Pizza Time!!

Following on from the smash hit success of the original, director Sam Raimi returned to bring his unique vision of the character to life. This time Peter Parker (Tobey Maguire) is facing Doc Ock (Alfred Molina), while still trying to maintain an ordinary life. Peter’s efforts to live a normal life take just as much focus as his mission to save New York, and his relationships (or lack thereof) with Mary Jane Watson (Kirsten Dunst) and best friend Harry Osborn (James Franco) follow up from the first film.

One of the reasons it has stood the test of time is it feels timeless. In a way that is comparable to Batman: The Animated Series, the version of New York presented here is almost a character itself and stylised in such a way that it both feels like it’s set in the present day, the early 2000s, or even in the 60s. The tone is influenced by the original Stan Lee and Steve Ditko comic run, with the film taking massive influence from “Spider-Man No More” right down to cover. Part of this is that, by virtue of being one of the earlier 21st-century superhero films, it doesn’t try to compete or react to anything. The reboot is a reaction to a post-Iron Man and The Dark Knight world, opting for more “realism” while the later series exists as part of the MCU and is forced to sit comfortably in that world. Raimi’s version is very much in the vein of Tim Burton’s Batman or Richard Donner’s Superman. An artist and their vision with little studio interference, rather than as an excuse to maintain a copyright or as part of a cinematic universe. 

The power of the sun, in the palm of my hand!

In an interview regarding a possible Spider-Man 4, Raimi said that the challenges were the same that he faced for all the films “Is there an emotional arc? Is there a great conflict… and is there a worthy villain that fits into the theme of the piece?” Doc Ock is indeed a worthy villain. A personal hero of Peter’s, we spend time getting to know him and his vision of a better world, being almost a father figure to Peter. Octavius’ life is upended in a tragic accident, and even when he is in full-blown villain mode, he’s not actually out to hurt anyone, he just simply doesn’t care if people are, believing that “the real crime would be not to finish what we started”. Molina, a respected stage actor, but hardly a big name at the time, effortlessly plays the kind-hearted and warm Otto, before becoming tortured and racked with guilt. When he finally does go full villain, it’s almost charming. This version of him is one of Peter’s heroes,  and we spend time getting to know him and his wife, with Peter being almost the son they never had. This serves to only make his downfall that much more tragic. The scene in the hospital after the accident, in which his mechanical arms brutally murder the surgeons, not only allows Raimi to tap into his Evil Dead roots, but shows how dangerous Doc Ock is.

You have a train to catch!

Both Peter and Otto’s journey is about them trying to live their dreams. Peter wants to live a normal life, and Otto wants to complete his experiment. We also see the consequences of those dreams, with Peter eventually realising that New York needs Spider-Man, which leads to the train fight. A ten-minute sequence that is the film’s most impressive set piece. Despite being CG, the fight weights it, with the passengers adding to the tension. It all culminates in Spidey stopping the train with brute force and a powerful moment where the passengers defend him. The train scene has become almost as iconic as the upside-down kiss from the first film, referenced in cartoons, comics, the Spider-Verse films and even the Playstation game.

Spider-Man 2 builds upon the success of the original, but rather than going bigger as most sequels do, it instead goes deeper. Peter’s relationships are at the heart of this film and each of them are explored in far more depth than the first. While Doc Ock is a threat, Peter’s self-doubt is just as much his enemy. All of this comes together to create a film that proved the first wasn’t just a fluke, as well as setting the gold standard for the genre.

Also Read: The Story of James Cameron’s Spider-Man

The post 20 Years On: An Ode to Spider-Man 2 appeared first on Big Picture Film Club.

Love and Thunder

Phase 4’s box office was disappointing compared to Phases 2 and 3 but the dip is explainable. Firstly, Phase 4 had fewer films than Phase 3. Marvel’s 2021 film releases also had to entice people back to cinemas after the pandemic. Even with that disadvantage Black Widow, Shang-Chi and Eternals all did respectable business. And Spider-Man: No Way Home became Marvel’s third highest-grossing film. Meanwhile, 2022s Doctor Strange in the Multiverse of Madness outperformed its predecessor. Thor: Love and Thunder also did well for a more modestly performing subseries.

Regarding critic and fan reactions 2 Phase 4 projects (at the time of writing) have rotten RT ratings (Eternals and She-Hulk). While this represents an increased negative reaction to prior phases, which had 3 rotten ratings across 34 projects, it hasn’t increased by much. On IMDb 4/6 Phase 4 films are rated below 7 stars. The most of any phase. Additionally, only 1 of this phase’s 8 shows is rated above 8 stars (Loki). These are harsh reactions, but the site also shows that Marvel’s series are generally divisive. Only 3 of their 18 shows have ratings above 8 stars. And while Phase 4’s films were generally disliked, they were only disliked slightly more than Phase 1. Which has 3/6 films rated below 7 stars. So Phase 4 when judged in context is hardly a complete loss.

Age of Trolls

One other thing to bear in mind is that several Phase 4 projects were review-bombed and targeted for negative criticism before even being released for focusing on telling socially conscious stories with more diverse casts. Slightly compromising review site data.

This makes it harder to review Phase 4’s impact because it’s blighted by such toxic discourse. And, just to restate the obvious, telling socially conscious stories based around diverse, marginalized voices is not the problem with the MCU. Anyone who thinks it is has no place in any discussion about media.

Far From Perfect

There are however legitimate criticisms that could explain some audience dissatisfaction. One common complaint is the MCU’s recent oversaturation. With 14 big projects released from 2021-2022, there simply hasn’t been enough room to let fans breathe before another project comes along. Which could have resulted in franchise fatigue.

Additionally, the sheer number of projects, straddling different genres, characters and timelines, has made it harder for fans to identify their purpose in relation to the Multiverse Saga’s overarching narrative. Although prior phases had confusing moments each project felt like a contained story that slowly progressed the overarching plot. But the sheer volume of new elements being sprawled across different mediums in such a short time may be making it harder to keep audiences invested.

And this saga’s reduced time frame (five years, compared to the Infinity saga’s eleven) has led to Marvel putting more pressure on their workers. Which results in many things feeling rushed, undercooked or unfocused. 

New MCU Order

Overall Marvel’s Phase 4 was affected by many factors, such as the pandemic fallout and targeted hate campaigns, making it hard to claim the era is a total dud from audience and box office perspectives.

Of course, Marvel does have problems. Its brand oversaturation, scattershot approach to storytelling and reduced timescale have resulted in much less polished productions in a universe that feels less comprehensively thought out and has created a sense of fatigue which failed to invest many in future projects. If left unresolved these issues could produce even worse results for audiences and workers.

If Marvel is to regain its footing it must focus on quality over quantity and give its workers more time to produce better work. Though Phase 5’s schedule makes that seem unlikely. For those unhappy with the way Marvel has been going (for legitimate reasons) vote with your wallet, encourage others to do likewise, and support the workers campaigning for better conditions. Don’t let Marvel take its workers or audience for granted.

Also Read: Has The Marvel Cinematic Universe Reached Its Peak?

The post The MCU Phase 4: Dividing Audiences? appeared first on Big Picture Film Club.

In Disney’s Alice in Wonderland from 1951, a cartoon I watched a lot as a kid, Alice follows the rabbit into the hole in the ground and falls into pitch darkness. She quickly accepts her fate, calmly waving her cat goodbye before settling into the descent. Her dress catches the air and becomes a sort of parachute, reducing the velocity of her fall into something more like floating. “After this,” she says, looking down into the total blackness, “I shall think nothing of falling down the stairs.” When she manages to turn on a lamp, light fills the rabbit hole, and a series of mirrors, paintings, and tapestries move past her. She picks up a book from a floating table and flicks through its pages. She lands neatly on a rocking chair that’s falling too, but quickly slips off it. Despite the fall being substantial, Alice doesn’t seem scared. She’s unperturbed by what might be at the bottom. Instead, she questions where she might end up, an implicit faith that she is not falling to her death but into something else. 

The word “fall” has many uses. We can fall into and out of things; we can fall over others. Things can fall apart, their very essence slipping away physically and metaphorically. We can fall in love, a phrase that conjures the stomach-churning fear of the drop just as much as any other. In America, Fall marks the coming of Winter. To fall is both a feeling and a practical danger. The first person narrator of Virginia Woolf’s The Waves speaks of a symbolic falling. “Alone, I often fall down into nothingness,” she says. “I must push my foot stealthily lest I should fall off the edge of the world into nothingness.” 

The terror of falling, then, comes not from the drop but from our ability to see how it will end, and where we will land. If we can see the bottom, and calculate the risks, then it is a jump; out a window, from a plane, onto a moving train. A jump gone wrong becomes a fall. To fall is to feel gravity unexpectedly or against your own will. Falling is not a choice. In comic book movies, most notably several Spider-Man films, the female characters fall so they can be caught. Spider-Man swings into action, grabbing the falling women by their waist and taking them to safety. They are dropped from great heights, and the threat comes from the idea that they will fall to their deaths. 

Falling, however, is a guiltless way to die. The villains of Disney movies often fall to their deaths, so the hero cannot be blamed. They disappear down into dark trenches, off the edges of cliffs and into total darkness, their mangled bodies hidden from children’s watching eyes, and only when you’re an adult do you think of where they end up, of the gruesome splat that is suggested. The conservative values that have always haunted mainstream cinema mean that movies need morals. Bad guys need to be punished; often, this means they need to die, but a hero can’t kill. The villains fall to their deaths and do so by their own hand. They’re too greedy and make one final grab for power or revenge. The female villain in Indiana Jones and The Last Crusade dies by falling into a hole in the ground, one that has opened up because she has disobeyed the temple’s rules and taken the Holy Grail over the threshold. Yet she is desperate to keep the treasure, entranced by the power it holds. It has landed on a ledge just below her and, with manic eyes and a grin of total desire, she reaches out for it. The hero holds her by one hand and begs for the other, the one outstretched across the ravine. But she refuses and falls down into an unknown place, into the mists that lurk below. 

When I started to think about falling earlier this week, I found a supercut someone made online of famous falls in movies. Cut together, the bodies moving through the air create something like a ballet. Their movements are matched and, each time, my stomach lurches as they tip over the edge. At first, there is the danger as people get too close to the edge, followed by a glimpse of the height. The two together suggest panic. Then there is the letting go, the slip, the trip, the push, which means someone is falling. In the supercut, the music kicks in. The fear in people’s eyes is emphasised, the plummet less of a spectacle than the feeling it induces. The arms flail as they desperately try to prevent the inevitable and then it’s over. They are caught or they are gone. 

Over the past few months, I have felt like I am falling. Toward what? I don’t know. The question continually seems to be whether I will land and where that will be. My falling is best encapsulated in the Bruegel painting Landscape with the Fall of Icarus from the 1500s. The painting shows a beautiful vista, a calm turquoise sea and the yellow sun setting in the background. This is the scene through which Icarus has plummeted to his death, but no one saw it happen. The people in the foreground go on with their tasks, herding sheep and ploughing fields. The ships remain stoic in the distance but, in the bottom right-hand corner, a body splashes around. Its legs jut out from the ocean, its head submerged. Is this Icarus? His wings melted by the sun, and so he has fallen into the ocean? He is drowning in the corner of the painting, and nobody is looking. No one has seen him go. What does it mean to fall when it isn’t up on the screen? How does a person fall in public and no one sees it? What happens when it’s all over? 

Also Read: How Film Changed Me: On Feeling Stuck

The post How Film Changed Me: On Falling appeared first on Big Picture Film Club.

A Tangled Web of Rights

In the 90’s Marvel wasn’t the juggernaut it is today, and sold off the film rights to several of its characters. This eventually led to the superhero boom in the early 2000’s with the likes of Blade, Daredevil and the X-Men series. It’s also the reason the MCU has been unable to use various characters throughout the years. Currently, the rights to Spider-Man (films at least) belong to Sony, who have produced every Spider-Man film.

Before they landed with Sony, the rights were sold to Cannon films. Cannon produced cheap B-Movies, with the occasional cult classic like Runaway Train and even financed the infamous Superman IV: The Quest For Peace which managed to kill both the franchise and the studio. As Cannon had not used the rights within the 5-year time limit, they sold them to Carolco Pictures, shortly before the release of a little known film called Terminator 2: Judgement Day.

On the success of the sequel, the studio gave the director James Cameron free reign, to the excitement of many. Cameron got to work, wanting to take the source material seriously, unlike most directors. Several drafts with various villains, including Doc Ock, Electro, and Sandman were considered. Electro and Sandman weren’t allowed to appear in the 90’s cartoon as a result of the film’s development. Although Electro was included eventually, Sandman did not, with Hydroman taking his place.

The “Scriptment”

During development, Cameron produced a “scriptment” part script-part treatment. The document outlines much of his intentions with the film. A lot of the basics are the same. Peter Parker lives with his Aunt May and Uncle Ben. He’s got a crush on Mary Jane Watson and is bullied by Nathan “Flash” McCreery because he’s a bit of a quiet outsider. Peter is bitten by a spider, although this time it’s swallowed a genetically engineered fruit fly rather than being radioactive. After some strange dreams, including waking to find himself atop a radio tower in his underwear, he develops strange abilities, like being able to stick to walls, as well as being able to produce webbing from a gland in his wrist.

In an effort to control his powers, Peter begins studying spiders and is joined by MJ, so she can ace the class and the two become close. Instead of wrestling, he becomes a street performer, before being picked up for a TV show. Uncle Ben is killed, he feels responsible and hunts down the criminal, before evading the police. Meanwhile Carlton Strand, a petty thief who was struck by lightning and used his electricity powers to become a Donald Trump-esque mogul. Strand takes notice of Spider-Man and wants him to join his criminal organisation, sending his henchman Boyd AKA Sandman to recruit him.

Strand offers Peter money, which he can use for May’s hospital bills but he declines. So he tries to frame Spider-Man, by having his henchman commit various crimes while dressed like him. He also funds local TV man J Jonah Jameson’s campaign against the hero. After seeing Spider-Man saving Mary Jane from a mugging and taking her for a swing, Strand deduces his feeling for her and kidnaps MJ. After a climactic showdown on top of the World Trade Center, Peter rescues her, before revealing his identity.

Would It Have Been Good?

With James Cameron involved, it’s hard to imagine this not being a massive success. A lot of the key elements for Spider-Man are present. Cameron himself states that it’s “the best movie (he) never made”. This version of Spider-Man is certainly more aggressive, at one point offering to “decorate a Christmas tree” with a criminal’s intestines. The film would potentially not have been rated 12A due to the language, and an implied love scene with Peter and MJ on top of a bridge. Cameron was keen to make it seem real, lending itself more to The Dark Knight or The Amazing Spider-Man and their gritty tone rather than the camp Sam Raimi’s version offered. Peter’s powers are used as a metaphor for puberty and finding your place in the world.

In this version, the top of the World Trade Center is a recurring location, with Peter using it as a hangout spot, complete with a web hammock. The finale also takes place here, and while this film was being developed in the early ’90s and potentially shot, depending on the films release date, could have been affected by the events of 9/11.

James Cameron’s Spider-Man is certainly interesting and will live on as one of the mythical versions of films we never got to see. Although the final version we know and love went through several other versions between now and then some elements like the organic webbing remain and Doc Ock and Sandman would be used in the sequels. Cameron himself has moved on, vowing to not get involved in others IP and just do his own thing, which seems to be working out for him. While things worked out in the end, it’s still fun to think about what could have been.

Also Read: Why James Cameron’s Avatar Sequel Has Come At The Right Time

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On one hand, these updates do build excitement for the film. On the other, it can sometimes have a negative impact on the film. Audiences can just be waiting for a character or moment to show up, rather than enjoying the film for what it is. It also makes it a lot harder to avoid spoilers. In the age of the internet and camera phones, where anyone and everyone can get set photos, can blockbusters still be surprising?

The Marketing Push

It’s important to distinguish between the types of information that comes out. That being official and leaks or rumours. Offical information includes things confirmed by the studio, such as who actors are playing, or things shown in stills or trailers. These can still give away too much, especially when trailers are released online and able to be replayed and paused infinitely. This trailer for Spider-Man: Homecoming gives away almost all the plot beats. However, the actual twist involving the Vulture was kept hidden. Although the twist isn’t game-changing, it is nice that it managed to stay a secret, given how much the trailers had given away.

By contrast, the marketing for Avengers: Endgame, was much less revealing, even going as far as to shoot scenes especially for the trailer, or digitally add and remove characters. This extended to shooting itself, with cast members only given the relevant pages that include their characters. Some plot details did leak for Endgame, which even prompted the directors to request a spoiler ban, in the hopes of giving fans ample opportunity to experience the film for themselves.

Disney also struggles against leaks to one of its other franchises, Star Wars. As one of the biggest franchises ever, it’s understandably something that people want to stay updated on. Most of the new films had several plot elements leak, although some did turn out to be fake. Star Wars: The Rise of Skywalker had its script leak weeks before the film (as well as a draft of Colin Trevorrow’s version). The second season of The Mandalorian had several character’s leak, namely Ahsoka Tano and Bobba Fett.

Loose Lips Sink Starships

The Mandalorian did manage to save its biggest surprise though. The behind-the-scenes documentary of the final episode goes into a lot of detail about the scene. Dave Filoni remarks how they actually planned for a leak, with a placeholder of Plo Koon (Filoni’s favourite Jedi from the prequels). The idea being that, if it were to leak, there would still be a surprise when the episode aired.

Leaks come about in a variety of ways. It could be something as simple as an Instagram post from someone on set, even in the editing room or of the script. Many cast and crew are given strict guidelines on what to say in interviews. Of course, that doesn’t stop people sneaking onto the set, or getting hold of toy listings. Toys are a huge source of leaks, with many characters or set pieces being revealed as part of a toy range. Jon Favreau was so determined to keep the reveal of The Child (better known as Baby Yoda/ Grogu) that no toys were made of the character until after the first season.

Ironically, the harder studios try to keep secrets, the more likely they are to leak. With communities on the internet dedicated to searching for any possible information, it seems almost impossible to not have any info leak out. However, it does seem that leaks can be used to throw people off the scent of other twists, so perhaps there is hope after all? It might be best to think about spoiler etiquette before we go talking about something from leaks though…

Also Read: Spoiler Etiquette: To Spoil Or Not To Spoil

The post Do Constant News Leaks Ruin The Element of Surprise For Blockbuster Movies? appeared first on Big Picture Film Club.

1. Netflix Original Sci-Fi – Okja

A corporation sends 26 creatures, which were developed as a food source, across the world as a PR stunt. However, when they take one of the creatures (Okja) away, Mija (Seo-Hyun Ahn), sets out to get her back. What makes Okja special is its direction, which mixes many different elements (Science fiction, horror, comedy) together without feeling tonally confused, and Seo-Hyun Ahn’s performance which easily invests us in her struggle to get Okja back.

2. Hard Sci-Fi – The Martian

Mark Watney (Matt Damon) becomes stranded on Mars after his expedition team evacuates. Mark has one goal, survive. Thankfully, the world’s space agencies begin mounting a mission to rescue him. The Martian is great sci-fi. The entire cast makes their characters and the technical dialogue feel very natural. The special effects really sell the experience. And, it does a great job making the science feel accurate.

3. Sci-Fi Comedy – The Truman Show

Truman Burbank (Jim Carrey) slowly realises that his life is a TV show. He’s being filmed from every angle 24 hours a day. And lives inside the world’s biggest set. The Truman Show is a fantastic dark comedy that uses its sci-fi trappings to make great statements on humanity’s voyeuristic nature. In fact, with the continual expansion of surveillance technology, the Truman Show is more relevant now than ever.

4. Sci-Fi Action – Dredd

While on a training exercise Judge Dredd (Karl Urban) and rookie judge Anderson (Olivia Thirlby) get locked inside a futuristic skyscraper full of bloodthirsty gang members. With no retreat, the only option is to fight to the top to get out. Dredd’s futuristic setting explores many pressing issues such as the justice system and overpopulation, but it also facilitates some of the best action of the past decade.

5. Sci-Fi Horror – A Cure for Wellness

Lockhart (Dane DeHaan) goes to a remote wellness centre to retrieve his CEO. However, he soon becomes injured, meaning he can’t leave, and he begins to believe the facility is hiding something sinister. But what is happening and can Lockhart escape? A Cure for Wellness feels like a classic Universal horror film. Where the gothic atmosphere is thick and engaging. And the minor sci-fi ingredients greatly amplify the horror.

6. Sci-Fi Drama – Proxima

Sarah (Eva Green) is training to become an astronaut but she must try to balance her training with her family life, particularly preparing her daughter Stella (Zélie Boulant) for when she leaves. Proxima is an amazing look at the physical and emotional hardships astronauts go through to prepare for space travel, but it’s also an affecting family drama and an inspiring tribute to female astronauts. It’s also buoyed by Green and Boulant’s excellent performances.

7. Alien Sci-Fi – Close Encounters of the Third Kind

After Roy Neary (Richard Dreyfuss) has a mysterious encounter with an unidentified flying object he and the government begin investigating and trying to contact alien life. Close Encounters is a fantastic exploration of how obsession with the unexplainable can negatively affect people and can also be used to cross boundaries.

8. Steampunk Sci-Fi – Castle in the Sky

Sheeta (Keiko Yokozawa) holds the key to finding Laputa, the castle in the sky, and along with Pazu (Mayumi Tanaka), she must try to outrun the pirates and a government agent trying to find Laputa for greed and conquest. A touchstone of modern steampunk fiction, Castle in the Sky is a thrilling adventure with a fun story and wonderful characters who populate an inventive fantasy world that melds modern and primitive technology together beautifully.

9. Children’s Sci-Fi – Spider-Man: Into The Spider-Verse

When Peter Parker dies Miles Morales (Shameik Moore) must become his world’s Spider-man and defeat the Kingpin with the help of the spider-people of several realities. Into the Spider-Verse is perfect kids science fiction because it’s full of great action, gorgeous visuals, and creative use of sci-fi concepts like alternate realities. But it’s also grounded by a fantastic lead, a great supporting cast, and a positive message about carving your own path.

10. Surreal Sci-Fi – Sorry to Bother You

Cassius (LaKeith Stanfield) begins losing touch with his roots after being promoted at his telemarketing company until he discovers a new project the company is working on. Sorry to Bother You is a vehicle for social commentary. This movie critiques capitalism, race, media and uses sci-fi elements to create a riveting dystopian portrait of contemporary life.

Those are just 10 great sci-fi movies available on Netflix. If you have any favourites we missed, let us know.

Also Read: The Future Is Now: How Sci-Fi Imagined the Future

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These films were picked based on their creativity, the impact of the action and how well the story complimented the action. And because there were so man good action films this decade I will be including honourable mentions for you to also watch. Without further ado, let’s begin.

2010: Inception (dir. Christopher Nolan)

With an interesting story about implanting ideas into someone’s mind while having to battle through not only the subject’s mental defences but your own baggage as well as incredibly staged action sequences like the rotating hallway fight and using minimal CGI, Inception is a true sci-fi action masterpiece.

HM: Kick-Ass & 13 Assassins.

2011: The Raid (dir. Gareth Evans)

After a swat team is ambushed in an apartment complex the survivors must reach and arrest the kingpin before his henchmen kill them. From this simple premise, The Raid quickly ratchets up the tension as we are never sure who will escape alive. And the action sequences use of flowing choreography, camerawork and editing turn the film into a remarkable ballet of violence.

HM: Captain America: The First Avenger & X-men: First Class.

2012: Dredd (dir. Peter Travis)

Similar to The Raid, Dredd finds two judges (police officers who are judge, jury, and executioner) Dredd (Karl Urban) and Anderson (Olivia Thirlby), trapped in a skyscraper, having to fight their way to the kingpin to escape. However, Dredd keeps The Raid’s tension while also injecting a healthy dose of comic book action. With bloody violence, great world-building, beautiful slow-motion usage and endearing characters, Dredd, packs a punch despite its small stature.

HM: The Avengers, The Dark Knight Rises & Skyfall.

2013: Snowpiercer (dir. Bong Joon-Ho)

While the premise is far-fetched (the remnants of humanity are trapped on a perpetually running world-spanning train after a climate crisis), Snowpiercer’s story about humanity in microcosm and fight scenes are very affecting. The skirmishes are protracted and merciless, combined with the claustrophobic setting and masterful editing, Snowpiercer will keep you riveted till the end.  

HM: The Worlds End & Elysium.

2014: The Raid 2 (dir. Gareth Evans)

After surviving the first film, Rama (Iko Uwais) must infiltrate the mob and bring them down from inside. From there this sequel improves on everything great about the original. With more impressive choreography, more brutal violence; even more memorable characters, all wrapped around a fantastic story of family and loyalty. The Raid 2 is my favourite action film of the decade.

HM: Captain America: The Winter Soldier & Guardians of the Galaxy.

2015: Mad Max: Fury Road (dir. George Miller)

Mad Max: Fury Road puts all other 2015 action movies to shame, with an effectively slight story about Max Rockatansky (Tom Hardy) helping a band of women escape an oppressive patriarch; spectacular vehicle stunts. By the movie’s end, you’ll feel exhausted by the relentless action. Impressed by the practical stunts and special effects. And moved by characters like Furiosa (Charlize Theron) and Nux (Nicholas Hoult). High octane action at its finest.

HM: Furious 7, Avengers: Age of Ultron & Sicario.

2016: Captain America: Civil War (dir. Joe Russo)

Civil War is the highlight of the MCU. The story grounds the conflict in each heroes’ hopes and fears, examining them and playing them against each other expertly. Every character is relatable, making the fights more impactful. And each action sequence is creative. From the opening robbery to the final 2 on 1. Marvel has made many good films, but none topped the impact of Civil War.

HM: Deadpool.

2017: Dunkirk (dir. Christopher Nolan)

Depicting the titular WWII evacuation from three perspectives: the soldiers trapped at Dunkirk waiting for rescue, the civilians coming to evacuate the soldiers and the airmen covering them from above, Dunkirk’s tension becomes almost unbearable as we hope the soldiers escape in time. The use of practical effects, incredible sound editing, and Hans Zimmer’s tense score make the film effective and harrowing.

HM: Baby Driver.

2018: Spiderman: Into the Spiderverse (dir. Peter Ramsey, Bob Persichetti, Rodney Rothman)

The perfect balance of spectacle, personality, and high personal stakes. Into the Spiderverse is an expertly crafted love letter to comic books. With beautiful visuals that are used inventively in action sequences, all anchored by protagonist Miles Morales. Who allows us to feel his wonder, excitement, and fear better than any other spiderman.

HM: Avengers: Infinity War.

2019: John Wick Chapter 3: Parabellum (dir. Chad Stahelski)

Parabellum marks the culmination of everything great about John Wick. The story is full of unique, intriguing characters, John Wick (Keanu Reeves) is still thoroughly engaging and the grounded, varied, constant action easily beats the overblown spectacle of other films this year.

HM: Avengers: Endgame.

So ends my list of the 2010’s best action movies. Be sure to tell me your favourite action movie of the decade in the comments. There have been some great action films this decade, now let’s see what the 2020s have in store.

Also Read: How to Revive a Franchise After Many Years

The post The Best Action Films of the Decade (2010 – 2019) appeared first on Big Picture Film Club.

His second solo adventure, “Spider-Man: Far From Home”, dealt with the hero’s new place in the aftermath of Endgame, setting him up as big part of the universe going forward, ending on a massive cliffhanger….

And now, suddenly, ol’ webhead’s future is uncertain. While Marvel and Sony try to reach a new deal behind the scenes, the fans are understandably worried, but is all really as dark as it seems for our hero?

“This is my gift, my curse”

Spider-Man has been one of Marvel’s most popular characters since long before anyone could dream of the MCU. When Superman and Batman got live-action films that did well, Marvel started looking at the same for their characters, unfortunately, they were in financial trouble and close to bankruptcy. This lead to them selling the rights to some of their most famous characters, like the X-Men, Fantastic Four (which they now own again, due to the Disney/Fox merger), Hulk (Universal own the distribution rights) and of course Spider-Man, along with his supporting cast, which was purchased by Sony.

After a successful trilogy and a less successful reboot that focused heavily on setting up its own universe in the wake of the MCU’s success, and the Sony email hacks, a deal was made allowing Spidey to feature in the MCU, with Sony financing the standalone films, but with Marvel (and Kevin Fiege) having creative input.

That original deal also allowed Spider-Man to appear in other films and interact with other heroes like in the most recent Avengers, however, Sony receives no revenue from these team-ups (Despite Endgame being the highest-grossing film of all time). For his solo efforts, Sony is the one paying, whilst Marvel receives a percentage of the profits, and also money made from merchandising. As negotiations to extend the deal have started, Sony have rejected Disney’s new offer, which is causing the drama.

“Everywhere I go I see his face”

Let’s get the elephant in the room out of the way first. The MCU doesn’t need Spider-Man. The films were successful enough before the original deal and even films he hasn’t appeared in have crossed the 1 billion mark. An argument could be made that Spider-Man needs the MCU. The films were slowly grossing less with each instalment and “Far From Home” was the first Spidey film to reach 1 Billion dollars, which was no doubt helped by its ties to Endgame. But Sony also owns his supporting cast and rogue’s gallery, which they are planning a shared universe of their own with, the first of which was “Venom”.

During the run-up to the release of Venom, there was a constant debate about whether it is set in the MCU, with Sony insisting it was, and Marvel saying it wasn’t, there were even rumours of a Tom Holland cameo. Although it is not set in the MCU, the recent Sony deal could mean that the crossover could happen, something Holland himself seems up for. With a sequel and a Morbius film in production, Spidey could easily appear in any of these films if he is no longer in the MCU.

The MCU is wide enough that they could wave away Peter’s absence with a line or two, although that would rightfully disappoint fans. Sony would have a much harder time pretending the Avengers no longer exist, especially given the close relationship this Spidey had with Iron Man. If the two companies can’t come to a deal this could be the case. However, Holland may have one final film in his contract, which they could use to end his story and either move forward without him, or introduce a new version, either a total reboot or more of a legacy sequel featuring Miles Morales.

“Spider-Man always gets up”

“Into the Spider-Verse” proved that the franchise has a life outside of Peter Parker, and the character was popular before the films. So there’s no need to worry about not seeing him on the big screen, and after working so hard to bring Spidey home it’s unlikely Marvel would let him go so easily. The only thing to do is to hope that both businesses come to an agreement that is beneficial for everyone, including Spider-Man himself, Tom Holland. In the meantime, keep an eye on this handy website for updates True Believers!

Also Read: Star Wars: Course Correction

The post Spider-Man: Course Correction appeared first on Big Picture Film Club.

Meanwhile “Spider-Man: Into the Spider-verse” is regarded as one of the best in the genre, not only winning an Oscar, but also acknowledging that the character of Spider-Man can have many different interpretations, but that all are equally Spider-Man (or Spider-Woman/Ham etc) something that most Batman media tends to shy away from. Except for Lego Batman.

A Hero Can Be Anyone

Batman has been around for 80 years (and aged phenomenally) and has been adapted countless times, with each version of the character having some differences but still being Batman, despite the film versions often having no reservations about killing (which is a whole other debate). Many of these are reactions to the previous version. For example, the Adam West ’66 show and Clooney’s “Batman & Robin” are infamously campy takes, while the ’89s Micheal Keaton and Bale’s “Batman Begins” are much darker and serious in tone. “Batman Begins” did this with such success that nearly every other film had to be “dark and gritty” as well.

The same is true of Spider-Man, and “Into the Spider-Verse” celebrates these different versions of the character by bringing them all together. It has a few laughs at their expense, but it doesn’t shy away from those aspects of the character, it celebrates them. Just like Lego Batman does. It acknowledges that the dark and gritty Batman and the goofy camp Batman is all still Batman.

Why Do We Fall?

There are some other surface similarities between the two films as well. Both are animated and feature a veteran hero (Batman/Peter B. Parker) begrudgingly mentoring a younger character (Robin/Miles) along with a female version (Batgirl/Spider-Gwen). As well as someone back at base to offer advice and gadgets (Alfred/ Aunt May). Both feature arcs where the younger character must prove themselves to their peers and both feature creative twists on classic villains.

On a thematic level, they both deal with the idea of loneliness and pushing people away. Batman pushes people away due to the loss of his parents, while Peter initially pushes Miles away and volunteers to sacrifice himself due to his fear of having children. Despite their wacky premise, they both tell very relatable, human stories, like some of the best comic books.

A Watchful Protector

While both films take artistic liberties with their setting (Gotham City being made out of LEGO) the city our heroes protect is as much a character as the actual characters themselves. Lego Gotham City is a mash-up of the gothic Tim Burton designs and the modern Nolan city, while each Spider-Person comes from their own distinct version of New York City.

There are tons of easter eggs and references for the hardcore fans to appreciate in these films, such as the various selections of costumes, to vehicles and callbacks to previous films, like the Shark Repellant Bat Spray. These films work as standalone and someone with a passing knowledge of the character can enjoy them, but the more a viewer knows of the history and adventures of the hero, the more there is to pick up on and enjoy.

Despite some people considering animation as “just for kids”, Into the Spider-Verse and Lego Batman are for the fans, regardless of age, while the older viewers will likely get more out of the experience, as they will appreciate the little details. There is often a debate about which Batman is the best, and while Lego Batman is rarely at the top of favourites lists, it’s underrated and understands Batman in a way that many live-action interpretations don’t. Even if Lego Batman hasn’t had the influence of “The Dark Knight”, Batman doesn’t kill, which is more than most films can say, and for some Bat-fans, that’s the most important factor.

Also Read: 5 Batman Fan Films available to watch on YouTube.

The post Why LEGO Batman is the Into The Spider-Verse of Batman Films appeared first on Big Picture Film Club.

It’s not been a bad year for the UK box office. With the total takings of 2019s top 10 highest grosser’s (at time of writing) being approximately £388,967,274 (according to Box Office Mojo and google money converter).

So today we are going to look at how the top 10 currently stands. Which movies have earned the most in the UK so far? And what have critics and audiences had to say about them?

10. The Secret Life of Pets 2 – £19,570,258

The latest offering from Illumination managed to rake in the box office, despite a rather lukewarm reception.

Audience Thoughts: 90% – Rotten tomatoes / 6.6 – IMDb

Critics Thoughts: “A sequel that feels less necessary than willed into being, but that doesn’t mean it’s not pleasantly entertaining.”

9. How to Train Your Dragon: The Hidden World – £21,219,615

While the concluding How to Train Your Dragon movie wasn’t as successful as its predecessors at the box office, it continued to impress both audiences and critics in equal measure.

Audience Thoughts: 87% – Rotten Tomatoes / 7.6 – IMDb

Critics Thoughts: “Who would have thought that DreamWorks’ “How To Train Your Dragon” would end up as one of the best film trilogies out there?”

8. Rocketman – £23,572,360

The Elton John biopic followed in the footsteps of last year’s Bohemian Rhapsody and became a smash hit across the UK.

Audience Thoughts: 88% – Rotten Tomatoes / 7.6 – IMDb

Critics Thoughts: “Rocketman is an honest, heartfelt tribute to Elton John’s music and his public image.”

7. Dumbo (2019) – £26,964,177

The first of Disney’s live-action remakes this year, left an odd taste in the mouths of cinemagoers. As despite its high takings, no one really seemed overly enthused about it.

Audience Thoughts: 51% – Rotten Tomatoes / 6.4 – IMDb

Critics Thoughts: “The problem with this latest entry in Disney’s ever-expanding range of recycled classics isn’t that it hews too close to the studio’s original animated masterpiece, but that its many departures only muddle the original’s nursery-rhyme simplicity”

6. Spider-Man: Far From Home – £31,524,501

The most recent film in the ever dominant MCU, like many of its predecessors, deftly managed to please both audiences and critics.

Audience thoughts: 95% – Rotten Tomatoes / 7.9 – IMDb

Critics Thoughts: “It’s not quite the home-run of Homecoming, but Far From Home isn’t far from matching it, with heaps of humour, energetic action, and the answers Endgame left you craving.”

5. Aladdin (2019) – £37,496,448

Back with Disney’s live-action remakes, unlike Dumbo, Aladdin did manage to please audiences, critics however were very mixed.

Audience Thoughts: 94% – Rotten Tomatoes / 7.4 – IMDb

Critics Thoughts: “Another lavish and largely entertaining Disney re-do, with strong turns from Massoud and Scott. But…Smith’s genie performance feels disappointingly constrained — both by overdependence on the original and some ghastly CGI.”

4. The Lion King (2019) – £37,816,339

The latest Disney remake has, in only 2 weeks, already proven to be Disney’s most successful solo developed project in the UK. It also managed to capture the love of the general public. But critics have been less kind to this effort:

Audience Thoughts:  88% – Rotten Tomatoes / 7.2 – IMDb

Critics Thoughts: “Unfolding like the world’s longest and least convincing deepfake, the new “Lion King” fatally misunderstands what once made Disney special.”

3. Captain Marvel – £42,632,688

Despite its divided reception by both audiences and critics, Captain Marvel continued to prove the power of the MCU’s marquee value.

Audience Thoughts: 55% – Rotten Tomatoes / 7.0 – IMDb

Critics Thoughts: “Captain Marvel is … a solid enough movie, but it suffers from an overbearing need for its agenda to be pushed – had it been handled with a little more care, it could have been fantastic.”

2. Toy Story 4 – £53,611,537

9 years after Toy Story 3, Toy Story 4 finally made it to cinemas. It continued the high standards set by the original Toy Story films, opening to almost unanimous praise across the board.

Audience Thoughts:  94% on Rotten Tomatoes / 8.2 – IMDb (#170 on IMDb’s top 250 films)

Critics Thoughts: “This franchise has demonstrated an impressive ability to beat the odds and reinvent itself…It’s a toy store of ideas, with new wonders in every aisle.”

1. Avengers: Endgame – £94,559,351

Lastly, we come to the highest-grossing movie of the year (and of all time). After over a decade of build-up, the MCU finally culminated with a fond farewell that pleased almost everyone.

Audience Thoughts: 91% – Rotten Tomatoes / 8.7 – IMDb (#24 0n IMDb’s top 250 films).

Critics Thoughts: “Avengers: Endgame is all that you hope it’ll be and a bag of chips. The Russo brothers hit all the right notes from start to finish, and the ending in particular is thoroughly satisfying.”

So ends the UK box office top 10 of the year so far. And with big releases like IT: Chapter 2 and Star Wars: The Rise of Skywalker coming up, this year’s top 10 may even beat last year’s top 10 gross (approximately £523,006,040). We’ll just have to wait and see.

Also Read: What’s Next For Disney?

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