But first, more about Supergirl
- In my initial review
, I said that the dialog was horrible, the action sequences senseless, and the premise that having a girl superhero movie be more about relationships than kicking ass was insulting to women. I wasn't going to watch any more, but then I did. It continues to intrigue me, a little, despite what it still does wrong. Actually it really only does a few things right.
Melissa Benoit is cute and clumsy in the right ways as Supergirl; she acts well, instead of wooden and/or eccentric like the rest of the cast. Laura Benenti and Peter Facinelli play characters who may or may not be bad guys, which is nice. These two make the show rise above the usual Moriarty or Mutants that is the staple of comic book derived TV shows. Supergirl is some of both, although it's mostly Mutants.
- A Moriarty show: One bad guy of exceptional and unbelievable intelligence and power always survives, attacks or taunts the hero, performs a dastardly deed in every episode (often with unexplained motives), gets tracked down, confronted, and then narrowly escapes in every episode.
- A Mutants show: In every episode, the hero has to fight yet another villain who has some mutated power - typically resulting from the same source that gave the hero his or her power. The hero is initially overpowered, but rallies to put away or kill the mutant by the end of the episode. There is always another mutant. It is never explained why all these mutants hang out in the proximity of the hero, instead of going literally anywhere else in the world/universe to do their mean things, nor why they attack one or two at a time.
Some shows like to use both of these.
Supergirl's action sequences - like the action sequences in every sci-fi and fantasy show I have seen (with the exception of Blake's Seven
) - continue to bore me. No one important ever dies, superhero powers or weapons are conveniently forgotten, no one has an ounce of strategy, and no one is ever in serious trouble. What happened to the kryptonite guns and blades? Why is everyone attacking innocents in a convenient 50 mile radius of Supergirl's apartment?
In this show, unlike shows with male protagonists, the superhero requires a team of others to help her, can't manage her abilities without training, must learn that powers are not the solution to everything, and has to wear a short skirt. Instead of being bothered by these points, my reaction is: well done. The other shows should really be more like this one (I'm not talking about the short skirt, although I don't really mind it, since her legs are not the central shot when she is on screen). Supergirl is more vulnerable and not always able to come up with a solution, which makes it more than just a bunch of punching and kicking, snarling villains, and threats and intrigue all managed by a lone hero karate chopper who never gets hurt.
Short skirt aside, I enjoy women protagonists more than male ones, except when they are invulnerable karate choppers (I'm looking at you Black Widow).
Other Marvel and D.C. Shows ...
Since I realize that pilot episodes are usually the worst, I really need to see more episodes of the rest of these shows to make proper judgements. But here they are, anyway. These are listed in the order that I viewed them.
- Not entirely bad, but also not too good. You know the basic story: he's blind, he's a lawyer, he whacks people with a stick. A Moriarty. None of the characters were interesting. Brooding and dreary.
- A Mutants show that predates
Supergirl and is a bit similar, with a male protagonist who runs really fast after a weird explosion but who needs a team to help him learn his powers. Many others were also caught in the explosion. I think the problem here is that I
didn't find any of the characters appealing. It's a knock off, much smaller version of X-Men. Again, none of the characters were interesting. In the last scene of the pilot, it has the tired cliche of the
who turns out to be something else by turning his head and looking
malevolently at the camera. Boring.
- As I have a preference for female protagonists who have time to do more than kick things, I liked this one more than most. It's the continuing story of Agent Carter from Captain America and her occasional run-ins with Papa Stark and other riff-raff. I nearly considered watching additional episodes, but I was thoroughly disgusted when, in the last scene of the pilot, it had the tired cliche of the supposed friend who turns out to be something else by turning his head and looking malevolently at the camera. Please stop presenting people whose eyes glow red when no one is looking, or who secretly keep tabs on the main character by pretending to be their friend. It's bad writing and bad filming. I HATE these silly "cliffhangers" of pilot episodes; it's a totally unnecessary trope.
The acting was good but the plot was forgettable, as Marvel plots are. Only Carter has any character, although not much; on the other hand, there is hope that some of the other characters may become more interesting, given the chance. But I will probably not watch another episode unless I am bored.
Agents of S.H.I.E.L.D.
- A totally forgettable Mutants show, going by the pilot. It has a group of misfit powers. My friend says that the show became something else entirely after the fifth episode, and it's one of his favorites. He says I should watch more.
Legend of Tomorrow
- Very clunky pilot episode, with too many introductions and cliche characters and intrigue - which is to be expected when you introduce ten main superpower characters in 45 minutes. Good production values for the most part, except for when it wasn't (such as the opening scene). Some of the characters could become interesting, like the ones that have lived and died for 4000 years, but it's more likely that we're never going to really explore their psychology, like how they deal with living a long time while their friends die. Instead I expect to just see the occasional run-in with a past familiar face. It's a big fat Moriarty.
Unnhhhhh ..... maybe I'll watch a second episode.
- Not bad, again because it's not all about butt kicking; and its no accident that this is because the protagonist is female. However, it suffers from a severe Moriarty problem. Jessica is a private eye who also happens to be a retired power, but whose path once crossed, and will now cross again, a guy who controls people's minds in nasty ways. Krysten Ritter is a fine actress, but the characters had shallow development (in the pilot, at least). Again, I may watch another episode if I am truly bored.
- I finally watched the original D.C. show and I see what the fuss is about. This show is neither Moriarty nor Mutants; Arrow's hit list of targets is a little like Mutants, but the list isn't endless and they don't have mutant powers. The story is original - well, actually, it's basically a take on Bat-Man. He returns from a shipwreck where his father died and so did the girl he was banging (his girlfriend's sister). His relationships, such as to his ex girlfriend and best friend, are well done. Some of it didn't make any sense - how did he learn all that technology when he was out of commission for so many years (and you know that computers don't work like that, right?) and it's unbelievable that he can be shot at at point blank range by dozens of machine guns and never hit by a bullet - but I gave it a pass because of the interesting plot. I will probably watch more episodes.
- This is another well done story, and rather unique. Basically, zombies exist but are not well known; being a zombie is something you can hide from your friends and family, so long as you get to work in a morgue and eat brains. And it gives you ex-machina crime-solving abilities. That means that, in future episodes, Ms brain-eater is going to get just the right flashes at just the right times, which is awfully convenient. And oh yeah: zombie may be a curable illness. I gross out easily, so I didn't like the gory parts, but the "fades from comic panel to real life action sequences" are fun and stylish. If I was into crime-dramas at all, I might watch more of this, but I'm not.
- A solid, well-acted police/detective serial. Follows the story of James Gordon's early days on the police and the boy Bruce Wayne, sprinkling in early looks at half a dozen future criminals in the meantime. Lots of mob and crooked policemen. It's Mutants, with some Moriarty thrown in. If I liked crime/detective shows with lots of violence, I would probably watch more episodes, but I don't.
Other Shows ...
The Shannara Chronicles
- This is a PG fantasy series, loosely based on the Elfstones of Shannara
(the second book in the series). The acting is wooden or eccentric. The plot turns a good and powerful story into a series of cute meets and irrelevant action sequences. A magic tree that holds back hordes of demons is dying; one elf has to take a seed and bathe it in some mountain fire to make a new tree. I stuck around for the first three episodes, but I got bored by the plot distractions, like arranged marriages, deaf leaders, and people running away from responsibility. These aren't inherently bad ideas, but they are done without grace. The scenes engender no empathy, nor do they create any emotional connection to the characters. The funny scenes aren't funny. The tense scenes aren't tense.
Manu Bennett as Allanon is perhaps the best thing going for the show. Possibly Ivana Baquero's or Poppy Drayto's elf women characters will become something interesting eventually. Austin Butler's Wil Ohmsford is a complete blank, so I have no hope for his character becoming anything at all.
- A foreboding take on human-looking androids, as depicted by the movies A.I.
and Ex Machina
. Here you buy them as companions or servants, but they are obviously going to be sexually and physically abused. An interesting question would be whether this can exacerbate, or help sublimate, abusive behavior against real people, but I don't know if the series gets (got) into that question.
Instead, the story is about displacement and other kinds of social dynamics, and (having read the series synopsis) eventually the same issue explored by movies like Ex Machina and Blade Runner
: whether or not androids can really be sentient, and thus granted equal rights like humans.
It's not bad, but it also didn't quite grab me. I think the human characters were just not that interesting in the pilot. It might get better after the pilot, when the characters become more familiar. I might try a few more episodes.
- This movie is not, unfortunately, the story of the Suffragette movement. Instead, it is a series of scenes depicting the suffering undergone by some of the suffragettes. To have been the story of the movement, it would have had to have shown how the suffragettes' activities gradually came to win over the hearts and minds of the people. None of that is shown.
The movie is just a repetition of women plotting, protesting, or breaking windows, followed by the women being ignored, beaten, arrested, abused, or otherwise mistreated. That's it. Details of the unfair situation of, and the abuse and sacrifices made by, the main character, played by Carey Mulligan, are shown. I found it hard to tell the other women apart, since they had no differences in character, other than being a bit louder or weaker. The one man shown to be slightly supportive - a husband - is given almost no role and no voice. And then someone dies and the movie ends. Great cinematography, but kind of a waste for such an important topic.
- Three half-hour scenes in the life of Steve Jobs, all right before product launches. For what it is, it's okay. Jobs is shown as a prick, as usual. I don't know that it adds anything to what we know about Jobs from what we already know from the previous movies. We learn a bit more about product launches, and a bit more about what it was like to be Jobs' daughter.
My main problem here was that Michael Fassbender looks nothing like Jobs, so it was hard to believe him in the role. Another problem was Jeff Daniels as John Scully; Daniels acts exactly like his character from Sorkins' The Newsroom, and the pacing and camera shots, and even some of the dialog, is lifted straight out of Sorkins' TV shows, so the movie seemed like another episode of The Newsroom. Don't talk to me like I'm other people!
The Peanuts Movie
- An aberration upon humanity. I can't step away from the fact that I've seen all of the original Peanuts movies and many of the shows, and read the comics; perhaps I would see this a bit differently as a newcomer. I recognized many of the one-liners, characters, and even short set-up scenes from previous Peanuts media, but the majority of the movie was slapstick: characters getting smashed or hit, falling down, bonked on the head, jumping into a bush, screaming, or otherwise, in fast sequence after sequence. The original material barely surfaces for a few seconds before another pratfall or smack in the face. Maybe a little kid who enjoys seeing people get hit or hurt will enjoy the movie. Otherwise, it is blasphemous. There is a reason that many cartoonists don't want other people continuing their work after they're dead.
The Little Prince
- An odd, but not too odd, animated movie that tells the story of The Little Prince in the first half of the movie, while simultaneously telling the story of a girl and her mother who move into a new house. The mother has the girl's entire future planned out to a ridiculous degree; the girl makes friends with her neighbor, who turns out to be the aviator of the eponymous story. The second half of the movie sees the old man going to the hospital and the girl's search for The Little Prince who is now an adult and has forgotten all of the lessons of the book.
It doesn't take a genius to know what will happen next, but kids will enjoy it, and hopefully their interest in reading the book will be aroused. Watchable as an adult.
- A nifty movie about Margaret and Walter Keane (Amy Adams and Christoph Waltz). In the early 1960s, Walter painted many kitchy paintings featuring kids who had big eyes. These became very popular, and Walter hobnobbed with the media, celebrities, and the art world until Margaret suddenly left him, and shortly afterwards claimed to have been the actual artist. This was demonstrated as undeniably true in a famous courtroom battle, although Walter continued to claim to be the real artist until his death. It's a movie about a woman who supports a Big Lie by her husband; I would think it would be hard to relate to by today's women. None of the women I know could or would do such a thing for so long, but maybe there are still many who would. I felt that the moment of her first willingness to go along with the lie wasn't presented sufficiently, but that may be simply because I am a man. Anyway, the rest of the movie is interesting, moves well, is acted, scripted, and directed well, and is worth watching on a small screen.
- A small story starring Jennifer Lawrence as the real-life Joy Mangano, a woman from a dysfunctional, poor extended family of leeches who invented the miracle mop and marketed it on television. It's pretty grim for most of its running, even though you know it has to turn out well somehow, eventually. J-Law is fine, as usual, and the rest of the cast and directing is, too. Something is missing from the story, however. Either they told the wrong parts of the story, or the story isn't that interesting. It tries to make up for this by presenting all the weird characters that surrounded Joy, but the movie spends too much time on those characters, who are not interesting stories. It's ok for watching on an airplane ride, but I wouldn't seek it out.