Best Films, yearly (1970-now)


2015 Mad Max: Fury Road

2014 Stranger by the Lake (L’Inconnu du Lac – El Desconocido del Lago)

2013 The Wolf of Wall Street (El Lobo de Wall Street)

2012 Life of Pi (La Vida de Pi)

2011 The Tree of Life (El Árbol de la Vida)

2010 The King’s Speech (El Discurso del Rey)

2009 In the Loop

2008 The Dark Knight (El Caballero Oscuro)


2007 Hairspray

2006 Borat: Cultural Learnings of America to Benefit Glorious Nation of Kazakhstan

2005 Brokeback Mountain

2004 Hero

2003 Lost in Translation

2002 Bowling for Columbine


2001 Hedwig and the Angry Inch

2000 Requiem for a Dream


1999 Fight Club


1998 El Milagro de P. Tinto

1997 Chasing Amy

1996 Trainspotting

1995 Babe

1994 Pulp Fiction

1993 The Piano


1992 Unforgiven


1991 JFK


1990 The Godfather, Part III


1989 Do the Right Thing


1988 Women on the Verge of a Nervous Breakdown


1987 Good Morning, Vietnam


1986 Little Shop of Horrors


1985 The Color Purple

1984 Amadeus


1983 Monty Python’s The Meaning of Life


1982 John Carpenter’s The Thing


1981 Raiders of the Lost Ark


1980 Airplane!


1979 Apocalypse Now


1978 The Deer Hunter


1977 Annie Hall


1976 Network


1975 Dersu Uzala


1974 Day for Night (La Nuit Américaine)


1973 The Exorcist


1972 Cabaret


1971 A Clockwork Orange (La Naranja Mecánica)


1970 M.A.S.H.

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2017’s Watch List (and rank)

Colossal ***** / A+
Get Out ***** / A+
Blade Runner 2049 ***** / A+
Phantom Thread ***** / A+
Call me by your name ***** / A
The Shape of Water ***** / A
Lady Bird ***** / A
Logan ***** / A
T2: Traispotting ***** / A
Coco ***** / A-
Okja ***** / A-
Thor: Ragnarok ***** / A-
The Post ***** / A-
I, Tonya **** 1/2 B+
El Bar **** 1/2 / B+
Train to Busan **** 1/2 B+
Spiderman: Homecoming **** 1/2 B+
Guardians of the Galaxy vol. 2 **** 1/2 / B+
The LEGO Batman Movie **** 1/2 / B+
Tom of Finland **** / B
Battle of the Sexes **** / B
Split **** / B
It **** / B
God’s Own Country **** / B
Darkest Hour  **** / B
The Disaster Artist **** / B
The Autopsy of Jane Doe **** / B
Wonder Woman **** / B-
Murder in the Orient Express **** / B-
I am a Hero **** / B-
Tour de Pharmacy **** / B-
It stains the sand red **** / B-
Kong: Skull Island *** 1/2 / C+
Three Billboards outside of Bedding, Missouri *** 1/2 / C+
Seoul Station *** 1/2 / C+
BearCity 3 *** 1/2 / C+
Dunkirk *** / C
Happy Death Day *** / C
Jumanji: Welcome to the Jungle *** / C
Girls Trip *** / C
Ferdinand *** / C
Justice League *** / C
Boss Baby *** / C
Life *** / C
Star Wars: The Last Jedi ** 1/2 / D
The Mummy ** / D
Rings ** / D
Beauty and the Beast ** / D
Guardians ** / D
Alien: Covenant * / E
Geostorm 1/2* / F
The Emoji Movie 1/2* / F
(to be updated)
Best Picture: “Colossal”
Best Director: Nacho Vigalondo, Colossal
Best Actress: Anne Hathaway, Colossal
Best Actor: Daniel Day-Lewis, Phantom Thread
Best Supporting Actress: Lesley Manville, Phantom Thread
Best Supporting Actor: Ewen Bremner, T2: Trainspotting
Best Original Screenplay: Colossal
Best Adapted Screenplay: Blade Runner 2049
Best Cinematography: Blade Runner 2049
Best Production Design: Thor: Ragnarok
Best Costume Design: Phantom Thread
Best Film Editing: Get Out
Best Score: Phantom Thread
Best Sound: Logan
Best Sound Mixing: The LEGO Batman Movie
Best Visual Effects: War of the Planet of the Apes
Best Make Up: Thor: Ragnarok
Best Film not in English Language: El Bar, by Álex de la Iglesia (Spain)
Best Animated Feature: The LEGO Batman Movie

Goodbye, Facebook. Goodbye, Twitter.

“We live in dangerous days…

… to say what you think, it’s to dig your own grave”.

Sinnèad O’Connor

 

So yeah, I did it again. I grew tired of overall stupidity and witch-hunting and I closed both my Facebook and Twitter accounts. Some random guy – who said to be a lawyer – accused me of committing a hate crime mainly for allowing me to offer a different version of some events that happened a couple of days before, and that had the whole country in a crazed state of mind… some other versions to the one spread by mainstream media, and that actually swapped roles of executioner and victim, providing a possible explanation as a death because of self-defense, was in the opinion of this guy, a “justification of murder”… he was also outraged because I said the value of one loss with some circumstances isn’t the same of another loss in different circumstances, and that was supposedly a hate crime, so he told me he had reported me to the police right away, without even asking what I was actually meaning with my words.

I hope I never have this guy as a lawyer, because his procedure did jump over crime investigation, the pressumption of inocence and the fact that circumstances result in different kind of sentences taking into account every known fact not only about the events but even about the victim itself. You know, basic legal knowledge, which I happened to respect and he was blaming me for doing so, and not embracing the general histeria caused by the first version of the events (the man, having been assasinated for wearing suspenders colored as the spanish flag… the newer version had the victim bullying the supposed murderer and his friends, and attacking them with a knife as they were leaving the bar, tired of his attitude… the first version was told by a friend of the victim who had posed with him with a t-shirt featuring “Hail Hitler” in big capital letters).

In any country, this wouldn’t be a reason to be afraid of legal action. In Spain, precedents abound of “no cases” that has ended with people in jail, always in the same sense… someone politically on the left, criticizing anything from the extreme right. It does not matter it is a misunderstanding. If someone want to exploit it, to set a new example that forces people to extreme censorship when criticizing the extreme right, it’s done, and your life is ruined.

Even worse, the “gag law” (Ley de Seguridad Ciudadana / Law of Citizen Security) basically forbids taking any proof of foul game by the security forces, while at the same time warrants a pressumption of truth for any claim by them… making it illegal to use a photo, a video or a sound recording to prove your innocence once you’re accused of anything.

In Facebook and Twitter, this has resulted in a case of mass hysteria, with bloggers, and anonymous users being sued or even imprisoned because some comment. And the intention of the two parties likely to rule the country in the near future, is to even make this law tigher and stronger, as still some sentences end in absolution, which are promptlyt appealed by the state.

So, basically, on paper, we still have freedom of speech. But at the same time, the consequences of using it, could end your life as you know it.

“Colossal” vs. “Wonder Woman”. 2 different concepts of “girl power”.

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Let me put this straight away: “Colossal” is a movie for the XXIst Century woman, while “Wonder Woman” is a film for the woman of the 1st half of the XXth Century… not only because its date setting, but also because their inner developements.

Patty Jenkins’ “Wonder Woman” is a fine film whose background, reflects a concept of “girl power” in a – literally – spartan kind of way. A woman can be as hard, as unbeatable warrior, as any man, even more so, in the case of the Amazons. Diana Prince not only plays the “fish out of water” role, but also serves as shock value to her male counterparts. If the background wasn’t World War I, and the framing, the military – with only minor detours into the ordinary life – it could be kind of forgiven its cliched and dated message… however, the subtext is basically a promotion of the association of “girl power” with joining the military, which frankly, smells rotten but unsurprising being an american blockbuster with extraordinary high budget and deeply rooted in a comic book created in war times (1st appearance, december 1941, the month of the attack over Pearl Harbor!) and haven’t been really updated for the big screen outing, to be more in sintony with more civilized times in which fighting aren’t the primary source – or at least, shouldn’t be – for gender empowering.

In exchange, Nacho Vigalondo’s “Colossal”, desguised as an sci-fi dramedy extravaganza, juggles effortlessly with concepts like gender violence, emotional blackmail, addiction and its steps, and benefits of its extremely modest budget (it may feel amazing to learn that despite its top-notch visual effects, it costed around 5 million dollars all together), to keep everything restrained and down to the basics, without distracting the audience from the core themes, Vigalondo is interested in offering to his audience. While Diana Prince is a warrior, Anne Hathaway’s Gloria, in “Colossal”, is a different kind of heroine, a way different one.

Gloria is in the middle of a crises that is drowning her into alcoholism. She’s just not that deep so far – as subtlely hinted by Vigalondo, in her sudden stop of drinking alcohol and turn into water and soft drinks – but she’s already lost control of herself and her boyfriend basically demands a break. She goes back to the basics, more pointless about her own problems that she believes herself and falls prey to an old schoolmate and friend who had too obviously fallen for her long ago. So, yeah, here’s your usual rom-com, with an alcoholic twist, the audience expects. But then, there’s the kaiju McGuffin, and how it developes actually launch the film into more interesting and daring material, becoming a film about abuse, emotional blackmail, the dehumanization of the people we can’t see, the lack of remorse for the consequences of our actions (when we don’t have to face them ourselves, or can’t be blamed on us), and Vigalondo delivers a climax that shows us what (girl) power really is, to literally get rid of submission by throwing the problem away and acknowledging both power and limitations, both weakness and strenght. The final shot – Anne Hathaway deserves an Oscar nom just for that, in my opinion – is both hilarious and trascendent, in a way that few directors apart from Vigalondo, can achieve.

With going into spoilerish territory, the main difference between “Wonder Woman” and “Colossal”, comes in the way the main “interest” of the female protagonist is handled and developed. SPOILER: Chris Pine’s character serves as link, as introduction into the modern society for Gal Gaddot’s Diana, also as love interest, later as “damsel in distress” in a role reversal that is later annihilated by his own sacrifice – so Diana can go on, into the sequel, expected to be set many years after. The whole thing feels superficial and basically with minor changes to the average screenwritting for blockbusters. On the other hand, in “Colossal”, Jason Sudeikis’ character starts as a friendly face, sympathetic, only later we discover that HE is the real alcoholic, that HE gets drunk with his new found power, that HE will abuse Gloria and that HE is the subtle villain that makes the audience shake. The shot of his feet while he stumbles on the playground while Gloria cries in despair, and we hear the consequences, have to be among the most chilling and effective in the recent years. While Chris Pine’s character sacrificed himself, therefore the woman ultimately owed the victory to a man, in Colossal is Gloria’s empowering, intelligence and resolution that allows herself to get rid of an horrifying menace.  END SPOILER.

Colossal: ***** / A

Wonder Woman: **** / B

2017 movie – short – reviews (getting up to date).

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T2: Trainspotting ***** / A-

A complete must-see, and almost on par with the original, T2: Trainspotting is not only a continuation of the first film, but also an essay on time going by and the unexpected consequences of past actions. Ewen Bremner shines again as Spud, and the rest of the cast is pitch-perfect, as otherwise expected. A more “mature” film in many ways, I can understand the disappointment by reviews and audiences alike, but I think they didn’t really get what Boyle was doing: expanding rather than rehashing, using the parallels in scenes now and then, to underline the commentary of time as something dynamic but which you can’t run in more than one single direction.

 

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Okja ***** / A-

Joon-ho Bong is quickly becoming one of my favorite directors, effortlessly. A movie that can turn anyone into a vegan, it’s not only fun and thrilling and moving, it’s also a multilayered satire about capitalism and dehumanization of society and how humans are mainly predators in total disconnection with nature. If there’s a single complaint from myself to the film, it would be that Bong decides to show the audience that our animal hero has an intelligence and personality as close to the human as possible, something I think undermines the message, overall. Everyone is excellent – so are the visuals – and Jake Gyllenhaal and Tilda Swinton have a lot of fun by letting themselves go, in their caricature of villains, they portray.

 

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Colossal ***** / A

Probably Nacho Vigalondo’s masterpiece, so far. Multilayered allegory about gender roles, gender violence, vanity, the ecstasy of ego due to newly discovered abilities, the lack of remorse for the violence we inflict (when we can’t see our victims), the movie suggests so many ideas, so many concepts that reminded me of the also outstanding “The Lego Movie”, which was also so stuffed with elements that made up por multiple viewings to fully explore its ideas. As “T2”, another movie that hasn’t been properly analyzed by american reviewers, specially Chris Stuckmann who “doesn’t buy Anne Hathaway’s character as an alcoholic”. He obviously didn’t really pay attention: she’s not an alcoholic, as she quickly changes to soft drinks once she realizes the consequences of her actions. The final shot and Hathaway’s expression is priceless. A likely candidate for my final top 10 of the year.

 

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Get Out ***** / A-

I have to say, there is one youtube analysis of this film that made me appreciate it even more than with its viewing. Get Out is not just an horror film but a commentary on the fascination – which in the end, is another kind of racism and bigotry – with african american culture and facts. With rich, white people, being completely fascinated with those who mainly suffer their racism, and with the consequences of not actually seeing them as human beings at heart, but being fascinated with their facts. I can’t develope without going into heavy spoilery ground, but it’s a must see, and a must understand, specially on how liberals/progressists can be as bit as dangerous as bigots.

 

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Alien Covenant * / E

Yes, the film is visually stunning. Yes, Michael Fassbender is outstanding again. Yes, even Danny McBride is really good in a dramatic role. Still, the movie is a visually stunning piece of crap, as Prometheus was. Pretending to be ambitious, it can’t really hide it is milking a mythology beyond extreme and without remorse in falling into utter stupidity which is undeniable. Seriously, Ridley Scott has thrown all the credit he re-earned after Prometheus with the great “The Martian”, back into the trashcan.

 

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Boss Baby *** 1/2 / C+

Alec Baldwin is this film and what saves it from mediocrity. It’s fun, but it is also bland, and my favorite parts are always those who caricature this american culture of power and success. It’s not reinventing the wheel, but it makes for a fun ride and the visuals are lovable.

 

WONDER WOMAN

Wonder Woman ****  / B

It’s a really good superhero movie, and frankly, I would rate it higher, if it was not so shamelessly a rip-off of Marvel’s “Captain America: The First Avenger”. If you saw that one, you can almost guess every twist and turn of Wonder Woman. It’s the best DCMU film so far – by a wide margin – but still one inch under what Marvel is doing, and frankly, not really original. The rip-off, is so obvious, that even, as Captain America, a red haired soldier has to be in the heroine’s squad (Dum Dum Dugan in the MCU, Ewen Bremner’s character here).

 

Highway-to-Hellas[1]

Highway to Hellas *** / C

Another “culture clash” comedy, with a German inspector supervising a Greek island’s use of the german money for development – and that of course, went in “other directions”. It’s fun, acting is good but not award-worthy, and it sends us back to miss better films like “Mediterraneo”. Not boring, not frustrating, just a movie for a bored afternoon/evening, and forgotten next day.

 

“La Izquierda”. El delirio de Pedro Cantó… digo, Toni Sánchez… digo… Pedro Sánchez.

Tengo que decir que cuando vi ésto…

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… inmediatamente, me vino a la memoria, esta otra imagen:

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Una imagen de travestismo que no convenció a nadie, en su momento. Toni Cantó, discutible político y también discutible actor (pero al que respeto enormemente en esa faceta, como siempre haré a quien se ha fogueado en el teatro), era un ejemplo de mal “casting” en la maravillosa “Todo sobre mi madre”. Aunque Cantó ciertamente intentó dar una buena interpretación, no era creíble como transexual, o resultaba demasiado chocante. Aún así,  en su escena final sí consiguió emocionarme, pero era evidente que era el enlace más débil de lo que es casi una obra maestra y casi descarrila el momento que era más crítico de la cinta: la resolución.

Algo parecido pasa con Pedro Sánchez, cantando la “Internacional” con el puño en alto. Ufff… ¿por dónde empezar?

Quizás por su bagaje en Caja Madrid. Un buen resumen del currículo de este señor que se autoproclama “la izquierda”, que tomo prestado de otro blog de wordpress…

pedro-sc3a1nchez-psoe

Un señor que ha hecho carrera en el PSOE, mientras este partido JAMÁS pedía perdón, ni depuraba responsabilidades por casos como el GAL (recordemos, TERRORISMO DE ESTADO financiado con DINERO PÚBLICO), FILESA (financiación ilegal), como los más notorios mientras Sánchez crecía en su militancia, y que además aprobó medidas 100% neoliberales que sacrificaron a la clase obrera, como la inserción de las ETTs, la generalización de los contratos basura, los desahucios exprés, o se convertía el PSOE de Zapatero y con la difunta Carme Chacón, en el primer gobierno español “democrático” que autorizaba el bombardeo de un país extranjero – para “salvarlo”, claro, que el hecho que tuviera petróleo y gas, apetitoso para corporaciones como Repsol, nada tenía que ver en el interés “humanitario” de la guerra de Libia. En fin, debe ser difícil aguantarse las ganas de arrancarse con la internacional, en mitad de una reunión de Caja Madrid… o de alzar el puño en alto, mientras negocias con los Ciudadanos, un programa neoliberal inasumible para cualquier partido con una mínima sensibilidad con las clases bajas, más aún cuando hasta la derecha dice que es el programa del PP, con unos pocos retoques.

En fin, lo más patético, no es asistir a una guerra fraticida a tres bandas, entre Sánchez y dos de sus máximos apoyos para llegar a la secretaría general hace unos años, lo cual hace sospechar que todo es un paripé de amiguetes, simulando estar enfrentados, para asegurarse que un candidato suyo, siempre salga victorioso. ¿Soy paranóico? No, tengo memoria, e internet TAMBIÉN. Susana apoyó a Sánchez y luego lo defenestró para ahora ser la “mala” de la película que facilita por contraste, “vender” la imagen que Sánchez es un santo varón y mártir de la izquierda.

Por que ésto, me imagino que pudo haber sucedido en una reunión, un “brainstorming” del PSOE, tras las encuestas previas a las elecciones de 2011… digamos que esta sucesión de acontecimientos, por ejemplo. El tema principal, con un PSOE totalmente quebrado por la crisis, con un desempleo fuera de control y medida neoliberal tras medida neoliberal, había que (re)vender la moto, de partido progresista, tras un paso por la oposición ante una previsible mayoría absoluta del PP. Era crucial que IU no fagocitara los votos “socialistas” en el futuro, ante la nula credibilidad del PSOE tras el periodo 2004-11.

Entramos dentro de las sospechas “conspiranóicas”. ¿Qué habría sugerido yo, si no tuviera límites morales?

  1. Sabiendo que la derrota era inevitable, sería importante crear una oposición en la calle, creíble, supuestamente espontánea, pero que fuera en buena parte compuesta de militantes y votantes socialistas que supuestamente serían críticos con la deriva del partido. Sería crucial hacerlo, antes que IU tuviera la misma idea. Carteles y pegatinas llamando al 15M y programas en televisiones locales llamando casi a la rebelión – La Tuerka – aparecieron casi de la nada… no sería noticia, si no hubieran comenzado a aparecer unos contertulios en programas matinales, y columnas en periódicos como Público, con unas caras desconocidas hasta entonces pero que pronto comenzarían a ser familiares: Pablo Iglesias, Juan Carlos Monedero, Ramón Espinar, Íñigo Errejón… casualmente, todos acabarían en el mismo partido político, con puestos de responsabilidad. Un partido que alguien podría decir que es la marca blanca del PSOE y captaría la mayoría de los votos que en teoría, habrían acabado en el voto a IU o a los partidos ecologistas.
  2. Era necesario que el nuevo líder socialista no se desgastara en la evidente derrota electoral que se avecinaba. Como siempre, el tener las manos atadas con una mayoría absoluta del PP, convenía para comenzar a reforzar la imagen del PSOE como partido de izquierdas, por mero contraste. La oposición puede ser muy cómoda, pero el PP no dejó en ningún momento, que se olvidara que Rubalcaba había sido miembro del gobierno anterior.
  3. No bastaba en principio con elegir un líder “progre”, había que subrayar que éste, era indudablemente de izquierdas. Pero eso, era algo más complejo, dado que era evidente que en el PSOE, había mucha vieja guardia que jamás iba a renunciar a sus privilegios, ni sus puestos en consejos de administración de corporaciones. ¿Cómo vender la regeneración? En el fondo, muy fácil.
  4. En 2015 era evidente que no se iba a recuperar el gobierno, aunque se podía continuar cómodamente como líder de la oposición… la aparición de Podemos y en menor medida, EQUO, dificultaba el tema. Sánchez consiguió quedar segundo – gracias al NO de Izquierda Unida a una triple coalición con los anteriores – pero consiguió el peor resultado del PSOE en su historia, gracias al trasvase de votos masivo hacia la formación morada. Aquí estaba la oportunidad de legitimizar a Sánchez, pero primero había que mostrar que Podemos eran unos “radicales”…
  5. Se rechazó el pacto con Podemos e IU para insistir en un tripartito inaceptable para éstos, con Ciudadanos y su programa económico – copia del PP. Los medios estaban ahí para vender que Podemos tenía “arrogancia”, “ansias de poder” y no eran “razonables”. Nuevas elecciones y defenestración de Sánchez por parte de aquellos que originalmente le habían apoyado. Sánchez renuncia a todo y pasa a ser oposición dentro de su propio partido…
  6. Se nos vende la moto, que en el PSOE ha habido un golpe de estado por la vieja guardia. Se nos vende la moto, que Susana Díaz – a partir de aquí, la villana de la película, o mejor dicho, folletín – representa a una infiltrada del PP, de la derecha: nacionalista española, defensora de la vieja guardia, protectora de imputados, etc. Una especie de conspiradora que ha defenestrado a Sánchez, por pura ambición política, porque aspira a ser la primera presidenta de Gobierno de España.
  7. Aparece como candidato también, Patxi López. Histórico socialista, se nos autopresenta como un candidato intermedio, moderado, una bisagra que se podría antojar útil en el último momento.
  8. Los medios de la derecha, comienzan la campaña pro-Susana Díaz. Si uno no supiera de estas cosas, estaría sorprendido… pero es EVIDENTE que al último candidato que un votante que se cree – o quiere creerse – de izquierdas, va a votar, es a alguien que medios como La Razón, ABC, El Mundo, Antena 3, o la televisión pública española (en manos del PP), le indiquen que es el candidato que el PSOE necesita. Los medios “progresistas” – con Público a la cabeza – hacen lo contrario y remarcan que Sánchez es el menor de los tres males, o el candidato ideal. Todo indica a un claro apoyo final a Sánchez, que es claramente, el candidato elegido.
  9. ¿Por qué los medios de la derecha apoyan a Díaz para subrayar a Sánchez? Sencillísimo para aquellos que saben ajedrez, en vez de mover las fichas. Díaz como candidata socialista, o López, seguirían facilitando el desangrado de votos del PSOE hacia Unidos Podemos, partido en el que aunque aún siguen dominando los ideales “socialistas”, todavía hay demasiada influencia y poder por parte de Izquierda Unida, EQUO e Izquierda Anticapitalista, por lo que el poder económico no quiere ni pensar en un gobierno con ellos en la Moncloa. Se necesita un servidor fiel. Con Sánchez revestido de credibilidad, la situación es contraria… con el machaque mediático diario a Podemos, en todos los frentes, el trasvase de votos se revertiría hacia el PSOE, pudiendo venderse dentro de Podemos, que son las medidas “radicales” propuestas por IU, EQUO e IA las que han “asustado” a los votantes, dando más poder al ala Errejonista, más afín y más del agrado del poder económico español, ya que básicamente, lo que propone, no es otra cosa que el programa del PSOE tradicional, moderado respecto al capitalismo y los mercados.
  10. De esta forma se pone una primera piedra para que el PSOE pueda terminar fagocitando en el futuro a toda la izquierda, llevándola al centro y eliminando cualquier otra posibilidad de decisión que no sea entre PPC’s y PSOE.

Cuando cuentas con el control del 99% de los medios de información, es más fácil llevar a la práctica una estrategia de manipulación de masas, ¿no? Pero lo dicho, es conspiranoia, seguro que me equivoco.

I’m with Stupid. ->

There’s a worrying pattern in Hollywood blockbusting today, and that’s the stupidity of the average blockbuster / event film. We could talk about Prometheus, X-Men: Days of Future Past, Batman vs. Superman: Dawn of Justice, Captain America: Civil War or The Dark Knight Rises of prime examples of when Hollywood thinks you’re basically stupid and won’t mind the screenplay at all…

There are times, when I really, really can forgive what basically is, a stupid plot. There’s even one masterpiece who requires complete suspension of disbelief but tricks the audience with a bigger-than-live villain which simply is always two steps above the heroes and everyone else… I’m talking, of course, about Heath Ledger’s Award winning performance as The Joker in “The Dark Knight Rises”.

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The Joker’s success in following the scheme till the last minute, could really only be explained if we think he’s a supernatural being, an encarnation of chaos itself, or that he might have some secret superpower that forces probability or his adversaires/victims will into his desires. There was a good summary of the screenplay’s problems, in this video: Everything Wrong with The Dark Knight

But, do you know? We can forgive it all. The performances are excellent, and sell it. Nolan’s directing is amazing, and despite the screenplay flaws, it is still an instant classic and one of the must-see films of the last centuries, for all the show itself, but also because of its juggling of themes that resonate with the audiences, and the strip down of the conflict from good vs evil to a more fascinating, “why are we good or evil?”. Flaws and cheats can be forgiven, in film, if there is a valid, powerful purpouse for that.

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Something similar to what happens in another excellent film, Captain America: Civil War. Zemo’s – the main villain – plot just is pure nonsense, depending on two many “ifs”, and it is basically a McGuffin to have all the toys clashing with each other. But Marvel Studios was wise enough to add layers, deeply rooted conflicts that made pure white and pure black disappear and have all the characters choose which kind of grey are they more comfortable with. But let’s be honest, we end thinking the film is awesome thanks to the airport battle.

But these are two examples in which we can – and should – forgive, even if we could wish the writers would have worked a bit harder in finding a less stupid way of reaching to the same situations.

But of course, there’s stupid and then, there’s STUPID. When you derail a potentially great picture with something so blatantly stupid, that you are just showing that you don’t care for your audience’s intelligence. It’s funny that a beloved comic-book character like Quicksilver has to be featured twice on this aspect, for two different films of two different studios. You have him in both “Avengers: Age of Ultron” and “X-Men: Days of Future Past”. In “Age of Ultron” the character bites the dust because of bullets, despite his speed, shown to be faster and deciding NOT to push Hawkeye and a child away from these bullets but stopping right in time to let them kill himself. Yeah, he could be tired, but that’s a stretch… out of all the characters that could die, and in so many ways, that was the most unlikely and was clearly designed to make the audience think, it was Hawkeye – the movie took time to develope an emotional punch on that sense – who would die, and the Quicksilver death was an act of mere shock value, and also avoid conflict with Fox. Years after, it seems clear that Marvel and Fox divided the brothers, Fox got Quicksilver and Marvel kept Scarlet Witch. The resollution of “Age of Ultron”, another plan that didn’t really make that sense, was so puerile that still itches, specially even more if the same SHIELD that resurrected Agent Coulson, doesn’t seem interested in resurrecting someone as valuable and powerful as Quicksilver.

In “X-Men: Days of Future Past” is even worse. After this brilliant scene in which Quicksilver shows potential to stop conflicts and win battles, in the very same second they start… Professor X, Wolverine, Magneto, and genius scientist Beast, decide to NOT take him in his mission to save the world preventing the assasination – with a gun – of Bolivar Trask. Like, what? Way to destroy the second half of your film, Mr. Singer.

Still, to get to the bottom of the barrel… we have to look at the DCverse and the Alienverse. Batman vs. Superman: Dawn of Justice, Suicide Squad, The Dark Knight Rises and Prometheus are BEYOND STUPID. Check out the linked videos if you don’t believe me. There are more films suffering from this trend, but it is a question of time, when this tide is gonna change and gives us more daring, intelligent screenplays like “The Lego Movie” in which everything that seems to not make sense is finally fixed and explained in the last 20 minutes of film, in a really brilliant and poignant way.

 

But one could dream. Can’t I?