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Review: Power Rangers

Mar 23 // Nick Valdez
[embed]221258:43472:0[/embed] Power RangersDirector: Dean IsrealiteRelease Date: March 24, 2017Rated: PG-13 Power Rangers follows the well-known roots of the original TV series. Five teenagers -- Jason (Dacre Montgomery), Billy (RJ Cyler), Kimberly (Naomi Scott), Zack (Ludi Lin), and Trini (Becky G) -- stumble on five mysterious coins granting them superpowers. Upon discovering a spaceship deep underground along with a giant face-in-the-wall Zordon (Bryan Cranston) and robot Alpha 5 (Bill Hader), the teens learn they're the latest team of Power Rangers, colorful suited heroes who need to protect the Zeo Crystal from good-girl-gone-bad Rita Repulsa (Elizabeth Banks). The PG-13 rating and big screen budget affords the film some great updates to the original series' ideas, but at times also feels like a two hour fan film when the goofy series terminology (words like "morph" and the "Zeo Crystal," which will mean more to fans) is juxtaposed with the grounded world of the film.  Thankfully when I say "grounded," I actually mean a deeper look at characterization and themes inherent in the series and not "dark and gritty." You're not going to, say, see Zack shoot someone in the face but will definitely hear him make a masturbation joke. The risque' jokes and sultrier villain help carve out a much needed separate identity from the TV series, but these kinds of additions tend to make for a confusing film overall. It's hard to gauge exactly who the film is meant for when some of the jokes and situations may be a bit too complicated for the current intended fanbase (kids) yet it's not afraid to dive into hokey territory at times to make cede kids happy. There's also so much drastically different from the original production it'll alienate nostalgic curiosity. But in that same breath, Power Rangers often bends over backwards to include bits of unnecessary fan service to cater to old fans, undercutting its own footprint. So it ends up perceived as non-committal to either vision. No one is going to be truly happy with the film's tone.  While its tone may be at war with itself, Power Rangers absolutely nails the chemistry of the core five. Aided by the fact they're all relatively unknown (save for RJ Cyler and Becky G, who turn in the best performances of the group), these five carry the film through its rougher patches. Scenes that wouldn't work elsewhere or ebb the flow of plot, such as one where five teens sit around a campfire and share their biggest secrets without prompting, manage to land because the cast is so enjoyable to watch. The great focus on characterization allows each of them to find their groove in the film and give the Rangers a much needed personality. It's why you see their faces during the big Man of Steel/Transformers sequence (where the Megazord fights Goldar through Krispy Kreme Grove), too. As unique as Power Rangers' fights should be, they devolve into CG nonsense you'll find elsewhere. But the chemistry of the team I came to love by the end adds a much needed humanity and fun while teasing much better films (presumably) to come.  Elizabeth Banks' Rita is also truly remarkable. Finding the sweet spot between scenery chewing and serious, each of her scenes is a highlight. Banks helps to balance the sometimes overwrought seriousness of the Power Rangers' tone with her charismatic cheese. Bryan Cranston's Zordon is fine, but I'll give him credit for going full body make-up for the role. I find myself at war with my "fan" reaction to the film since I dig the layered characters (as Billy reveals he's on the Autism spectrum and one character hints at a potential homosexual identity), the original theme gets used once (it's poorly timed, but has a nostalgic angle fans would instantly recognize), and even the suits look nice when standing still (which is something I never thought I'd believe, really), but then there's a masturbation joke not five minutes in after a boring "gritty" title card once again revealing a clash of tones holding the film back. I suppose the project would have landed better had it a director who wasn't prone to much of the generic blockbuster film camera angles and quirks. Power Rangers' flow stutters as development often comes to complete standstills, but then moves to scenes where concepts are introduced pretty rapidly (and several poorly soundtracked montages). I know this is probably weird to say with as loud of a property as this, but I enjoyed the quiet moments of the film rather than when it played out like an expensive music video. The final battle has something, like, six track changes and that's only one example of the film never quite getting comfortable with itself save for a few brief scenes. Even if it's not comfortable with itself, that does not mean it escapes franchise building. There's no saving it from feeling like the first entry of a larger series rather than a single entity. Make no mistake, I have no delusions over the quality of the Power Rangers property. This was tough to adapt, I'm sure, and the end result is much better and worse than I had anticipated.  Much like Power Rangers, I too am confused. Although I didn't like a lot of its editing choices, and feel like it could've been trimmed for brevity, I want to see this cast in another film with all of the kinks ironed out. There's powerful potential here, you just have to sit through this one first. 
Power Rangers Review photo
Oh, I have a headache
More so than any of the reviews I've written, I feel I have to preface this one a bit. Since I (literally in some cases) hold the Power Rangers brand so close to my chest, I've been keeping a close eye on the reboot since the...

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First trailer for Netflix's live-action adaptation of manga / anime Death Note


Mar 22
// Rick Lash
It's been a while since we reported on the adaptation of the Death Note manga, but apparently director Adam Wingate and crew have been busy for there's a new trailer for the Netflix original film Death Note: Death Note ...
Michael Shannon as Cable? photo
Michael Shannon as Cable?

Michael Shannon is the frontrunner to play Cable in Deadpool 2


Michael Shannon should play everyone
Mar 22
// Hubert Vigilla
Logan had a lot going for it. In addition to the pathos of an aged Wolverine, the film featured a surprise promo for Deadpool 2. Now, Deadpool 2 isn't in production yet, but Fox likes money and they want to make more of ...
MST3K trailer photo
MST3K trailer

The first trailer for Netflix's Mystery Science Theater 3000 has arrived... TUSK!


Is that an Inframan reference?!
Mar 22
// Hubert Vigilla
After breaking Kickstarter records and making nerds of a certain age feel nostalgic, Mystery Science Theater 3000 is officially back with 14 episodes and gearing up for a Netflix premiere in April. Over at Entertainment Weekl...

Captain Underpants photo
Captain Underpants

First trailer for Captain Underpants surprisingly light on underpants


What is this?
Mar 22
// Matthew Razak
I am out of the loop. Or out of whatever loop the Captain Underpants worldwide phenomenon was occurring in. For that I am sorry, for it seems I was missing out on something quite clever and funny.  The first trailer...
Honest Trailers: MMPR photo
Honest Trailers: MMPR

Honest Trailers looks at the Mighty Morphin Power Rangers movie from 1995


Is that Oscar Isaac as Apocalypse?
Mar 22
// Hubert Vigilla
Our own Nick Valdez has been writing numerous features and lists for Power Rangers Month, examining the various iterations of the show in the lead up to the new Power Rangers movie this week. That's a lot of repurposed footag...
Tony Hawk video game doc photo
Tony Hawk video game doc

Help crowdfund a documentary on the Tony Hawk's Pro Skater games


Chain them grinds w/ kickflips & manuals
Mar 21
// Hubert Vigilla
I have fond memories of the first couple Tony Hawk games, particularly the first three Tony Hawk's Pro Skater entries for PS1. Sure, the Tony Hawk franchise has seen lots of downs the last couple of years, but the fond feelin...

What if Lewis Tan played Danny Rand in Iron Fist instead of Finn Jones?

Mar 21 // Hubert Vigilla
[embed]221386:43470:0[/embed] We'd Get Far Better Fight Scenes Above is the Iron Fist fight scene that everyone's abuzz about. Lewis Tan is an actual martial artist. He's built like an athlete. He moves well. He looks comfortable throwing punches, kicking, and rolling around on the ground with a sense of purpose. By comparison, not once does Jones move like a martial artist. There's no rhythm or ease or fluidity. Jones moves like a guy fighting, not a fighter--big difference. The directors used a number of techniques to make up for Jones' shortcomings as a martial artist: odd camera angles, shaky cam, obscuring close ups and long shots, excessive cutting, fighting in shadows or bad lighting, fighting in a hoodie. Whenever I couldn't see Jones' face, I just assumed a stunt performer was doing the fighting for him. Watch the fight above again and notice how little you see Jones' face when complicated moves or reactions are required. (Also, who'd want to fight in a hoodie? That would cut off your peripheral vision.) Whenever Jones has to do the fights himself, he looks clumsy. He lacks the instinctual poise and physicality of a trained fighter. He doesn't even have the body awareness, confident footwork, or balance of a dancer. Had Lewis Tan been cast as Danny Rand, you wouldn't need to make up for a lack of martial arts skill. Tan would be able to perform fights and stunts at a high level. He'd collaborate with the fight choreographer and action director since he'd know what he's capable of doing as a martial artist. They might even go beyond drunken boxing and use animal styles, traditional weapons like jians and three-section staffs, or a good old-fashioned horse bench fight. (If there are two things I love, it's three-section staffs and a good old-fashioned horse bench fight.) [embed]221386:43471:0[/embed] Someone like Tan could radically transform the fight scenes in Iron Fist. Fights in the show currently feel like perfunctory spectacle. Instead, with a martial artist in the lead, we'd explore Danny Rand's character through action. He'd have an actual fighting style that's individual and idiosyncratic, something that Jones never develops in 13 episodes. Bruce Lee moves a certain way, Jet Li moves a certain way, Jackie Chan moves a certain way, Donnie Yen moves a certain way. Danny Rand, the world's greatest martial artist, should also have a character-defining physicality. It may also be a way to define K'un-L'un's martial culture and imply what its larger fighting philosophy might be. Tan doing the fights himself would change the way the fight scenes are shot. Camera angles and movements could be used with greater care rather than to obscure faces. Fight scenes could be edited with rhythm, and cuts would be defined by body movement and action. It's nice to have a hero who doesn't have to fight in a hoodie or in the dark so much. The fights may also be able to tell certain kinds of stories, with Danny not just overpowering his opponents but outsmarting them. Overall, I think the action in Iron Fist could potentially be on par with Daredevil. It would have its own flavor as well since the fighting in the show wouldn't be like any of the other Marvel shows. More than anything, Tan could make Iron Fist feel more like an actual martial arts series. Confronting Asian Stereotypes While I'm okay with Danny Rand as a white guy in theory, I'm also aware that he is an artifact of a time and an iteration of a well-worn trope. I'm also okay with Danny Rand as an Asian guy because that's far more interesting than what we got in the show. It's the 21st century, so maybe old versions of characters can be reinvented for their times and for a new medium while retaining the original spirit. By casting an Asian-American as Danny Rand, the show could explore issues of race, identity, Asian stereotypes, and orientalism. Even just optically or subtextually, these topics matter when it comes to the traditions and cultures involved. Finn Jones' constant meditating, doing origami, and spouting off fortune cookie mysticism is some unintentionally awful and unavoidable pseudo-yellowface dreck. It's not even quaintly bizarre appropriation like the Billy Jack movies; it's just uncomfortable. There are so many assumptions about Asian masculinity that can be explored through Danny Rand. Since we'd be dealing with an Asian-American character, that could lead to some exploration of different cultural expectations imposed on Danny by others. There's also the idea of an Asian in-between. Asians assimilate easily into American culture yet are simultaneously regarded as a racial/cultural Other. Or maybe the new version of Danny is half-Asian, which sets up another interesting racial dynamic. Ultimately an Asian-American Danny Rand would wind up playing with the idea of a return to a mother culture and how that affects personal notions of identity. In an interview with Vulture, Tan made a common yet astute observation about how Asian-Americans are viewed and view themselves: I think it would be really interesting to have that feeling of an outsider. There’s no more of an outsider than an Asian-American: We feel like outsiders in Asia and we feel like outsiders at home. That’s been really difficult--especially for me. It’s been hard for me, because in the casting world, it’s very specific. So when they see me and I’m six-two, I’m a 180 pounds, I’m a muscular half-Asian dude. They’re like, “Well, I don’t know what to do with this guy.” They’re like, “He’s not Asian, he’s not white... no.” That’s what I’ve been dealing with my whole life. So I understand those frustrations of being an outsider. (As an aside, I think Jordan Peele's Get Out offered a brief but memorable exploration of this Asian in-between state during the backyard party scene.) In addition to the above, the relationship between Colleen Wing (Jessica Henwick) and Danny Rand would feel much different. Maybe it's just me, but there's something about Jones as Danny that makes me think of guys who fetishize Asian culture (and especially Asian women) to an unhealthy degree. Maybe it's also the quality of Jones' performance--it's awfully patrician and leering instead of being flirty. The issues may be obviated with an Asian lead, or maybe these issues can become part of a more explicit exploration of racial fetishism. Representation in the Media On the note of Colleen Wing, I can't help but think of how cool it would be for a high-profile series to feature two Asians of mixed descent as leads. Admittedly, part of this stems from being an uncle now. I wonder how my niece might see some aspect of her identity reflected in pop culture. I suppose one day there may be a show about a half-white Jewish Filipina that will mirror my niece's own upbringing. When that happens, we'll probably have flying cars and be living in a post-scarcity utopia. Let's hope we get there. In all seriousness, I wonder who my niece's role models might be. I also wonder what people may think of my niece based on appearance alone. And that's why representation matters. More people and more voices and more experiences means more stories that we may not have heard and should hear. These narratives are machines for developing empathy and mutual understanding. In the case of Iron Fist, this machine also happens to hit bad guys in the face. (Woody Guthrie used to write that on his guitar until he thought of a punchier phrase.) There's something to be said about a show starring Asians just affirming the Asian martial arts stereotypes of the past. But that might be a lazy hot-take version of a bigger and more important conversation about old cultural ideas. Casting two Asian leads might be a chance to help deconstruct those antiquated notions about Asians whether they're the product of the 19th century, pulp fiction, or John Hughes movies. One show can't do it alone, so in an ideal scenario it will be one of many steps in the ongoing conversation of actual culture and how it's depicted in pop culture, and how both are these constructs in flux. The yellow menace can be inverted and undone, and ditto the sage-like magical Asian or the nerdy Asian math-god. I mean, come on, it kind of worked in The Last Dragon, all right? The Show Still Would Have Sucked Because of the Writing To paraphrase the bard of the squared circle Stone Cold Steve Austin, it's hard to make chicken salad out of chicken shit. With the current writers and producers, Iron Fist was going to suck no matter what. Even with a solid martial artist in the lead, it's hard to make a compelling character out of Danny Rand as written. He'd still be selfish and entitled. He'd still suck at everything. He'd still be prone to temper tantrums and amateur-hour decisions that wind up hurting people around him. I called him Anakin Skywalker with erectile dysfunction in the review because that's precisely how he comes across--a bratty crybaby whose rage gets in the way of his potential. Who wants to watch a frightened, confused jaboni as a hero? What's more, Iron Fist would still be rife with poor pacing and inert scenes. We'd still have to sit through conversations in corporate boardrooms, waiting for the delightful reprieve of someone philosophically punching bad guys in the face. To be honest, the Iron Fist fiasco makes me feel bad for Finn Jones. Even though he was on Game of Thrones, this was supposed to be his potential big break. It's been roundly panned, and he's taken the brunt of the criticism since he's the lead and has been inartfully defending an indefensible show during his press tour. This role has undermined whatever talents Jones may have. Now, he seems like the latest Blandy McBlanderson: an anodyne, interchangeable white male lead. Showrunner Scott Buck deserves a lot of the blame for the show's critical drubbing, and the same goes for the writers of Iron Fist. There's a fundamentally poor grasp of storytelling that goes beyond issues of representation and the problematic tropes of the past. Iron Fist is a martial arts show that doesn't give a crap about the martial arts. It's a crummy commercial for The Defenders, and it feels like it. Buck--who is credited with ruining the show Dexter in its closing seasons--is also the showrunner of Inhumans. If Iron Fist is any indication of how Scott Buck handles superheroes, I can't wait to watch Medusa and Karnak go over the finer points of purchasing supplemental insurance. Black Bolt will destroy a city with a whine. This is just a bigger indictment of the cynicism behind Iron Fist, a 13-hour set-up show for the next Netflix/Marvel product that fanboys and fangirls will watch anyway even if it's garbage. The writers and producers relied on old tropes and old approaches thinking they're sufficient, assuming people wouldn't be able to tell the difference between chicken shit and chicken salad. The billionaire playboy who travels to the far east is played out and needs to be put to rest. We need new kinds of stories, and there are plenty of voices out there waiting for a chance to be heard. There are also many unfamiliar faces we should be seeing. Had Lewis Tan been cast as the lead in the current version of Iron Fist, he'd be anchored to Danny Rand the bratty milksop, the least heroic and least interesting character in his own show. What a waste of potential, but man, what a resume builder.
Lewis Tan: Iron Fist? photo
Missed opportunity by Marvel/Netflix?
The first season of Iron Fist was the worst kind of disaster--a boring disaster. At least half of the season was devoted to a corporate takeover plot. Iron Fist features more scenes in corner offices and conference rooms than...

Review: Iron Fist (Season 1)

Mar 20 // Hubert Vigilla
[embed]221385:43469:0[/embed] Iron Fist (Season 1)Director: VariousRating: TV-MARelease Date: March 17, 2017 (Netflix) Everyone thought Danny Rand died with his parents in a plane crash 15 years ago, but he really survived and learned martial arts in a magic Himalayan city called K'un-L'un. He shows up barefoot in New York at his family's building, spouting off fortune cookie mysticism like a low-rent Billy Jack. This kicks off a protracted battle for control of the company rooted in childhood bullying and soap opera-style family resentments, which is just what fans of the character wanted to see, obviously. The pilot episode is so dully inert. with Rand trying to assert his identity while former childhood friends Ward Meachum (Tom Pelphrey) and Joy Meachum (Jessica Stroup) find different ways of say, "Nuh-uh, no you're not." Riveting. There's one slow, klutzy, 30-second fight in the episode with security guards. There is also a wise, disposable homeless supporting character who dies of a heroin overdose, seeding another season-long plot point. Iron Fist is a character who got his superpowers by punching a dragon in the chest, yet the show is treated with the aggravating seriousness of a prestige cable drama. The only saving grace of the plodding business drama stuff is Harold Meachum (David Wenham), the father of Ward and Joy who lives in hiding after faking his own death. Wenham is so invested in his character's giddy evil, and he oozes the charisma that's lacking in Jones as a lead. I can't blame Jones entirely for being so unintersting. He's not a good actor, but the writers give him nothing to work with. The second episode of Iron First takes place in a mental hospital, with Danny strapped to a bed most of the time. Beds are what I think about when I think of martial arts. Even a pseudo-tournament episode directed by the RZA feels static: Iron Fist ascends each level of a building fighting characters who have more personality than him. A skirmish in a later episode with a drunken-style fighter made me realize yet again how awful Danny is on so many levels. Iron Fist has feet of clay and a brain of rock. When he's not making the dumbest or wrongest decision, he's pilloried with self-doubt. His scowling facial expressions hint at tears on the verge. He's often so flummoxed with anger that he can't use his magic fist to punch things really hard. Danny Rand is Anakin Skywalker with erectile dysfunction. But yes, the fights. Oh god, the fights. Good fights tell stories. A character's fighting style reveals something about who they are inside, like some external manifestation of the self. They may have a signature move (Ric Fair's figure four leglock) or a unique weapon (Captain America's shield) or a personal fighting style (Ip Man's wing chun) that differentiates them from others. The primary characters in Iron Fist fight the same way--slow, clumsily, like actors in a martial arts show rather than martial artists. Their movements vary only superficially, and there is nothing dynamic or unique about the fights that pepper the series. Danny essentially fights just like fellow martial artist Colleen Wing (Jessica Henwick) even though she uses a sword and they have entirely different martial arts backgrounds. The fights of Iron Fist all look like glacial, inartful brawls. Seasoned fighters are turned into mere goons. I expected more from a martial arts show, namely decent martial arts. The fights of Daredevil put this show to shame; ditto the action in Arrow and Into the Badlands and even every iteration of Power Rangers. The camera angles obscure movement in the frame, the shots are banal and shaky, and there are so many confusing cuts that interrupt the flow of the action to the point of incoherence. It's amateur hour in the dojo and the editing bay. What's more, the fights all feel so perfunctory, or even like a chore, as if the writers thought, "A fight scene? Aww, do we have to? I really wanted to get into that class action lawsuit subplot." We're told that the Danny Rand is the world's greatest martial artist, but he fights like a guy who took karate at the Y two summers ago. Why does a security guard with a knife give this guy so much trouble? The person Danny dispenses of the fastest in the entire show is a teenager he hits in the ankle with a shinai. He wasn't expecting it either (sucker shinai?) and Danny preceded his assault by verbally berating the dojo for not taking martial arts seriously. Some hero, right? Hell, Danny doesn't even take off his shoes when he's in the dojo. Didn't they teach you anything in K'un-L'un, buddy? I'm pretty sure they at least took off their shoes at the Cobra Kai dojo. A great martial artist and he has the emotional intelligence of a bratty 10 year old and the balance of a newborn fawn. Later episodes of the show seem to break the fourth wall and acknowledge that Danny is a really crummy character. While he's trying to rescue a person being held captive, Danny's scuffle with a goon leads to said captive getting stabbed in the chest. What a hero. After watching him fight, one character even says, "Wow, you really are the worst Iron Fist ever." The final scene of season one even has Danny tacitly acknowledge that yes, he really does suck at everything, doesn't he? Danny Rand's bumbling heroism makes Colleen Wing that much more compelling as the show's secret protagonist. She's a poor martial arts instructor who helps her students make smart, moral choices while she's struggling to make ends meet. She compromises principles, she shows generosity to others, she learns and grows from her mistakes. Henwick does what she can with the script, and she has enough presence to carry the scenes she's in amiably. I found myself grateful for every Colleen Wing scene--finally a character to care about (other than David Wenham's Evil Faramir). There's so much at stake for Colleen, and she has so much potential to carry a show on her own, but she's relegated to supporting status. Danny Rand is Jack Burton to Colleen Wing's Wang Chi, but in a boring version of Big Trouble in Little China that's mostly about the intricacies of the commercial trucking industry. "Have you paid your dues? Well, let me explain the importance of unionization in a field such as ours over a power lunch." By the way, we never see Iron Fist punch the dragon in the chest. We don't even see the dragon and we barely get a look at K'un-L'un. This was probably due to budgetary constraints. Everything about Iron Fist looks laughably cheap. I didn't touch on the issue of cultural appropriation or orientalism in this review, which is oddly the least of the show's problems. I'm actually okay in theory with Danny Rand being white so long as the show was interesting. The show is not interesting. You don't even need to watch it to understand what will happen in Netflix's The Defenders. That sort of completism is for rubes. Just read about the set up online. There'll be more illumination in three or four sentences than there is in 13 hours of dreck with a weaksauce ending. The story in your head will probably be better anyways. There's so much you can do in life with 13 precious, precious hours. Don't make the mistake of watching Iron Fist.
Iron Fist (Season 1) photo
Booooooooooooooring
Iron Fist is such a tremendous failure on so many levels that it's fascinating to dissect. It's not fascinating to watch, however. The latest Marvel series on Netflix is a 13-hour bore that's 15% martial arts show and 85% boa...

Every Sixth Power Ranger, Ranked

Mar 17 // Nick Valdez
19. Blue Senturion/Phantom Ranger -- Power Rangers Turbo Look at these goobs. Though never officially designated as sixth Rangers, both the Phantom Ranger and Blue Senturion fulfilled the role normally designated for the sixth. While Blue Senturion was introduced with a new set of powers and a zord, the Phantom Ranger was a mysterious guy that never got developed. There was apparently a planned plot to make him Zordon's son, but it fell through. It was probably because no one cared. Turbo was such a bad season overall, and it definitely suffered more with its terrible sixth Rangers.  18. Solaris Knight -- Power Rangers Mystic Force Look at this goob. One of Mystic Force's core issues were the numerous introductions to new characters without much follow through. One victim of this was the sixth addition, Solaris Knight. Debuting alongside some weird cat genie (which got its own special episode, one more than Solaris Knight had gotten), this was a Ranger that could've gone somewhere. Revealed to be the Red Ranger's long lost father, this guy used a lamp blaster gun and was just kind of an overall lamewad. He didn't have any of the majesty a legendary warlock Ranger required and just fell by the wayside after his introduction.  17. Mercury Ranger -- Power Rangers Operation Overdrive Look at this goob. Operation Overdrive had an entire team of goobs, but the one who stood out the most was the sixth addition Tyzonn. His story seemed interesting at first since he was a guy from another planet suffering from survivor's guilt after a team of rescue explorers he commanded had died on a mission. This was after he had been wandering around in a monster form for a few episodes too. But much like everything else that season, Tyzonn was an idea that went nowhere. He was latter shunted in favor of making him a weird dad always disciplining the rest of the team.  16. Gold Ranger -- Power Rangers Samurai What do you do when you cast a Thai actor for a Latinx character? Samurai seemed to think that meant turning him into a fisherman speaking in Tex-Mex. After being introduced by a flashback featuring the worst child acting in the entire series (which is saying a lot), Antonio came onto the scene spouting "fantastico" and using a fish blade. Admittedly he had a cool fighting style and was a shinier version of gold than seen in the past, but I'm sure this is one of those Rangers that made more sense in the Japanese version of the show. His dialogue was always annoying, but it is neat that he created his own zords...uh a squid and a lobster.  15. Gold Ranger -- Power Rangers Dino Charge  As you'll notice with a lot of these sixth Rangers, they all seem to be from another time or place. In Dino Charge, the Gold Ranger was Sir Ivan, a knight from some made-up country of Zandar. He was trapped in the body of one of the season's villains, Fury, until being freed during a big battle. But once his unique reveal was out of the way (he's the only sixth Ranger literally stuck inside of a monster instead of being one, being evil etc.) he was super boring. With his only quirk being occasional formal speech, his personality was bland. This wasn't helped at all by the eventual addition of four other Rangers to the team.  14. Robo Knight -- Power Rangers Megaforce Like much of Megaforce, Robo Knight didn't make any sense. Just as Turbo's Phantom Ranger and Blue Senturion weren't technically sixth Rangers, Robo Knight was this robot who apparently rested in the Earth for centuries until there was a threat to the environment. I mean, even if monsters had already attacked this guy didn't deem it necessary to intervene until some pollution mutants attacked. Once he was introduced, his whole schtick was being a robot who wanted to learn about human things (thus reading in the library seen above), but what's gotten him here over the others is that he eventually sacrifices himself to save the Rangers. But what knocks him back down is a revival a season later for no reason or explanation.  13. Ranger Operator Series Gold/Ranger Operator Series Silver -- Power Rangers RPM RPM was one of my favorite seasons of the series overall, but it also has some of the worst sixth Rangers ever. Twins Gem and Gemma were kids stuck in a laboratory developing young geniuses until the robot apocalypse destroys the place. Thought lost forever, the twins show up years later as the Gold and Silver Rangers. The had better suits and weapons than the rest of the team, but they finished each other's sentences when they spoke. It was this constant, annoying character trait that never ceased even as the series rolled on. The two didn't have time for character development either as they were introduced so close to RPM's endgame. Because of this, it's yet another idea that didn't quite fit the serious vibe of the season.  12. Lunar Wolf Ranger -- Power Rangers Wild Force Look at this goob. Like Dino Charge's Gold Ranger, Wild Force's sixth Ranger shared a body with a Wolf monster guy without knowing it. Also like most of the sixth additions, he was a warrior from another time who had silver streaks in his hair and really loved to play pool (loved it so much that his big super attack was pool related). On paper he sounds too goofy to work, and in practice this definitely rings true. But there's something about his goofiness that was just right for the series. Wild Force's season, overall, was this goofy message about environmental protection and the Red Ranger eventually went on to commit actual crime so it's a wash.  11. Super Megaforce Silver Ranger -- Power Rangers Super Megaforce In Super Megaforce, the team from Megaforce gained access to the powers of every past Ranger season and the sixth Ranger had all of the sixth powers. As a refugee from a war torn planet, Orion had all the makings of a good sixth Ranger. He had the most character growth out of anyone in the two seasons, but like a common complaint seen here he was just kind of boring after his introduction. Suffering from Super Megaforce's rapid pacing (and random episodes celebrating the anniversary), he rarely had any lines. Honestly, he made it this far up the list because his super mode included the goofily awesome shield seen above.  10. Green Samurai Ranger -- Power Rangers Ninja Storm Ninja Storm had a few problems, including how goofy their sixth Ranger eventually became, but this season absolutely nailed their sixth Ranger. Cam, son of the Ninjas' sensei and basically the Billy of the season (serving as the guy who provides tech and info), became the sixth Ranger after being sent back in time, learning a bit more about the Ninja code, and having a discussion with his deceased mother in order to gain confidence. It was a two-parter that was a highlight of the season overall. It felt like an earned, natural evolution of a character we'd seen since the first episode. The only thing knocking him back is his stupid baseball motif and electric guitar weapon.  9. Silver Ranger -- Power Rangers In Space Oh guess what? It's another guy from another world and time! After sustaining a severe injury, Andros (the Red Ranger of this season) seals Zhane a tube and waits two years for him to heal. Other than taking the boss ass suit from In Space and making it even cooler, this guy had a laser sword. There hadn't been enough laser swords in Power Rangers, oddly enough so this was a delight. Although his actor was bland, they actually gave Zhane a lot of personality. He was in a faux love triangle with Ashley and Andros, he had an on again, off again thing with the season's villain Astronema, he tricked the rest of the team into thinking he was dying, and he even dressed up as one of the Psycho Rangers in a creative way to beat one of them. After Turbo's lackluster sixth additions, it really helped to get a guy who actually did things.  8. White Dino Ranger -- Power Rangers Dino Thunder The first Ranger on this list to not come from another world or time. Trent was the son of the season's villain, Anton Mercer (who himself was a split personality of the actual villain of the season, Mesogog...long story), and gains Ranger powers when he stumbles on the White Dino Gem. Since Mesogog had given the gem evil influence or something, Trent's Ranger form is actually an evil Power Ranger that he can't control. After throwing around the team for a few episodes, he joins them in full (sound familiar?). But what's different about his introduction is the eventual cloning of his power, leading to a White Ranger vs. White Ranger fight (...sound familiar?). Trent was a bit of a lamewad that wanted to pursue art (...terrible art), and his evil self didn't really accomplish much when you boil it down. But at least he's a lot cooler than others on this list!  7. Shadow Ranger -- Power Rangers S.P.D. Doggie was the Chief of Space Patrol Delta who's wife was presumably killed by the season's villain. When he finally confronted the main villain, he was attacked by 100 monsters (eventually reflected by the cool "100" on his suit) and became the Shadow Ranger. He probably had the coolest suit of S.P.D. overall, and Doggie eventually landed the final critical blow during the season finale, but as we reach the higher ranks on the list he's been bumped down by some personal faves of mine.  6. Magna Defender -- Power Rangers Lost Galaxy Magna Defender might not be considered a sixth Ranger by fans, but I've always considered him one. With two versions of the character (both badass), there was plenty to work with. The first Defender was a father avenging the death of his son (who was straight up killed on-screen), and the second was Leo (the Red Ranger)'s thought dead brother from the first episode, Mike. Using a sword (that also was a gun) to transform into a Knight looking guy, Defender was even able to grow and become his actual Megazord. He even sacrificed his powers to save the entire space colony toward season end, which was just another example of how selfless Mike was (as he both sacrificed himself to save his brother in the pilot, and refused to take the Red Ranger powers even if he was the rightful owner of them). He was also the first Ranger to have a cape in the series. Capes are cool.  5. Titanium Ranger -- Power Rangers Lightspeed Rescue The Titanium Ranger may not be the coolest Ranger on this list (though try arguing an axe-gun isn't cool), but he cracks the top five by being unique. See, the rest of the Rangers on this list were a by-product of their parent Japanese versions. Kyukyu Sentai GoGoFive, the series Lightspeed Rescue took its footage from, didn't have a sixth Ranger so the showrunners decided to make one for themselves. It's why his suit's so bulky in comparison to the others, and the only thing that kept him relevant to the story was a snake curse that threatened to kill him everyday in his dreams or something, but I'll give credit where it's due. Being an entirely American invention was a risk, but it's one that paid off. If he didn't show up, fans would have definitely questioned why there wasn't a traditional sixth member.  4. Gold Ranger -- Power Rangers Zeo Zeo kind of fudged the Gold Ranger's first introduction by laying out this mystery before revealing his identity as a goob who turned into three goobs (who know one knew, so it was a wash). But it definitely made up for it the second time around. After introducing several candidates who could've been a great Gold Ranger (Tommy's brother, Billy), and after keeping his identity hidden, his eventual reveal as Jason (the former Mighty Morphin Red Ranger) was one of the biggest surprises (and bits of fan service) the series had since Tommy's reveal as the White Ranger. Jason fit the series like a glove, and the character's history with Tommy eventually led to the great "King for a Day" two-parter which had the two fighting for the first time since their season one days, and had a cooler look than the rest of the team overall. What keeps him out of the top three, however, is the fact that the goob triplets have to come back and take the powers away because story reasons or something, I don't know.  3. White Ranger -- Mighty Morphin Power Rangers S2-S3 Well, at least one version of Tommy was going to get the top spot and it's definitely not the White Ranger. While he's cool and all (much cooler than a lot of the list by nature of his very existence), and he's the one thing taken from the Japanese series Gosei Sentai Dairanger from where MMPR season two got most of its footage from, Tommy doesn't really do much after his great introduction. His surprise reveal (coming down from a beam of white light in, uh, "White Light") after the loss of his Green Ranger power was a great moment, but he just became the de-facto leader of the team after the original Red Ranger was written out of the series. Despite his cool new theme and talking sword making him seem different, and fighting Lord Zedd to a standstill once, this was just Tommy all over again. To me it always felt like a downgrade from the Green Ranger power rather than the intended upgrade. I mean, just ask folks who remember the show. Do they say they want to be the White Ranger or the Green Ranger? It's always Green before White.  2. Quantum Ranger -- Power Rangers Time Force What? Tommy isn't both of the top spots? Well, no. Time Force was one of the best seasons of the series for its great villain, great Pink Ranger, great Red Ranger character arc, and notably, its sixth Ranger. In fact, the Quantum Ranger was so effective he was even brought back to a Red Ranger exclusive anniversary team up years later. As a rival to the richly born Wes (the Red Time Force Ranger), Eric was a poor kid who worked hard all of his life in order to prove he was just as good as the rich kids. Eventually growing to resent rich boys like Wes, he forced his way into Ranger powers by finding the Quantum Power first. Taking most things by force, he led a military team to attack the mutants (the baddies in Time Force), eventually gained control of the Q-Rex Megazord, and was more of an anti-hero through the season. Eventually he grew to be friendly with the others, even lending his Quantum Power to Wes toward the end of the season. On top of having a fantastic actor, Daniel Southworth, the Quantum Ranger was the first sixth member to have a full character arc since Tommy's in MMPR. With the added layer of not being mind controlled, or under some evil spell, Eric was just a guy who was so used to fighting for what he wanted he hated when others just seemed to get things handed to them.  1. Green Ranger -- Mighty Morphin Power Rangers S1 As it could be any other Ranger. The Green Ranger is important for a number of reasons. It started the sixth Ranger tradition (even for the Japanese Super Sentai, as he was the first over there too), the "Green With Evil" story line is one of the most fondly remembered by fans (both hardcore and nostalgic), Jason David Frank's see-ayaaaahs became a hallmark of the series (with JDF starring in five seasons over the course of the series) as he eventually became the face of it, and it was the first time I remember being engrossed by a TV series as a kid. Here was this evil guy with all of the powers of the good guys, only much cooler with a friggin' Dragon and better fighting skills, who went from bad guy to good guy over the course of a week.  I remember school feeling so long that week as I waited to see the next part of the epic story. No other Ranger (sixth or otherwise) has left that big of an impression. So big, in fact, folks are clamoring for his addition to the new movies. While I'm sure the Green Ranger will be added to the films, the new version will never be as cool as the original. 
Power Rangers Month photo
Rangering through the six with my woes
Through its 24 seasons or so of existence, Power Rangers has become a show with its own set of traditions. Each season of the show may change, but a lot of the core elements stay the same: a rocking theme, colored spandex, an...

Avatar 2 delayed photo
Avatar 2 delayed

Avatar 2 delayed because of 3 other Avatar sequels that will never get made at this rate


Let it go, James
Mar 17
// Hubert Vigilla
Avatar 2 is delayed. This is not a repeat from 2016. It is also not a repeat from 2015. The theme for the 2018 Avatar 2 delay will be "Under the Sea". With this many delays, I swear James Cameron is secretly making a Don Quix...
The Matrix photo
The Matrix

Matrix reboot may not actually be a reboot


Does it really matter?
Mar 17
// Matthew Razak
The Matrix should not be rebooted (even if there is a right way to do it). Hell, with the way the franchise dovetailed I'm not sure if it should come back in any form. But it is, of course, and we heard it was going to b...

How To Do It: The Matrix Rebooted

Mar 16 // Hubert Vigilla
1. Treat the new Matrix as part of continuity When Neo meets The Architect in The Matrix Reloaded, we learn a lot about how the system works and how it sustains itself. The current version of the Matrix is just the sixth version in a line of reality-simulating self-regulating programs, each designed to account for the complexities caused by human free will. The choice Neo makes will determine whether or not the human race survives. Certain programs carry over from each version of the Matrix even if each iteration is a new one--Seraph was apparently a former Agent in an earlier version of the Matrix; The Merovingian harbors obsolete programs; The Oracle, as a guide for The One, is sort of like the Clippy of the Matrix. Choice creates a series of forking paths in every iteration of the Matrix, all headed toward the inevitability of The One and the necessity of a reboot to eliminate The One from the system. Then a new version, and a new One, and so on. This offers a diegetic reason for a new Matrix to exist: it's built into the program, it's part of the way the world works. This also provides an interesting exploration of free will and agency viewed from a human perspective (uncertainty regarding outcomes) versus an analytical/machine perspective (contingent branches on a decision tree). There's another story element this in-continuity Matrix reboot offers, though I'll get to it at the end. 2. Pick the Wachowskis' brains The Wachowskis are the parents of this story, and while they may not have to give their blessing for the project, it would be great for someone to pick their brains about the Matrix. Was there anything they wished they could have done? Are there things they would have done differently in hindsight? What lore had they created for their world that they never talked about? There's probably a lot of unexplored material to consider. Come to think of it, there might even be too much to talk about. When the two Matrix sequels came out, a bunch of supplemental material got released between 2003 and 2005. There was The Animatrix (a collection of animated shorts), Enter the Matrix (a video game), The Matrix Comics, and The Matrix Online (an MMORPG). Some of this may have been crass merchandising--let's milk this cyberpunk, anime, Hong Kong action movie cow until it bleeds--but I also sense that there was a much bigger story the Wachowskis wanted to tell but never finished. Once again, I tie this back into the diegetic idea of the Matrix reboot just being the latest version of Matrix. Going to the architects of the original Matrix might improve the newest version of the program. 3. The Matrix > Zion and the real world Some of the weakest material in the Matrix sequels took place in the real world. Zion was a dingy, rusty place with steam, corridors, walkways, Cornel West, vanilla sex, and boring raves. The war against the machines wasn't all that fun either. Shoot them or use an electromagnetic pulse. Behold--boring, expensive naval combat. I remember the sickly green world of the Matrix better than the state college dorm of Zion. For the new Matrix, there may be a way to engage the real world without it seeming so banal. Perhaps it's a matter of increasing the stakes. Extinction level events are big, sure, but what matters in the abstract and what we form an emotional link to are different matters. The latter requires some concrete connection to people and places. What makes Zion worth caring for really? What makes a place a home? A place is not innately meaningful. And to that, did anyone get attached to the new characters fighting in Zion? They were mostly a bunch of Blandy McBlandersons doing action-things without emotional content. That brings me to the next point... 4. Stick with a core group of characters with well-defined supporting players The cast of supporting characters ballooned in The Matrix Reloaded. That's not necessarily a bad thing, but unfortunately most of the new characters were forgettable. Did Niobe, Link, or Commander Lock add much to the story? Ditto that annoying kid in the giant mechanoid robot suit? Their screen time may have expanded the world of the movie, but they often sucked the air out of film's story since their actions were rarely significant to the plot. (The blunt difference between world building and storytelling.) Rather than putting your setpieces on the shoulders of bland supporting characters (e.g., the annoying kid in the defense of Zion in The Matrix Revolutions), keep the focus on a core group of well-defined characters. Why wasn't Morpheus manning a mech alongside Niobe during Zion's last stand? Come to think of it, what defines Niobe as a character other than the fact she's played by Jada Pinkett Smith? If supporting players are involved, give them personality rather than assign them a plot-based function. I still find it telling that the Nebuchadnezzar crew in the original Matrix has more personality than 95% of the supporting players in the two Matrix sequels. 5. Update the aesthetic to avoid the late 90s/early 2000s Let's come back to the diegetic notion of a new Matrix program rebooted for the umpteenth time. If the old Matrix was defined by the aesthetic of the late 90s and early 2000s, we can chock that up to a quirk of programming. (Obviously this is a paradoxical symptom of the era that birthed the first movie. Nearly every attempt to make something look futuristic winds up looking, in retrospect, like a product of its time. Why is it that conscious attempts to fuse the future with the past a la Blade Runner still look futuristic enough?) The new Matrix should depict a contemporary era's vision of the future rather than recapture the look of the millennial cusp. This goes for the manner of dress, the in-story technology, and the score (imagine how quaintly goofy a techno-classical hybrid soundtrack might sound today). And since the original Matrix drew on a hodgepodge of influences that were so 90s, the new Matrix can draw on things that define the 2010s in some way. Maybe the fighting style changes from the kung fu of 80s Hong Kong action movies to the faster, more functional striking and grappling of MMA. Maybe the G-men-like Agents become Slender Men and more menacing as a result. Are the rebels into post-rock or hip-hop? And how will smartphones and tablets figure into all of this? Ditto apps and the cloud. There's a lot to consider here, and I don't want to just list pop culture detritus for the new film. Those things will be carefully picked by the filmmakers, who will hopefully do more than show us shiny, fight-y, special effects-y things. 6. Find writers and directors with something to say A lot of reboots and remakes suck because they don't say anything. Instead they're selling empty nostalgia using a name you may remember. Yet there are solid remakes (David Cronenberg's The Fly) and reboots (Christopher Nolan's Batman movies) and soft sequels (Ryan Coogler's Creed), each of which does something new with familiar material. There's a sensibility behind the name, a human intelligence behind the IP. There are probably some filmmakers or writers out there who were influenced by The Matrix. Maybe The Matrix was their gateway drug into other aspects of geek culture. They might have a personal story they want to tell, and The Matrix may be the right vessel to tell it. It may be political, too--something about resistance and rebellion feels right these days. A recent report said that Warner Bros. is trying to get a writing room together for the Matrix reboot, sort of like how they write TV. This isn't necessarily a bad thing. A guiding hand can steer the writing room into an interesting direction. Multiple ideas from solid writers can bounce off each other and synthesize and create better ideas. (I'm skeptical--and why shouldn't I be?--that Warner Bros. actually wants to make something that says anything. A writer room assembled by a studio reeks of film-by-committee-by-market-research.) 7. Avoid repeating the story beats of the original Matrix films Most reboots and remakes fail because they slavishly repeat the plot of the original film without offering anything original of their own. Even though I sort of liked the Ghostbusters reboot, the weakest material in the movie was anything that reminded me of the original Ghostbusters. Why would I watch a reboot if it's a pale imitation of the original? (That also applies to Ghostbusters 2.) For another example of this, think of Bryan Singer's Superman Returns, which is a joyless, beat-by-beat recreation of the plot from Richard Donner's Superman. (Superman Returns is the Ghostbusters 2 of superhero movies.) There'll be a temptation to redo the red pill/blue pill scene. The same goes for Neo's first jump and cartoon fall. And the new filmmakers will probably want to do their own rendition of the lobby scene. The occasional nod to the past is okay, but why do the same thing again? Why not do something new? I suppose blank canvases are more intimidating than tracing paper, and the potential of an incomplete line is more stultifying than connect the dots. To put it another way, if you're going to cover a song, do it like Devo did "Satisfaction" or Johnny Cash did "Hurt". Someone has to make this material their own rather than just repeating the mistakes and successes of the past. There the line from Jose Lezama Lima quoted in Julio Cortazar's Hopscotch: "Let us try to invent new passions, or to reproduce the old ones with a like intensity." Yeah, do that. 8. E pluribus unum (Out of many, one) I mentioned there's another story element about keeping the Matrix reboot in continuity with the original trilogy. Here are preliminary thoughts on that, and the point where simple suggestions in approach veer into the realm of Matrix fan fiction. Say there's a new Neo in a new iteration of the Matrix. Neo is the latest in a line of Ones from previous versions of the Matrix, each of them an anomaly eventually accounted for and zeroed out to restart the system. What if the new Neo could access the old versions of the Matrix and see how they played out? Maybe they're archived even though the system has run its course. What if the new Neo could somehow learn from previous Ones? Maybe the Ones are iterations of a monomythic subprogram that eventually results in a prototypical, archetypal, chosen-one hero who follows the mechanical beats of narrative heroism to ensure the Matrix can eventually reboot. The monomythic subprogram comes from an AI's analysis of heroic legends from past human cultures. What if the way to beat this self-perpetuating system is to break the monomythic structure? To crap on the Hero's Journey? To intentionally subvert the heroic narrative and create a new kind of heroism? This is a larger meta narrative that's simultaneously diegetic. The Matrix Rebooted is about the nature of reboots, and also about the nature of narrative repetition, how it's a valuable part of our history and yet how it's essentially mechanical at this point and may require some sort of reinvention to be relevant rather than just comforting. We can choose to be heroes otherwise--we can invent our own heroism and a new morality. Neo is the hero gone rogue artist, the sort of person who comes away from a class on Nietzsche but isn't a total douchebag about it. Maybe the new Neo recruits an army of Ones from the archives to battle in the system like a bunch of cyberpunk Supermen, or perhaps Neo figures out a way to blow up the system through intentional acts of narrative terrorism. Maybe Neo turns everyone into the One by helping people see patterns in their own lives that tap into the monomythic subprogram. (This all sounds a little like a Grant Morrison comic book, sure, but the Wachowskis borrowed heavily from The Invisibles, so screw it.) Maybe Clippy the Oracle can help in all this. "It looks like you're subverting the Hero's Journey. Would you like help?" Yes, Clippy. Let's kung fu the hell out of traditional storytelling.
Matrix Reboot photo
I know reboot fu
The other night we learned that Warner Bros. is developing a reboot of The Matrix, with an interest in Michael B. Jodan as the lead. Zak Penn has been tapped to write the treatment for the reboot, but nothing else is solid at...

Akerman in Rampage photo
Akerman in Rampage

Malin Akerman in talks to play Rampage villain opposite Dwayne Johnson, plot details emerge


Is she playing the entire US Army?
Mar 16
// Hubert Vigilla
The live-action adaptation of Rampage seems to be moving forward without any hitches. Dwayne "The Rock" Johnson is playing the hero of the film, and director Brad Peyton promises scares and the feels. Today Heat Vision report...
Guardians 3 photo
Guardians 3

James Gunn confirms Guardians of the Galaxy Vol. 3 is happening


He may not be involved, though
Mar 16
// Matthew Razak
Making to epic science fiction films back to back must be tiring so I can understand why when James Gunn revealed that Guardians of the Galaxy Vol. 3 is definitely happening he also was pretty wishy-washy on if he'd be i...
The Batman delayed photo
The Batman delayed

The Batman delayed, rumors that the screenplay may be rewritten from scratch


Hello first draft my old friend
Mar 16
// Hubert Vigilla
The Batman seemed back on track when Matt Reeves signed on to direct the film. Maybe, just maybe, things would be looking up for the new solo Batman film and the DCEU as a whole. Scratch that. There's been another setback. Ac...

Every Power Rangers Suit, Ranked

Mar 15 // Nick Valdez
21. Power Rangers Megaforce Originally touted as an anniversary season of the series, Megaforce has plenty of problems. Least/Most of which is the costume design. While these suits have some good ideas such as the helmet's mouthpiece reminiscent of Mighty Morphin' (which must've been a happy little coincidence for Saban), and I do like some of the gold highlights, everything else is a mess. The suit's way too busy to actually work. I'm sure the outfits make sense in the Japanese original, but why do their chest emblems have different designs? Why do all of their pants ride so high up as to give them uncomfortable looking front wedgies? It's like a weird military outfit without any of the context. Just goofy and bulky.  20. Power Rangers Operation Overdrive Like Megaforce, Operation Overdrive's suits are far too busy. There's some simplicity in the helmets (at least they have visors the suit actors can actually see out of), but there's so much to unpack at first glance. The motif this season was world adventuring (hence the compass insignia), but the helmets all reflect their vehicle zords so it gives them headlights like Turbo's ridiculous ones. Then add in the chrome shoulder plates, belts, and cufflinks and it's way too much. Not to mention the Silver Ranger's awful orange stripe and lavender shoulders which makes the entire team look worse each time he's near.  19. Power Rangers Turbo Speaking of Turbo, their helmets are the worst in the series. Replicating their vehicles gives them chrome and headlights coupled with tail lights (?) on their belts. The rest of the suit is fine, but you just can't take those helmets seriously. It was fine in a Japanese series parodying other Sentai shows, but didn't exactly work for a serious Power Rangers drama which included the team getting baked into a giant pizza.  18. Power Rangers RPM RPM was a fantastic send-off for the Disney owned seasons, but showrunners wanted their idea for a show, a post-apocalyptic thriller to somehow mesh with one of the goofier Japanese seasons, Engine Sentai Go-Onger. Fortunately it mostly works as there's a story reason behind the suit designs, but it always rubbed me a wrong way that these didn't reflect the story. They're not the worst suits, but they're by far from the best. Combining animals, cars, and everything else into their helmets, once again there's a lot going on. Doesn't help that the suits look baggy too without a true separation of tops and bottoms. The only thing which kind of works is the animal/number insignia since it does resemble flair soldiers are known to give their uniforms for morale. Otherwise, c'mon it's a mess.  17. Power Rangers Dino Charge I like a lot of the choices made with the Dino Charge suits, especially the slick helmets (which go full-visor when they're in the Megazord), but a major complaint I keep using once again rears its ugly head. There's just so much going on with these suits. It's indicative of the series as a whole (so many Rangers, zords, motifs), but just doesn't come together like the show does. A slick helmet juxtaposed with a bright tooth pattern, monochromatic pants and shoes, and grey-scaled sleeves? It aaaalmost works, but then you've got the random single shoulder pad and lose all sense of symmetry.  16. Mighty Morphin Alien Rangers I may appreciate simplicity in a design, but there's such a thing as too simplistic. There's a reason this entire season of Ninja Sentai Kakuranger was skipped over in favor of using the Mighty Morphin' suits for a third season. The design was used creatively (tweaking the "ninja" motif into an "alien" one), but that's only because of its stark contrast to the original suits. These are neat and uniform (more so than any other season). but they were too bare bones to work on their own. Which is why they're only around for a short time.  15. Power Rangers Zeo Zeo was a transition season for the series in a number of ways. New powers, new villains, new Command Center, colors were shuffled around (Tommy became the Red Ranger, Jason eventually became Gold), and the show started distancing itself from its original motifs. Gone are the spiritual animal and dinosaur powers, and replaced with full-on magic crystal powers. While I like the gold trim, I've never liked the suits overall. They seemed like a downgrade from the originals due to a general lack of white and the Yellow Ranger's loss of vision. But I did appreciate the shift away from the molded mouths. Instead of a grey standout, they're blended into the helmet. I also don't think I liked how everyone looked chunkier? I don't know, old school aesthetic I guess.  14. Power Rangers Jungle Fury Now these suits would crack the top ten if the Red and Blue Rangers had the same skirt as Yellow does. Skirts have always been a major problem for this series, and I don't really have the time or space to go into why they're a problem here, but Yellow's actually works the best. Like Purple and White, her suit most reflects a fighting gi which greatly suited this season's kung-fu movie theme. The White Rhino Ranger has my favorite design overall since he just looks like a kick-ass karate dude. That's never happened in the series before, and it still has yet to happen again. More blatant kick-ass karate folks please.  13. Power Rangers Lost Galaxy I feel like Lost Galaxy's suits were so middle-of-the-road, it deserved to be in the middle-of-the-list. I was always a huge fan of the helmet design, but hated the Charlie Brown stripes on their chest. This was another season in which the Rangers looked especially bulky, and they only looked worse following In Space's slimmed down and sleek design. I wish I had more to say, but honestly, these suits are boring though they don't look like they would be. 12. Power Rangers Dino Thunder Dino Thunder was Disney's attempt to wrangle in old fans of the series. Bringing Tommy in as a dope looking Black Ranger (not pictured here since I couldn't find one with a good enough quality) and an "evil" White Ranger with an also great design, the main trio was almost there. It's a simple aesthetic with the dino theme barely peeking through in the helmet, but from the neck down it's a little much. I'm a huge fan of the footprint insignia in the center, but these suits almost have too much white. The diamonds running down their arms and legs may serve a story and power purpose, but that doesn't mean I don't have to like them. But as we're getting closer to the top ten, I'm splitting hairs.  11. Power Rangers Ninja Steel It's only six episodes in, but I've been impressed by what Ninja Steel has offered thus far. Notably, the suits are fantastic. You've got the ninja sensibilities (done much better seasons before, but you'll see that soon), but since these ninjas don't really care about anything ninja-y the bold design on their sashes gives their insignia a bit of pop. It's simplicity masking outlandishness working especially well with the White Ranger and her pink outline.  10. Power Rangers Lightspeed Rescue Lightspeed Rescue was the first season of the series to have its team be a military force and it's look reflected that pretty damn well. A simple design shared between the entire team with only differentiating factors being visor and color. The white balance here works, unlike Dino Thunder, because it has a clear stopping point. It along with the crosses on their helmets reflect the rescue theme of the season and overall look good in motion too. This was a team where difference in appearance wasn't too necessary, yet felt like it was included to keep up the morale of the force like RPM.  9. Power Rangers Mystic Force Capes are cool, so I can't believe they've only been part of one season. A lot of things I thought would bother me at first glance actually works well in motion. There's a nice white/color balance as it's only relegated to the capes (and the women's white bottoms make them look like they're wearing tunics, which is a plus), the giant black and gold "M" is a great design choice that's totally not overpowering or super noticeable unless you really stare at it, and although the visors seems tough to see through there's an overall "grand" feeling in the design. It's kind of like what Megaforce wanted to accomplish but grandly failed at.  8. Power Rangers Super Megaforce Speaking of Megaforce, the second half of the series had one of the coolest costumes ever. I'm a big fan of this pirate look since it's so unique (with only small difference in visor design among them), and these looked really clean in motion. In fact, they even popped their collars during the Ranger roll-call and it was about as goofy as you'd expect. In a good way. However, since the pirate look was never capitalized on (or explained, really) these awesome suits were wasted. Not to mention that these are only powered-up versions of the Megaforce suits and not a full team of their own. If this look had been handled better, you could be damn sure it would've been in the top five.  7. Power Rangers Ninja Storm Although the Alien Rangers were technically ninjas, the first foray into a ninja ranger season was an impressive one. The first full season of the series to use a teal color for the Blue Ranger, a simple but expressive helmet design, and darker colors for the two Thunder Rangers really left an impression on me. The visors also opened in a cool way; only revealing part of the face when they were speaking to each other. Since we're getting into the nitty gritty of the list, I will say these suits were eeked out by some that did a liiiittle bit more. Especially considering how all of this awesome simplicity was tossed out the window in favor of the Green Samurai Ranger's obnoxious look.  6. Power Rangers Wild Force Wild Force is the only season of the series so far that comes closest to the first season in suit design. The gaudy, but slightly subdued helmets are a natural evolution of the dino helmets, except here more teeth come down over the visors. The shark helmet is a standout, and I'm very fond of the White Ranger's pink stripe highlighting her skirt. The one thing I'm not a fan of, however, is the huge gold strap on their chests. It's a little much coupled with the insignia, and its asymmetrical placement definitely throws off the look. The belt buckle also takes up too much real estate and makes the waist seem unnecessarily heavy.  5. Power Rangers S.P.D. S.P.D. was one of my favorite seasons for a number of reasons, and a great deal of it had to do with the look. While the visors are a bit too stretched across the helmet for my liking, everything from the neck down absolutely works. The asymmetrical design actually makes sense here (with one side reserved for their police badges and labels and whatnot) and their number leading to an all-black arm is so damn cool looking. The series has never made this kind of design choice before, so it really sticks out from the other seasons. It's uniform, yet flashy.  4. Power Rangers Time Force Time Force was another favorite of mine. Combining the simplicity I love, with the gaudy look of the original, the Time Force suits were a great uniform for the team. I'm not sure how any of the suit actors actually saw thing out of the colored visors, but I didn't care. These suits are great and the visors (meant to resemble clock hands) are an inspired choice. The only thing I never really liked was the Quantum Ranger's closely resembling Red, but it made sense story wise (a company developed their own Ranger tech based on Time Force). I think limited the white to the should up is what makes it work overall. It was fluid to see in action.  3. Power Rangers Samurai It's a shame such a great suit design ended on such a trash season. The unique samurai look (as the black straps on their chests resemble robes) is fantastic from head to toe. White is only used as a highlighter, the black bottoms makes a lot of sense as the fighting style is top heavy (there weren't kicks this season so subduing their color was smart), and the kanji visors are inspired. Even looking great during the morphing sequence as the kanji laid on their faces. Since I'm splitting hairs this high up on the list, the only reason it's in the third spot is because the Red Ranger looks like a bug.  2. Power Rangers In Space As the final season of the Zordon-era, In Space had a lot going for it. A space opera with layered villains, evil rangers, and fantastic suits.  Although the Japanese original had nothing to do with space, it helped that the suits all look like space suits. Stripping down the excess, the helmets are absolutely perfect (even adding in a tech holographic during the morphing sequence). There's personality in how different these looked from what came before, and still have yet to be matched sense. It truly signified how different of a story this season was telling. The only thing keeping these out of the top spot are the colored squares across their chests. It's an acquired taste.  1. Mighty Morphin Power Rangers Like it could be anything else. The suits are one distinct reason the Power Rangers branded visuals have managed to stick around in pop culture for so long. Although the diamonds make them look like clowns, these suits set the tone for everything else to come. These suits help set the mythos of the series (colored spandex, crazy helmet design, a uniform yet differing look) and they still sort-of look good after all of these years. Not great. but good. That's not something you can say about the rest of the suits on this list. 
Power Rangers Month photo
Power stylin'
As I've learned watching through 831 episodes of Power Rangers for two thirds of my life, a Ranger is only as good as their suit. A suit design can make or break a series through first impressions, and bad designs have indeed...

The first teaser trailer for Pixar's Coco is all about music, magic, and dead people

Mar 15 // Hubert Vigilla
As our own Nick Valdez put it, "Oh cool. Pixar made Book of Life 2." Here's an official synopsis: Despite his family’s baffling generations-old ban on music, Miguel (voice of newcomer Anthony Gonzalez) dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz (voice of Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector (voice of Gael García Bernal), and together, they set off on an extraordinary journey to unlock the real story behind Miguel's family history. Directed by Lee Unkrich (“Toy Story 3”), co-directed by Adrian Molina (story artist “Monsters University”) and produced by Darla K. Anderson (“Toy Story 3”). Coco comes to theaters on November 22nd. [via Disney/Pixar on YouTube]
Pixar's Coco trailer photo
Seriously, that's a cool looking guitar
Pixar's Coco was one of our most anticipated movies of 2017. Disney and Pixar released the first teaser trailer for the film today, and it looks like a magical blend of music, mariachis, Dia de Muertos, and ghosts. This is the best kind of blend. Honest. Plus, check out that guitar. It is freakin' cool looking. Watch the teaser trailer for Coco below.

Warner Bros. wants to reboot and relaunch The Matrix

Mar 14 // Hubert Vigilla
The film might not need to be a full series reboot. As revealed by The Architect in The Matrix Reloaded, there have been multiple iterations of the reality-simulating program of the Matrix, and the one Neo was experiencing was just the latest version in the series. Perhaps this reboot could be loosely tied to the previous film's continuity, sort of like a newer version of the iPhone or Windows. As long as it's not Vista or Windows 10... Is a Matrix reboot something you'd be interested in? Do you know kung fu? Let us know in the comments. [via THR]
The Matrix: Rebooted photo
The Matrix: Rebooted (Whoa...)
According to The Hollywood Reporter, Warner Bros. wants to reboot The Matrix. Zak Penn (X-Men: The Last Stand, story credits on X2 and The Avengers) is in talks to write the reboot treatment. Warner Bros. reportedly wants to ...

Rogue One ending changes photo
Rogue One ending changes

Gareth Edwards opens up about Darth Vader and changes to the Rogue One ending


The squad goals changed
Mar 14
// Hubert Vigilla
Rogue One: A Star Wars Story was a strong entry in the Star Wars saga. It perfectly captured the feeling of playing Star Wars as a kid, and it all hung together well even with some major reshoots and restructuring. Many credi...
Your Name US trailers photo
Your Name US trailers

Watch the US trailers for Makoto Shinkai's anime mega-hit Your Name


Dubbed or subbed for your pleasure
Mar 14
// Hubert Vigilla
Despite some of my qualms about its second half, Makoto Shinkai's Your Name was a good coming-of-age body swap film with an undeniable teenage earnestness. It's a major anime mega-hit in Japan. Not only was it Japan's biggest...
Terry Gilliam is quixotic photo
Terry Gilliam is quixotic

Quixotic Terry Gilliam tries to make The Man Who Killed Don Quixote yet again


Impossible Dream v Unstoppable Dreamer
Mar 14
// Hubert Vigilla
You'd think that Terry Gilliam would have given up on The Man Who Killed Don Quixote by now. The original 2000 production of the film was plagued by awful luck and fell apart, the process chronicled in the 2002 documentary Lo...
Baby Driver trailers photo
Baby Driver trailers

US and international trailers for Edgar Wright's Baby Driver look fun, son


A real human baby. And a real hero.
Mar 13
// Hubert Vigilla
After leaving Ant-Man over creative differences, Edgar Wright turned his attention to Baby Driver, his first film since 2013's The World's End. The music-filled action-caper premiered at SXSW over the weekend to some stellar ...
Wonder Woman photo
Wonder Woman

New Wonder Woman trailer covers Diana's origins, life on Themyscira


Also: New Successories poster
Mar 13
// Hubert Vigilla
With all the recent tumult over The Batman, it seems like so much of the DCEU's viability is riding on the success of Wonder Woman. Star Gal Gadot and director Patty Jenkins hope to craft a solid film that delivers at the box...
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First look at Jurassic World 2: Night At Chris Pratt's Museum


With Ben Stiller? Still TBD.
Mar 10
// Rick Lash
  Very little is known about Jurassic World 2. We don't know: - The title - The plot - The new super-dino-villain - Whether or not Chris Pratt's mustache survived the first film - Whether or not another c-grade character...

Every Power Rangers Theme Song, Ranked

Mar 10 // Nick Valdez
[embed]221220:43333:0[/embed] 20. Power Rangers Operation Overdrive (2007) Back when Disney owned the rights to Power Rangers, they made quite a bit of changes in order to reinvent it for their network. Punches and kicks were replaced by more lasers, explosions allegedly couldn't occur in front of the Rangers themselves, and they wanted to do a rap theme for some time. Unfortunately for all of us, their idea of rap was total garbage.  Highlighting the worst season of Power Rangers is faux-techno rap babble with the lyrics "There's treasures to be found, there's some lives to be saved, our planet to look after, there's a whole lot of space!" There's a whole lot of something, all right.  [embed]221220:43334:0[/embed] 19. Mighty Morphin' Alien Rangers (1996)  I wasn't originally going to count this, as the Alien Rangers arc is the capper of Mighty Morphin' Power Rangers' final season and it's merely a copy of the OG theme with "alien rangers" in the lyrics, but you'll see in the next couple of entries this theme has a bit more effort in it than others.  I'm giving it credit for merely existing when it didn't need to. We didn't need a new theme, but it was nice to hear something different in preparation for the major reboot the series would go through a season later.  [embed]221220:43335:0[/embed] 18. Power Rangers Samurai (2011) / Power Rangers Super Samurai (2012) When Saban re-acquired the rights to Power Rangers (which fans have dubbed the "Neo-Saban"-era), they chose to reintroduce the series to kids on Nickelodeon with a remix of the show's original theme with the additional lyrics, "Rangers Together, Samurai Forever." But unlike the Alien Rangers theme, this remix is weak. I get the need to reintroduce the series' mythos to a new generation, but Saban missed the chance to highlight the show's obviously Japanese influences.  It's reflective of Saban's growing pains over the next few seasons that'll only get worse. Even worse is having the characters shout their names during the title sequence, treating kids like little idiots.  [embed]221220:43336:0[/embed] 17. Power Rangers Megaforce (2013) / Power Rangers Super Megaforce (2014) Megaforce was a worse season than Samurai in a lot of ways. Chiefly it's biggest disappointment was in how lazy of a show it was. It's exactly the same theme, complete with characters shouting their names during the credits, but it's just slightly better thanks to the first couple of seconds. With a season as lazy as this was, take what you can get.  [embed]221220:43337:0[/embed] 16. Power Rangers Mystic Force (2006) Just as Operation Overdrive somehow needed a rap in its theme song, Mystic Force was the first attempt at it. It's not a full-on trash rap, nor is it just a retread, but it's not an accomplishment by any means. This season was weak for a number of reasons, but the theme should've been the first indicator of its overall terribleness. [embed]221220:43354:0[/embed] 15. Power Rangers Jungle Fury (2008) Remember the band Metro Station? What about 3OH!3? Well, if either or those bands wrote a Power Rangers theme song it'd be whatever the hell this song is. Taking advantage of the faux-emo wave at the time is this piece of work which in no way suited a cool season of kung-fu Rangers.  Jungle Fury had a lot of great things going for it, but I could imagine this theme song turning kids away. It's just way too in your face with its awfulness.  [embed]221220:43338:0[/embed] 14. Power Rangers RPM (2009) Originally intended to be the final season of the series, as Disney got tired of spending money on it, RPM was a surprisingly mature story of the last bits of humanity fighting against machine apocalypse. Borrowing imagery from films like Mad Max and Terminator, this series was as awesome as Power Rangers has ever gotten...but the theme didn't tell you any of that. Other than some techno mess in the middle of it, this theme was a little too generic. All it's got to offer are a few "Power Rangers RPM, get in gear!" thrown in every now and again, and it's a letdown for what's arguably the best season of the series.  But it's not a rap song, so there's that.  [embed]221220:43341:0[/embed] 13. Power Rangers Wild Force (2002) Wild Force was basically a Power Rangers version of Captain Planet, as the Rangers fought against pollution and what not, so a boring season unfortunately got an equally boring theme song. There's nothing technically wrong with the song, it's just a little too loud and busy to really hit home. Accompanying animal roars, a tone that's constantly aggressive, with nothing sticking out to make it unique. The best seasons (as you'll read in a bit) have themes with distinguishing, memorable characteristics. Don't expect anyone to remember this.  [embed]221220:43340:0[/embed] 12. Power Rangers Ninja Storm (2003)  Ninja Storm's opening theme is about as forgettable as Wild Force's, but what makes it win over in the end is how unique it is. Matching its series' tone of extreme sports loving ninja masters is a chill rock song that helps play up the "Storm" in the series title. There still has yet to be a theme like it.  [embed]221220:43342:0[/embed] 11. Power Rangers Lost Galaxy (1999) Since Lost Galaxy was the first self-contained season of the series, not continuing the story started in MMPR, it needed a theme that sounded wholly different than what had come before. And it got that...for the first thirty seconds or so. As the first opening theme of the series not composed by Ron Wasserman (who's credits include MMPR through In Space and the Mummies Alive! opening theme), it's different enough to stand out yet feels similar enough to themes before. But after the great "ahhhhhhhh," it starts feeling repetitive. Granted all of these themes are repetitive, but this one really lets down its grandiose beginning.  [embed]221220:43343:0[/embed] 10.  Power Rangers Ninja Steel (2017) Since this season just premiered it might be a bit too soon to have the opening theme crack the top ten, but it's pretty dang good. It's the opening few seconds that really drive the point home. While I'm not sure if the series will live up to the Asian influences the theme presents, it already seems much different than seasons before. Coupled with a remix of the original theme (in order to keep building the mythos, as mentioned) thrown in for good measure, and I'm pretty stricken with it.  [embed]221220:43344:0[/embed] 9. Power Rangers Turbo (1997) As the only season of the series to premiere with a movie, Turbo didn't have to do much. The season itself had a ton of problems, but its theme has the best final seconds of any season. While the full version of this theme breaches hilariously bad territory (complete with a car starting up for the first 20 seconds), the show's 30 second cut was amazing. It's surprising the series never returned to 30 second themes, but it at least helped Turbo.  [embed]221220:43346:0[/embed] 8. Power Rangers Lightspeed Rescue (2000) I don't know why, but Lightspeed Rescue has the one theme I found myself singing the most as a kid. Like Lost Galaxy, the second half doesn't have as much to offer as the first but I prefer the lyrics here than in most of the other themes. It's goofy, but in a series about an emergency rescue team of Rangers, the lyrics "the signal is calling, our planet is falling, the danger will test you, better make it Lightspeed Rescue!" are just hype.  [embed]221220:43345:0[/embed] 7. Power Rangers Zeo (1996) Zeo marked a lot of first for the series. It was the first reboot, it was the first time the Rangers had wholly new suits and powers, and it was the first real season to change the theme. Thankfully, it delivered on everything it was supposed to. With lyrics like "stronger than before" and "powered up for more," mixed it with the standard "Go Go Power Rangers!" you really got the idea that these new powers were different, better maybe.  [embed]221220:43347:0[/embed] 6. Power Rangers Dino Charge (2015) / Power Rangers Dino Super Charge (2016) Speaking of remixes, Saban wouldn't get it right until much much later with Dino Charge. The first good season of the Neo-Saban era, Dino Charge burst out of the gate with a theme sounding like an original until it reminded you that it's a remix of the original song. If Power Rangers could've been reintroduced with this series, this opening theme, than it be a much bigger hit for Nickelodeon than it is now. There's something about dinosaur themes that really makes Power Rangers pop.  [embed]221220:43350:0[/embed] 5. Power Rangers In Space (1998) Just as how RPM was intended to be the final season of the series years later, In Space was initially planned to be the final season before doing well enough in the ratings thanks to its space opera narrative. This theme may have an atonal quality to its lyrics, but the opening countdown has always set it apart in my mind. As the final theme (at the time) composed by Ron Wasserman, it has a ton going for it. The final half, while admittedly as repetitive as other themes on this list, is too hype to pass up. I think the "go go go fly!" always does me in, haha.  [embed]221220:43352:0[/embed] 4. Power Rangers Time Force (2001)  Time Force was a much better season than it got credit for. It was right around the time less kids paid attention to it as we were all starting to grow out of waking up early on Saturdays, but it had so much good in it. The actors were all great (most of them having had experience in film and TV beforehand, which is sadly notable for this series), the premise was great (time patrollers fighting mutants), and it had a memorable theme song. The guitar solo here was the best in a long time and it's better than a lot that came after it. Just like how In Space has a line that does me in, here it's "timeless wonders, fire and thunder, all to save the world." It's goofy when written out, but trust me on this.  [embed]221220:43351:0[/embed] 3. Power Rangers Dino Thunder (2004) As I'm sure you've guessed, Power Rangers has gone through tons of reinventions and new beginnings in order to keep kids entertained. Disney bought the rights to the series mid-Wild Force, but it wasn't until after Ninja Storm that Disney had their own take on the series. To go along with another dinosaur themed team of Rangers, the series also tried to bring back old fans with Jason David Frank, an evil Ranger storyline, and most importantly, a kick-ass rock theme song. This theme is probably the closest to an actual "song" in the entire series, and it's the one theme that's most fit for a sing along. With the strongest lyrics of the entire series, this theme song is only beaten by musical greats. [embed]221220:43349:0[/embed] 2. Power Rangers S.P.D. (2005) Although Ron Wasserman composed a few demos during the Disney era, only one of them really made it to the actual show. Thankfully, it was the best one. The only theme on this list to highlight percussion rather than guitar riffs made it stand out for a number of reasons. It's entirely strong throughout with a kick-ass opening and a final ten seconds which elevate it over the other seasons' themes. It'd be the best overall if not for the final entry on this list.  [embed]221220:43353:0[/embed] 1. Mighty Morphin' Power Rangers (1993-1995) C'mon, like I was going to put something else here. I'd be lying to myself, and you, if I didn't pay tribute to the original. It's the theme everyone remembers for a reason. With a harder rock composition than kids deserved, it treated this new series with an awesome reverence that would sadly never get matched again.   They just don't make theme songs like this for kids anymore. 
Power Rangers Themes photo
Go Go
[Editor's Note: This feature has been re-posted in honor of Power Rangers Month on Flixist] Pop culture is full of different kinds of media, but the ones with the most lasting power all do a very important thing: build mythos...

Bond 25 photo
Bond 25

Neal Pervis and Robert Wade return again to script Bond 25


Bond's tag team duo
Mar 10
// Matthew Razak
It's with mixed emotions that I write the news that Neal Pervis and Robert Wade are returning to write the screenplay for Bond 25. The duo have been involved with the Bond films since The World Is Not Enough (writers str...

Review: Raw

Mar 10 // Hubert Vigilla
[embed]221293:43454:0[/embed] Raw (Grave)Director: Julia DucournauRating: RRelease Date: March 10, 2017Country: France/Belgium Justine (Garance Marillier) is an in-coming freshman at a veterinary college. It's the same school that her parents attended and where her older sister Alexia (Ella Rumpf) is a current student. She's a lifelong vegetarian; at a buffet en route to the college, her mom berates a clerk for an errant meatball in Justine's mashed potatoes. During a hazing ritual at the vet school, Justine gets her first taste of meat when she's force fed a raw rabbit kidney. That fetid little taste awakens something sexy and dangerous in her. Raw is set in an off-kilter place where fictional conceits co-mingle with quotidian problems. It's the location for weird literary short fiction, allowing anything and everything to function as a metaphor or a metaphorical space. There's the familiar trope of the teenage girl whose sexual maturation is a source of horror for herself and others. Justine is the gawky young woman trying to figure out adulthood and sexiness and desire and how to juggle all of these new cravings she has. But Ducournau avoids many of the simple 1:1 ratios of familiar genre metaphors by complicating her world and its characters. Justine's taste for flesh is borne of freedom from home, and it becomes a point of sibling rivalry. I mentioned Ducournau's knack for the visceral, which is evidenced early in the film during the first hazing ritual. The freshman are forced out of bed and into some on-campus rave. Ducournau's camera follows Justine through the flashing lights and the throb of the music. First she's annoyed and alone, but as the scene continues to play out, she and the audience find the exhilaration of the moment, and the underlying emotional current of the scene changes. When Justine gets the shakes like a junkie in withdrawal, Ducournau closes the whole of the world into the hallucinatory nightmare of Justine in fetal position under her sheet. In what's sure to be the most talked about scene of the film, a silly, sisterly moment of bonding between Justine and Alexia becomes a squirmy horror set piece for the ages. As it happened, I smiled at the brilliant audacity of the execution. That "brilliant audacity" is what I liked about so much of Raw, and it's often pulled off throughout the film with casual unexpectedness. Justine seems to be going mad with her rush of desires, and occasionally some unexpected image would appear on screen and haunt me a bit. A horse on a treadmill or an animal carcass ready for class dissection is full of such fervid, dreamlike weight. Marillier plays fragile Justine and feral Justine so well and of a piece. Any interaction between Justine and her male roommate Adrien (Rabah Nait Oufella) gets loaded with an expectant dread. Will she? Is this hunger? Won't she? Is this desire? Why not both? The way Justine and Alexia's antagonisms play out over the course of Raw is fascinating as well, and hints at a longer history. There's affection tinged with enmity between these sisters. The fact that so much of Raw works so well may be why I come back to the closing notes of Raw and why they fell so flat for me. So much of the movie is a gut punch filmed with such great craft. Justine is built up and broken and humiliated and I was hoping for one last moment that would linger the same way as so many others. I felt like the movie traded its gut punches for a rote, tepid, expected wind down, and then punctuated it with a flimsy punchline. And yet that wind down makes sense emotionally, and that punchline opens up this rich, sadly unexplored avenue of the story. That may speak to the promise of Ducournau as filmmaker to watch--that I think there's something good wrapped up in a sour note, something exciting in the shadow of a disappointing coda. I guess sometimes even great cuts of meat have a little gristle.
Review: Raw photo
Flesh, sex, and self-destruction
While playing at film festivals last year, the hype over Raw was insane. Writer/director Julia Ducournau's coming-of-age horror/cannibal drama purportedly caused audience members to faint, to vomit, to leave screenings in dis...

BADaptation: Mighty Morphin Power Rangers: The Movie

Mar 09 // Nick Valdez
[embed]215186:39856:0[/embed] Mighty Morphin Power Rangers: The MovieDirector: Bryan SpicerRating: PGRelease Date: June 30, 1995 I'd like to clarify a few things before I get started. This article isn't a review of some kind where I'll point out whether MMPR:TM is a good or bad film (although a good deal of us can agree and which end of the spectrum it lies). I'm going to focus on why it's a bad adaptation of the original TV show, and how it's "badness" affects the property overall. Also, I'm very aware that the TV show itself uses Japanese blah blah blah (although I didn't learn about it until I saw an episode of VH1's I Love the 90s), but that doesn't matter here either since I'm going to reference the show as the standalone version it's meant to be. Okay now since that's out of the way, we can get to the good stuff.  Mighty Morphin Power Rangers was a Saturday morning TV show on FOX Kids (then later weekdays) about five "teenagers with attitude" picked by a giant floating head named Zordon to fight the recently awakened Rita Repulsa (and later Lord Zedd). To fight this evil, they're given the powers of dinosaurs and were able to transform into five/six colored heroes. MMPR: The Movie however, greatly changes this formula. In the film, the six teenagers instead have to fight a new villain, Ivan Ooze (the amazing Paul Freeman!), but instead are launched to an alien planet in order to gain the "ancient powers of Ninjeti" (or ninja skills to pay the bills) and save Zordon, who has now been reduced from a floating head to a dying man.  One of MMPR:TM's (which I'm going to refer to as The Movie from now on to save time) first inherent issues is that it has to take a story from a 23 minute an episode series and expand it to fit at least a 90 minute film. And to fix the problem, The Movie's solution is to just tell a standalone story all together. While this all well and good, since not every adaptation needs to rely on the original's material to succeed, it's a little disheartening when you realize that the show's wide array of available, expandable stories weren't deemed worthy enough to get a bigger screen, wider audience version. By taking only key elements of the original, it's hard to see how The Movie is an adaptation at all.  But sadly it is. The Movie needs to be an adaptation to work since it apparently wants to be a companion piece to the show. It assumes the audience has an established familiarity with the franchise and eschews traditional character introduction. It boils down the "teenagers with attitude" to "teenagers who participate in extreme sports," there's no origin story (the Power Rangers are already Power Rangers), and lots of information and terminology are thrown around without real weight given to anything. And on top of this is the original story which introduces brand new characters to the franchise (Ivan Ooze, that pig thing, the Tengu warriors, and Dulcea) and treats them (with the exception of Ivan Ooze) like they've been a part of the series forever. I'm sure this must have been confusing as all get out for the poor parents (mine, of course) who were dragged by their kids to see this.  And if the new content is delivered in a confusing manner and not tied to show in any fashion, how important is that new content? The greatest thing about the Power Rangers television series is that despite the goofy look of everything and quirky dialogue exchanges, everything is given importance and weight while still tinged with humor. Every fight in the series is for the fate of the Earth and those five kids seem like underdogs who eventually overcome great odds. With The Movie's larger budget (which means mo' money mo' problems), the teens get new suits with all sorts of fancy gadgets like headlights and infrared vision, different weapons like tasers, and are now suddenly able to perform all sorts of fancy acrobatics and wire work. Even when they lose their powers for a bit (spoilers?) and become awesome ninjas, there doesn't seem to be a big difference between their powerless selves and powerful selves. These Power Rangers are unrecognizable.  So now we have an adaptation, that's not a true adaptation, full of unrecognizable characters. Were there any positives? Did The Movie manage to adapt anything well? Well...yes and no. For some reason when The Movie adapts a factor of the original series well, it somehow makes the adaptive material look more ridiculous than it should. For one, the series and film take place in the city of Angel Grove and answers a question I had for a long time. Where are all the people? With the extra run time and money available to The Movie, Angel Grove is full of people that do things. In the show, there's no room for normal people problems when there's giant robots to be had. But in giving the citizens something to do (and for having them exist in the first place), it makes the Power Rangers look like terrible heroes. In the film they're so wrapped up in defeating Ooze and saving Zordon, the citizens of Angel Grove nearly jump off a cliff. They're only lucky some random kid stuck his nose into their business.  Another great choice The Movie makes which hurts the TV show is giving the film a great standalone villain. Since the film's budget could afford a great actor like Paul Freeman (Dr. Belloq in Raiders of the Lost Ark), it unfortunately makes the TV show's villains seem more ridiculous than they purport to be. Freeman is great as Ooze. He hams up the screen, and his performance lies somewhere between perfect in tone and borderline ridiculous. And CG animating the giant robot fight at the end seems like a good decision, but it just takes what supposed to be a great event and turns it into a huge joke. The Power Rangers' new Megazord is now just some weird robot with no face (but still has a conspicuous blonde mustache) who crotch kicks to win.  All in all, Mighty Morphin Power Rangers: The Movie was perfect to me at the time. As a kid, I was so enamored with the premise I had no idea The Movie actually takes the original's material and tries to turn it into some sort of epic story that doesn't work. There's an air of seriousness about the film (but without the accepted ridiculousness the TV show brings) which sort of takes the soul out of Power Rangers. Sure the goofy humor and all the characters you love and recongnize are still present, but they're not themselves.  Oh I almost forgot something. What kind of Power Rangers movie doesn't feature the ridiculawesome rawkin' theme song for more than thirty seconds? For all of the reasons above, my friends, Mighty Morphin Power Rangers: The Movie is...a BADaptation. 
Power Rangers BADaptation photo
It's Morphin' Time...apparently
[Editor's Note: This feature was written four (!) years ago in anticipation of a rumored Power Rangers reboot. It has been re-posted for Power Rangers Month.] I knew as soon as I joined the Flixist staff that one day I would ...

Assassin's Creed ending photo
Assassin's Creed ending

Watch the downbeat alternate ending for the Assassin's Creed movie


Did they film a Scooby-Doo ending?
Mar 09
// Hubert Vigilla
Assassin's Creed wasn't the great video game movie people were waiting for. It received mixed-negative reviews and under-performed at the box office, which means a proposed Assassin's Creed film trilogy is probably DOA. Despi...

Review: Kong: Skull Island

Mar 09 // Matthew Razak
[embed]221357:43453:0[/embed] Kong: Skull IslandDirector: Jordan Vogt-RobertsRelease Date: March 10, 2017Rated: PG-13 Kong: Skull Island is literally exactly about what the title is. King Kong is on Skull Island. The problem is some people are about to show up. In the 1970s Bill Randa (John Goodman), head of the nearly defunded Monarch organization, launches one last expedition to a previously undiscovered island that is perpetually surrounded by storms. He believes that monsters do exist as he's the only survivor from the monster attack on a U.S. military boat that was mentioned in Godzilla. Along with him comes a group of scientists, an Vietnam helicopter platoon led by Preston Packard (Samual L. Jackson), a tracker named James Conrad (Tom Hiddleston) and photojournalist Mason Weaver (Brie Larson). They, of course make it to the island, and for some mcguffin of a reason start dropping bombs on it. Kong shows up and kicks there ass. And here's where Skull Island really starts to do things right. Instead of giving us 90 minutes of blurry fur and quick glimpses, Kong just shows up and starts being the man. This allows for not just one big monster sequence at the end, but instead battle after battle of insanely well designed monster fight scenes. Kong is actually the star of this movie, not a bunch of humans struggling to survive, but the ape himself. That's a lesson that so many monster films have yet to learn and one of the biggest problems with Godzilla. Skull Island knows what we came to see and it give it to us right off the bat. That's not to say there isn't plenty of human development. After Kong trashes the groups helicopters the survivors are left to try to make their way to the rendezvous point in order to get off the island. Packard, hell bent on winning "this war" against Kong, drives his group to get the ammunition to kill the primate while a smaller group led by Conrad wind up meeting the native people of the island and crashed WWII pilot Hank Marlow (John C. Reilly). They learn that Kong isn't the bad guy, but the defender of these people and the world against those weird lizard monsters that Godzilla helped defeat in his film. Yea, it's that blatantly connected. And, yes, it is also that blatantly a metaphor for Vietnam to the point where toxic gas is dropped. But given Godzilla's roots in nuclear war commentary the war commentary actually fits well enough. Skull Island likes to play with its tropes while reveling in them at the same time. A perfect example of this is two soldiers running away from a charging Kong as one peels off yelling "Run to the side, you idiot." The other guy doesn't and gets crushed. This playfulness with cliche makes the movie work on its own accord and pulls the actual cliche stuff out of the mire. Yes, it can get a little goofy at times, and that's when the film is at its worst, but for the most part everything clicks and Kong (or some other giant creature) is never of screen long enough for you to really start to hate the cookie cutter characters.  Probably the most disappointing part of the film is how flat Hiddleston's character is. If they're planning on having this character be a central piece of the MonsterVerse puzzle they better get him some more interesting dialog and plot lines. It isn't clear, however, if they are. From the attitude Skull Island takes to its human characters the only important carryover is Kong. Human beings are just there to stare at him in admiration or die. That's the way it should be it turns out. If this is the tone for the rest of the MonsterVerse then count me in. Kong brings a bit more fun to the series than Godzilla did and a whole lot more monster action. While Kong: Skull Island can get drastically stupid at times it always seem aware of this and it has figured out an antidote: Kong smash.
Kong: Skull Island photo
Welcome to the MonsterVerse
The monster movie is making a comeback. No, not the still-odd-to-me Universal Monster Cinematic Universe. I'm talking giant, city-destroying monsters. And yes, they're getting their own universe. Unbeknownst to us the kick of...

New Fate of the Furious trailer is all about a family crisis, 'splosions, fast things

Mar 09 // Hubert Vigilla
Well, what did you think? So dumb and over-the-top it's brilliant, or so dumb and over-the-top it's just dumb and over-the-top? Let us know below in the comments. The Fate of the Furious will be out on April 14th.
The Fate of the Furious photo
Let's play the feud!
The first trailer for The Fate of the Furious featured an unexpected heel turn from series anchor Dominic Toretto (Vin Diesel). The latest trailer for the Fast franchise sequel is even bigger and sillier, with a plot point in...

Thor: Ragnarok pics photo
Thor: Ragnarok pics

New Thor: Ragnarok pics include Technicolor Goldblum, Goth Blanchett, GladiaThor


This looks like a gaudy 80s sci-fi epic!
Mar 09
// Hubert Vigilla
Yesterday we showed the Entertainment Weekly cover that revealed the first look at Thor: Ragnarok. Hemsworth got a gladitorial haircut, Cate Blanchett got Hela mascara and eye shadow, and Tessa Thompson has tapped into t...
Thor: Ragnarok photo
Thor: Ragnarok

First look at Thor's new look in Thor: Ragnarok


Are you not entertained?
Mar 08
// Matthew Razak
Thor: Ragnarok has long be toted as a bit of a tonal shit for the franchise, and to really emphasize this it appears that Thor himself is getting a new look. The long, luxurious, flowing blonde locks of Chris Hemsworth's...

Review: My Scientology Movie

Mar 08 // Hubert Vigilla
[embed]220428:43450:0[/embed] My Scientology MovieDirector: John DowerRating: NRRelease Date: March 10, 2017 Gibney's documentary--an adaptation of Lawrence Wright's book of the same name--is a top-to-bottom takedown of the entire Church of Scientology, looking at the group's origins via the eccentric L. Ron Hubbard to its current state. Sweeney's Panorama pieces were more upsetting. The first, Scientology and Me, featured Sweeney getting stalked and harassed by high-level members of the Church of Scientology; the follow-up, The Secrets of Scientology, revealed how the Scientology operatives intimidated Sweeney, with the go-ahead coming from Scientology leader David Miscaviage himself. I mention the above works for their clarity of purpose and strong execution. Theroux's movie is far lighter on substance and information to its detriment, and much more impish by comparison just based on circumstance. He'd originally intended to make a documentary on Scientology and sought full cooperation of the cult. The Church of Scientology declined his request. They no longer allow journalists access to the church, perhaps because of Sweeney's damning work, which revealed just how nuts the organization is at its core. Undeterred, Theroux makes his own movie about Scientology featuring dramatic recreations and reinterpretations of events. There's an open casting call for people to play David Miscaviage and Tom Cruise, the former played by an alarmingly talented guy named Andrew Perez. For accuracy and insight into his film (and to bait the Church of Scientology), Theroux also contacts Mark Rathbun to help as a consultant. Rathbun was a former high-ranking member of the Church of Scientology, at times a brutal protector and enforcer for the church. He's now an apostate. My Scientology Movie sort of reminded me of Theorux's 2003 special Louis, Martin & Michael, in which he tried to get an interview with Michael Jackson but instead wound up hanging out with Michael's father and Uri Gellar. By not getting directly to Michael Jackson, Theroux got a great portrait of the strange world that Michael lives in. Similarly, by not working directly with the Church of Scientology, Theroux gets an oblique portrait of Scientology. The film isn't a takedown in the Gibney mode and it's nowhere near as intense as Sweeney's pieces (it's not even as good as Louis, Martin & Michael, to be honest), but Theroux's ability to disarm offers an all right roundabout look at how Scientology affects former members. Long-time Theroux fans like myself might be left wanting. One of the film's recreations centers around a detention center for misbehaving Scientologists. We witness the kind of intimidation and humiliation that church members endured at the hands of their leader. Perez shifts into Miscaviage mode, becoming an abusive, self-righteous demon eager to demean as he is to shove and to strike and to break furniture to make a point. The Church of Scientology sends its team of stalkers to see what Theroux is up to. What might be unnerving is oddly undone thanks to Theroux's unshakable calm. Theroux does what he's always done best in these sorts of situations: he renders scary things absurd. Theroux applies his trademark naivete, though it's on Rathbun rather than a current cult official. Rathbun's the closest that Theroux can get to the church directly, and he tries to ask questions, discern original motives, and get into the mind of a high-level Scientologist. Rathbun is practiced in the art of manipulation and intimidation, however, and a resentment builds between them. Those awkward moments in a Theroux piece are compelling to watch because they are such unguarded moments. Theroux gets a slight glimpse at the innerworkings of Rathbun, a complicated man who is much more of a mystery than whatever's going on in the Church of Scientology.
My Scientology Movie photo
A Theroux perspective, but not thorough
Louis Theroux won me over many years ago with the show Weird Weekends. In each episode, Theroux embedded himself in a subculture and use his extreme mild-mannered niceness to disarm his subjects. He'd hang out with porn stars...

Just Cause photo
Just Cause

Just Cause film casts Jason Momoa in lead


Open world fun confined
Mar 08
// Matthew Razak
One of the problems with movie video game adaptations is that the games they're adapting are basically action movie adaptations with the player able to interact. So adapting it back into a movie just takes away the interactiv...
Logan photo
Logan

Logan nets $85 million at box office


And you execs were so scared
Mar 06
// Matthew Razak
With the amount of buzz going into Logan and the positive flooding out from it it may be hard to understand why studio execs were nervous about the film. It was a risky movie, but that risk has paid off with Logan p...
 photo

Logan has a "Post-credits" scene: Oh hey, it's Deadpool!


First teaser for Deadpool 2
Mar 05
// Rick Lash
The good news: you don't have to stay into or to the end of the credits after viewing Logan to see this particular post-credits scene. It airs right before the movie; indeed, I wasn't initially sure if it weren't part of the ...

Review: Your Name

Mar 03 // Hubert Vigilla
[embed]221337:43448:0[/embed] Your Name (Kimi no Na wa, 君の名は。)Director: Makoto ShinkaiRating: PGRelease Date: August 26, 2016 (Japan); April 7, 2017 (USA)Country: Japan Our two body-swapped and star-crossed heroes are a country girl named Mitsuha and a city boy named Taki. Apropos of nothing, the two teens swap bodies. At first they think they're dreaming--as Mitsuha in Taki's body struggles as a waiter in a restaurant, she wonders when her long and bizarre dream will end. Taki in Mitsuha's body begins each morning copping a feel like a creeper. They intermittently lead each other's lives, and they come to enjoy the ability to live a life so different from their own day-to-day. The allure, like most body swap films, is in the contrast of experiences--metropolitan and pastoral, modern and traditional, the social norms of male and female, etc. My enjoyment of Your Name can be broken into quarters. I loved the first quarter of the movie, which was a great modern take on the body swap genre. The city boy and the country girl get to know each other obliquely, corresponding through their own cellphones with do's and don'ts about each other's lives. Shinkai closes that opening quarter with a fantastic montage of the joys and frustrations of living another life only to return to the mucked-up nature of your own. I liked the second quarter of Your Name, which, without spoilers, involves a mystery and a journey. Tonally it reminded me a little of Hirokazu Koreeda's charming I Wish, though an adolescent version. As for the last half of Your Name? It was all right. "Generally acceptable" may be a more accurate phrase. So much about Your Name hinges on a major plot twist and the way the narrative treats this revealed information. If I wasn't on board with the first portion of the film, the swerve at the halfway mark would have soured me on the whole movie. It's all dependent on a series of narrative conveniences that the story doesn't attempt to explain: spotty memory, technological failure, the loose rules of the body swapping, a lack of common sense from the characters, lapses in human curiosity. And yet, somehow, I think Your Name still works by the end because it is so earnest about its teenage feelings. There's the desire to be understood by someone, to forge a lasting connection, to make sense of your own life. That's all there. I watched the movie in a crowded theater full of teens and young adults. As a plot twist occurred in the second half, gasps rustled through the crowd. After that emotional gut reaction, the analytical bits in my brain stepped forward and processed the information. No, a little too convenient, but just go with it. This kept happening in the last half of the movie. I found myself liking moments even though I was of two minds about them. There's a gorgeous scene set at dusk before a dimming sky. It's quiet, it's memorable, it was enough for me to disregard a lapse in logic a few scenes before. A young woman in the crowd, excited by the connection that occurred on screen, whispered an elated "Yes". Minutes later, sighs from the crowd, crestfallen, like everyone had breathed out at once. I couldn't help but be moved as well--I felt what someone else was feeling, which is what Your Name is about at its best. Oddly, some of my qualms come from understanding Shinkai's point of view as a storyteller. To affect the audience the way he wants to, Shinkai needs to move the story in direction P, therefore actions L, M, N, and O have to occur. I saw the movie with Steve over at Unseen Films, and his immediate feelings for the movie were far more tepid than mine. The logical lapses were so apparent to him. My own fondness for the first half of the film led me to justify those logical lapses to him even though I noticed them as well. And I have to admit, my justification was because I understood Shinkai's storytelling motivations rather than any diegetic explanation provided by the film. I can't recall who said this or if I'm even getting it right, but there's a sandwich rule when it comes to storytelling. Say you make a movie. Part of it doesn't make sense. If an audience member doesn't realize there's a lapse in logic until hours later when they're making a sandwich, the story is successful. Your Name didn't pass the sandwich test with me, but I could sense it did with many others in the crowd. Even without the sandwich test, there was a lot to admire. If only the last half had hooked me more, not by plot twists but through the characters, not by letters signifying Shinkai's moves but rather that ineffable emotional stuff that's harder to figure out and impossible to name.
Review: Your Name photo
The body swap movie with a swerve
Makoto Shinkai's Your Name is the highest-grossing anime film of all-time, and it hasn't even come out in the United States yet. It beat Hayao Miyazaki's Spirited Away; give it a few more months and Your Name may beat Spirite...

Review: My Life as a Zucchini

Mar 03 // Hubert Vigilla
[embed]221336:43439:0[/embed] My Life as a Zucchini (Ma vie de Courgette)Director: Claude BarrasRating: PG-13Release Date: October 19, 2016 (France/Switzerland); February 24, 2017 (limited)Country: France/Switzerland My Life as a Zucchini opens with the accidental death of a boy's abusive, alcoholic mother. His father isn't around and never shows up, but he draws an idealized, superhero version of him on a homemade kite. The boy calls himself Zucchini (Erick Abbate), and as a police officer drives him to an orphanage, he flies the kite out of the car window. The moment is both beautiful and sad, just like so many other moments in My Life is a Zucchini. The other children at the orphanage are neglected, have had their parents deported, lost their parents in violent ways, or were physically or sexually abused. They're each around 10 years old. This is absolutely bleak material, and it's reflected in the look of the stop-motion puppets of the children. When a new girl named Camille (Ness Krell) arrives, one of the children remarks that she has sad eyes. It's a quality all of the children share. They all have huge, Margaret Keane-painting eyes, but they look wounded rather than doe-like, as if each of them might burst into tears at any moment out of sadness or a fleeting joy. While the situations these children face are so dark, My Life as a Zucchini is a hopeful film, and brimming with sympathy and empathy. I found myself crying through a lot of the film, which is a testament to the effectiveness of the animation. There's something important about the tactile nature of stop-motion I can't put my finger on. Maybe it's because the characters look like toys, and the settings feel like playsets--like the entire film functions as a space for a child to work through the dark things in their head. The English-language voice acting is commendable. The child actors sounded like actors rather than kids acting, if the distinction makes sense. Abbate and Krell have to do so much heavylifting whenever their characters are on screen, but there's no strain to it. I was so wrapped up in the emotion of the film that I didn't sense a flat line read or a sour delivery. Somehow, effortlessly, the child actors sounded vulnerable and true. The adult voice cast was good as well, with Nick Offerman, Will Forte, and Ellen Page disappearing into their roles as caretakers. Amy Sedaris' voice was distinct--very Strangers with Candy--though it fits with the brash, prickly character she portrays. Barras depicts kindness in various gestures between the kids and their caretakers at the orphanage. There's a snow trip with a tiny techno dance party in a cabin. There's play time. There's dress up and parties. When the children grow up, the psychological repercussions of what they've faced might be daunting, but at least there's this orphanage and these people who care about them. The adults try to create some semblance of a normal life free from from solitude and abuse. Things that seems so commonplace are suddenly imbued with a tremendous expression of love and humanity. How good it is, even if just briefly, to give someone the joy of a carefree childhood. My Life as a Zucchini is about children, but it's not a children's movie. That may have held it back in awards season. It was such a longshot to win a Golden Globe or an Oscar (Zootopia took both awards), and its bleakness didn't help matters. The film did wind up winning Best Animated Film and Best Adapted Screenplay at the Cesar Awards, however. Saying all this, part of me wonders how traumatized children might respond to the film. Would they feel less alone? Would they feel loved? Those concerns are more important than a statuette; they're what's most important in life.
My Life as a Zucchini photo
About kids but not a children's movie
There's this pervasive idea that children are resilient, that they're able to cope well even in dire circumstances. In stories about forlorn kids, a combination of optimistic pluck and boundless imagination helps them through...


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