the majority of Americans — ticket sales are the worst they have been in decades, as people would rather get their entertainment fix by staying at home and watching Netflix.
And Disney knows this. They are content with having conquered the ashes of traditional Hollywood, but they aren’t idiots — the media landscape is changing, and they want to be just as viable in the new one as a Netflix or HBO. So they are creating their own streaming service, and taking the battle for entertainment supremacy to Netflix in a big way.
But in building their new streaming outlet, I was rather curious how Disney planned to convince people to subscribe to their service when there were dozens more out there competing for the same eyeballs (and monthly set of dollar bills.) Well, today we got a pretty big hint in how Disney plans to build out their streaming portfolio and, no surprise, it’s taking advantage of their biggest asset: all the well-liked shit they have made and/or acquired over the last century. Brands are king for Disney, and they very much seem to be putting those at the forefront as they dive into this new frontier. Call it a safety blanket if you want (I will: it’s a safety blanket), but it has served Disney well in the last decade, so
…reboot time it is!
Of course, many of Disney’s bigger properties have already been rebooted or remade on the big screen, leading the selections for their streaming stuff to be a bit lower tier. The biggest property announced today for the potential reboot treatment is The Muppets, who Disney acquired from The Jim Henson Company back in 2004, and have since been left scratching their heads at what exactly to do with it. Things seemed great at first when the Jason Segal-led reboot film managed to enliven the love for the franchise, and perform pretty great at the box office to boot. But then Muppets Most Wanted came out and, despite being a whole lotta fun, underwhelmed at the box office. It seemed The Muppets would not be the blockbuster franchise Disney was hoping for.
So they transferred the property back to TV, relaunching a new series simply entitled The Muppets. This series had a promising hook (basically The Muppets meets 30 Rock, through the mockumentary lens of The Office) but it failed to get an audience on ABC and, quite frankly, wasn’t even all that good to begin with. Then a whole controversy broke out when longtime puppeteer/Kermit the Frog voice actor Steve Whitmire was fired from working on the property. He argued that Disney’s plans for the character was against what Henson would have stood for. They argued he was a shitty worker who didn’t play well with others, and everyone else was glad to be rid of him. The truth probably rests somewhere in between the two stances, but that didn’t make the controversy anymore crippling for The Muppet brand. They laid low for a year or so, only popping up to make wacky promotional videos and the like for the franchises’ various social media pages.
But apparently, Disney still thinks they can make this thing work in a big way, as The Hollywood Reporter confirms the Mouse House intends to bring the property to their new streaming service. Which, by the way, could use a name pronto. I’m tiring of just calling it “their new streaming service.” Judging by what they seem to want to put on it, maybe simply “Reboot” will do?
Kidding aside, The Muppets isn’t the only reboot Disney plans to anchor the service with. Also in the mix according to THR is film properties like Honey I Shrunk the Kids (you, know the Rick Moranis movie about shrinking kids), Father of the Bride (you know, the Steve Martin movie about being the father of the bride), and The Parent Trap (you know, the Lindsay Lohan movie about trapping parents.) This is in addition to previously announced reboot fodder like High School Musical and The Mighty Ducks which, yeah, were all certainly things at one point in time. They have name value, and that’s all that matters to the house that Micky Mouse built! At least there will be some top shelve franchise extinctions from brands like Star Wars, Marvel, and Pixar’s Monster’s Inc. And, who knows, maybe an original property might sneak its way in there!
…But no promises.
Also published on Medium.
Let’s Speculate Wildly: Is Marvel Laying The Groundwork For A Thor Crossover In Black Panther 2?
The endings of Thor: Ragnarok and Black Panther could open up quite the intriguing storyline for Black Panther 2…if the studio chooses to explore it.
***This post contains spoilers for the end of both Thor: Ragnarok AND Black Panther. Don’t read this if you haven’t watched either film. You have been warned.***
I had a lot of thoughts floating through my head as I watched Black Panther this weekend. First and foremost was awe — Marvel pulled off another great movie, which is increasingly becoming the norm for that company. Secondly was tremendous respect for Ryan Coogler, who managed to not only deliver an incredibly fun superhero movie, but a blockbuster with something important and fascinating to say. Third was a simple wish to have Letitia Wright as my new best friend which, c’mon, shouldn’t be that hard, right?!
But one thought that was in the back of my mind throughout most of Black Panther was, admittedly, a rather geeky one. And the kind of geeky thought that stems from nothing more than the rather childish instincts of having all my favorite toys playing together. Sure, that is a major part of the fun that the Marvel Cinematic Universe represents, but it doesn’t make the instinct of “oh, what if these two met and became BEST FRIENDS?!” any less of a reductive thought. All that being said…wouldn’t it be super awesome if Thor: Ragnarok’s Valkyrie met the Wakandians?! I mean, she would LOVE it there, right? A warrior culture of advanced lifeforms who are primarily protected by a troop of badass, all-female fighters? She would have SO MUCH fun! And since she was the undeniable MVP of Thor: Ragnarok (next to Korg, at least), it would be a lot of great to see her hang out with the great ensemble that was built up in Black Panther.
…Which got me thinking.
The way Thor: Ragnarok ended left a huge question mark in that particular area of the MCU. Choosing to literally destroy all of Asgard, leaving its occupants in flight and in search of a new home, was kind of a ballsy choice for the sequel. And then when Thor suggested immigrating to Earth in the final line of the film, I couldn’t help but stifle a chuckle. The world can barely handle the people it has — Thor is in for a rude awakening if he thinks that they will just invite a whole crop of alien refugees to share their resources. In a post Brexit, Syrian refugee crisis world, the idea of the Asgardians just coming to Earth and being welcomed with open arms is (sadly) laughable.
But, regardless, the question still remained: what would become of the Asgardians as they made their way to Earth? Clearly, Marvel has a plan here, as it would be very unlike them to set up this plot point without ever addressing it again in the future. If they had no plan for the ship full of Asgardians, why even save them? Well, I have a theory: they were saved because they will serve an important purpose in a future MCU installment. Namely? Black Panther 2. Or whatever it will end up being called. Marvel doesn’t like numbers anymore.
But that’s beside the point. Let’s now shift focus to the aforementioned Black Panther, which concluded with King T’Challa finally realizing (through the inactions of his ancestors) that Wakanda could no longer be a nation of isolationist. That, in the modern world, Wakanda could just not turn its back on people who need aid. He spoke to the UN about creating “bridges” rather than barriers to outside countries, which made for a rather rousing and uplifting message for the film to conclude on.
But what made Black Panther a great movie is how it didn’t rely on moral absolutism, even for things that seemed obvious (i.e you should help those that need it.) Killmonger was one of Marvel’s best villains because he had a point, and was correct in many of his stances towards how Wakanda was doing a disservice to the world. But opening the doors to the outside world has its fair share of potential issues and problems too, which the film briefly addresses as light rebuttals to Killmonger’s main points. If Wakanda shared its advance knowledge with the world, how much of it would be used for ill? What responsibility does Wakanda even have towards the world at large? Should it take precedence over their well being as a singular culture? The film wisely doesn’t provide clear-cut answers for these issues and, though what T’Challa does is ultimately the “right” thing, the right thing can often lead to consequences of their very own.
Which is what I imagine the potential sequel will tackle. Just like how Iron Man 2 delt with the fallout of Tony revealing his identity to the world, and how Captain America: Winter Soldier dealt with the fallout of Steve Rogers being a man out of time, Black Panther 2 will absolutely have to tackle how the massive change in status quo for Wakanda impacts its people and their king. And what better way to do that then by actually showing Wakanda literally opening its doors to another people? Say another people with an equally strong sense of culture and traditions, who are currently floating through space without a home of their own? If my theory is even slightly correct, than Wakanda would be the perfect place for the Asgardians refuges to settle…and Black Panther 2 would be a perfect place to give such a move its due.
After all, such a migration would lend a Black Panther sequel a ton of interesting, relevant themes to dwell upon, themes that can build upon those of the first Black Panther, and can be just as politically relevant and insightful. What kind of conflicts arises when two ancient, powerful cultures are forced to share the same living space? What becomes of the nation of Wakanda when it actually puts its money where its mouth is and adopts a more multi-cultural approach to its civilization? Would doing so risk diluting the culture of Wakanda as it stands, erasing the identity of the people with it? And how would the Asgardians, previously a nation of conquerors and “protectors” over all others, move into a more submissive position in which they have to rely on another people for support? And how would the two kings caught in the middle (Thor and T’Challa) deal with such a cultural clash? Now normally I wouldn’t predict a superhero blockbuster to so strongly address a real-world issue (in this case, the Syrian refugee crisis), but I sure as hell didn’t expect Black Panther to address the themes it did either. So if any modern blockbuster series would, it would be this one. The themes are already baked into its DNA, after all, and the way the way the overall story is moving in the MCU itself would seem to lead to such a plot turn.
And while I can see certainly see a bit of cynicism to the concept of Black Panther 2 so heavily absorbing another branch of the MCU (“What, does Marvel not think Black Panther is a strong enough series to support itself without a big crossover?), I think the potential of the story outweighs the fear of this becoming a paint-by-numbers superhero team-up film. And recent Marvel history not only shows how open and willing they are to play with their characters in this way, but also gives them the benefit of the doubt to do it. Even if this hypothetical Black Panther includes Thor and his brood of supporting characters (who at this point are only Valkyrie and Heimdall, really — technically Loki is with him too but, let’s be honest, that dude is TOAST come Infinity War), I trust the people at Marvel can find a way to add these characters into the world while still allowing the movie to be a Black Panther sequel. Throwing in Hulk for Thor: Ragnarok never made that one feel like less of a Thor movie. And, despite what could have happened, Spider-Man: Homecoming remained a Spider-Man film, and didn’t ever become “Iron Man and His Amazing Web-Swinging Friend” as initially feared. Hell, Captain America: Civil War included nearly all the Avengers in substantial roles, and I still feel like the center of the story was on Steve Rogers and his overall arc. I see no reason why bringing in Thor, Valkyrie, Heimdall (and, of course, Korg) would take away from the focus of the story being on T’Challa, Shuri, Nakia, Okoye, W’Kabi, M’Baku, et al. And the dramatic potential this story could have on the Black Panther AND Thor characters far outweighs the potential negatives, in my mind.
Of course, I have to end all this blatant fan theorizing by stating the obvious: I have no idea whatsoever what will happen in future Black Panther installments, or the rest of the MCU for that matter. Everything I am writing here is pure conjecture, based on nothing, and I very well could be wrong about where this entire thing is heading. After all, Avengers: Infinity War is going to come and blow all my MCU theories out of the water anyways. What the shape of this universe will be post-Infinity War/Avengers 4 is anyone’s guess. For all I know, Infinity War might go full Alien 3, and begin with Thanos killing off every Asgardian aside from Thor. But, like I said, I have more faith in Marvel’s storytelling abilities than that.
And even if Black Panther 2 doesn’t have anything to do with the universe of Thor and its characters…I have to imagine there will be a grander purpose for the Asguardian refugees. And with the movie directly after Thor: Ragnarok concluding with a separate, powerful group deciding to open their borders and help those in need (including by taking in refugees, as directly stated by Nakia earlier in the film)…well? All I can do as a viewer is try to connect the dots.
…AND fanboy out about my favorite characters meeting some of my other favorite characters. Valkyrie and Okoye need to swap war stories about protecting kings. And share fighting tips. And just be awesome, in general. And since the MCU is built specifically to facilitate such team-ups, I argue: why the hell not? We might end up getting something pretty damn interesting out of it along the way.
Also published on Medium.
Thanks For The New Incredibles 2 Sneak Peek, Disney, But…Please, Sir, May I Have Some More?
Or just move the release date to tomorrow. You know, whatever works.
Fourteen years. Fourteen goddamn years. That’s how long we’ve all been waiting for a follow-up to Pixar’s The Incredibles, and I quite frankly can’t wait another second longer. Unfortunately, the film isn’t coming out until this summer, so I’m left waiting many million seconds more. Approximately 10,398,000 of them, in fact. But, ha ha, who’s counting?!
Yes, the wait has been rough but, at this point, we’ve already waited nearly a decade and half…what’s another three months? That’s what I am telling myself, at least. And unlike in the previous years, we’re actually getting to see something from the film, and receiving concrete proof that yes, this sequel is real and coming soon. And though the initial teaser trailer and posters only gave us a quick hint at what was to come for the film, this new “sneak peek” aired last night during the Winter Olympics gives us by far our biggest glimpse yet of the superhero sequel.
Why is it referred to as a “sneak peek,” you ask? Honestly, it beats the hell out of me. At a minute and a half, this more than qualifies as a teaser trailer, even more so than the 55-second one released in November. And this trailer actually delves into the plot of the film, which is once again more than you can say for the first teaser trailer. But, for Disney, this is nothing but a mere “sneak peek.” Let’s just hope the semantics are only to serve the release of a full-length trailer in the not to distant future (maybe with Wrinkle in Time in March? With a final trailer in front of Avengers: Infinity War in May? I certainly hope so!)
But labeling of marketing material aside, let’s talk what actually happens in this “sneak peek.” The footage opens right from where the first one ended (with the attack of the Underminer), which is a nice little bit of continuity between the two films. But though the original Incredibles ended with the promise of the superpowered family being able to fight crime as public heroes, this footage quickly establishes that it wouldn’t be so easy. And considering the impressive world that was built in the first, that’s not too much of a shocker — the golden age of heroes making a comeback seemed like it would be an uphill struggle, and Mr. Incredible makes that quite clear in the opening of this footage.
Of course, it doesn’t take long before the superhero shenanigans commence once more, this time around led by Elastigirl/Mrs. Incredible, and bankrolled by new character Winston Deavor, very clearly (and delightfully) voiced by Bob Odenkirk. Of course Deavor will probably turn out to have interior motives in trying to restore the world of super-heroics (and working with Elastigirl to do it.) For now though, Elastigirl gets to have a cool motorcycle and cool grey outfit, which is enough for this sneak peek.
Other than that though, the brunt of the new footage rests with Mr. Incredible in stay at home Dad mode, first teased in the last trailer. As funny as some of this looks to be (I particularly laughed at Mr. Incredible’s rant about how math is different, both very much in character for him AND performer Craig T. Nelson), I will admit, this plotline runs the danger of being somewhat hokey. While I’m all for Elastigirl taking the lead (and essentially upending the status quo of the last film), I do think this story runs the risk of being the standard “ha ha, Dad’s can’t parent, what a buffoon!” storyline we’ve seen time and time again. I mean, do we really need Mr. Mom with superheroes? Eh, maybe. If anyone could make it work, it would be Pixar.
And, besides, fuck reservations — I’m supposed to be excited for this one, and this sneak peek mostly made me plenty. I mean, look, it’s Frozone! And Edna Mode! And the Demon form of Jack-Jack! Come on now, my excitement remains through the roof. And if I’ve learned anything from long in development sequels like The Phantom Menace, Ghostbusters, The Hobbit, and Tron Legacy, it’s that being unreasonably excited for something is a recipe for being completely, 100% satisfied. Always!
Incredibles 2 (no “The,” it’s cleaner) hits theaters June 15.
Also published on Medium.
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