The Washington Posthas a great 'condensed' time line of all the key events leading up to Avengers: Endgame. If you've lost track or missed a few episodes this will save you dozens of hours of catch up viewing. Fair warning, it might also cause you to question why you spent so much of your life invested in this crazy shit.
I dips me lid to Havoc for bringing this to my atention over on the Book of Face. DANGER CLOSE, a retelling of the Battle of Long Tan. Not sure how I missed it before. I cant tell if the script is any good from this clip (although I'm amused by the need for subtitles.) I think the actors and producers have done well to capture the character of the soldiers from that era. They look normal, eve a bit vintage, not like the muscle mountains of the present day.
I will be interested to see whether the Vietnamese get to be three dimensional characters or simply bullet fodder. I thought the Mel Gibson film (We Were Soliders Once, And Young) did reasonably well for a Hollywood effort on that front, even if the humanisation of the Other was all invested in one character.
I took in this film on the weekend with Jane. It was good. That's really all the review you need, but this being the internet, fapping wankbadgers require I do more.
I'll fess up that I didn't know the Captain Marvel character before watching this film. I did read a long, explanatory thread on the Twitz, by the author Wesley Chu as I recall, who laid out the entire fascinating history while standing in a car park after a date.
His date abandoned him, but at least I got a great thread to read. Long story short, Captain Marvel go caught up in an IP dispute between US and UK comic publishers who finally swapped the character's gender and name to avoid a copyright suit.
Perfect. I love it.
Having no investment the canon I came at the movie without preconceptions. Honestly, I found the first Act a little confusing. But it quickly became obvious why. Brie Larson's character Carol Danvers is still discovering her own history and her imperfect memory is far from a reliable narrator. If you find yourself thinking, "What the fuck is going on here?" it's because the writers and producers WANT you to be thinking exactly that.
For fans of the greater Marvel Cinematic Universe, the main narrative sequence predates the events of last year's Infinity War by about twenty years. Larson's character, who undergoes a number of name changes as she recovers her memories and personal history (but is never once called Captain Marvel) arrives on Earth in the 1990s, literally dropping into a Blockbuster Video store. Even back then, it's looking dilapidated and I did enjoy this piece of proactive retrofuturist nostalgia.
Speaking of which, Agents Coulson and Fury are much younger and largely unknown to each other. They haven't yet gone full to Men in Black mode, and Danver's arrival is a large part of the reason why they do, and why Fury eventually sets up the Avengers Initiative.
You dont need to know the plot. There's an alien war, it spill's over here. A lot of preconceptions are set up and turned over.
My bottom line is I enjoyed it hugely. Larson really makes the story and character arc work. By the end of the movie she is effectively Superman with a double X chromosome. Seriously, she would kick the Man of Steel's shiny ass. She'll be a great addition to the roster when the Avengers return.
Can't believe how much I'm looking forward to watching a movie about Dubya's Veep. But I am. The Big Short, by the same guy, was the just about the best explanation of the Great Recession I ever saw, read or heard. This looks even better.
Posted September 10
into Movies by John Birmingham
Animal House popped up on one of the streamers a few weeks ago—just checked, it was Netflix—and I started it rolling for no reason other than a quick nostalgia fix. I think I first watched that movie in Canberra when I was working for defence and sharing with a couple of other blokes, one of whom nowadays might not be a million miles removed from the office of the Secretary of the Department of Defence. We were all newly stranded in Canberra, first year out of uni, and most Saturday nights we'd get a few beers on board and rent some video tapes. That's how long ago this was. No DVDs, just tapes. I knew about Animal House of course. It'd been out for a years but was already a pop cultural touchstone. We watched it and probably watched it again before returning the tape. I rewatched it many times afterwards and retained fond if slightly hazy memories decades later. It was kind of odd going back. It was still funny in parts, but the humour felt more elegiac — funny because I recalled that it had been funny once upon a time. There was a sort of naive quality to it, which was only partly a function of setting the story in 1962 before the violent atomisation of the later Sixties. There was also something new. Real awkwardness. Not so much with the white monocultural cast. That was historically on point, although I doubt any film maker would get away with it now.
Rather, the sexual politics of Animal House feel... a little uncomfortable. There are no outright rape jokes, unlike a period 'classic' such as the original Ocean's Eleven, for instance. But jeez, there's some problematic content, as the kids might say... If the kids are into policing the boundaries of acceptable discourse. The racial inequities of the time, especially the clueless liberalism of the monied elites, are actually well neatly caught in the byplay between the Delta's and Otis Day and the Knights. But in the #MeToo era its the film's gender biases that strike a loud, discordant note. Two moments in particular; chapter president Robert Hoover's winking joke at 'taking a few liberties with their dates', and Eric Stratton's gross seduction of the hottie from Emily Dickinson College. There are more, and the movie is doubtless a pale reflection of a much darker reality... but I was struck by how differently it played now than when I first watched it all the back in the 1980s.