Do Trailers Ruin Movies?

Over the last few months, I have been actively avoiding any movie trailers or clips for the upcoming Star Wars: The Last Jedi, in an attempt to avoid spoilers. I won’t be seeing it until Christmas Eve, per family tradition, so I try to avoid as much info as possible until I finally get to view it on the big screen. That all blew out the window when I went to see Thor: Ragnarok and it was too inconvenient for me to leave the theater when a Star Wars trailer began, so I just sucked it up and allowed myself to be dazzled.

Though the trailer hinted at some things, made some allusions, and showed what are sure to be key moments, it didn’t reveal anything groundbreaking or show anything too spoilerific. It created intrigue without making anything too obvious, and made me all the more excited to see the film later this month. That is what a trailer should do; it should generate interest and lure audiences without blowing all the important info or all the humor in a 2 minute teaser. You shouldn’t be able to guess the entire plot of a film from a trailer, unless it’s a series you are already familiar with or you’ve read the book an upcoming movie is based on.

On the other hand, I recently saw the first trailer for the upcoming Downsizing, starring Matt Damon, and was instantly compelled to see it. The trailer presented a unique and interesting plot, showed some humor, and offered images and clips that made me wonder how characters got into a certain situation or what would happen next. And then the second trailer came along tacked onto Murder on the Orient Express, and it totally gives away what I perceived to be a pretty major plot point, which was not presented in the initial trailer. It dampened my enthusiasm a bit, as it allowed more pieces of the plot to fall into place, and chased away some of the allure. I’ll still see it when it comes out, but I was bummed to have something spoiled in the trailer that I wish I could have seen for the first time during the film itself. The same thing happened with the second Spider-Man: Homecoming trailer. Watching it, I felt like I could predict the entire movie, and I ended up being pretty close, though, thankfully, it was still a great film and I was not disappointed. Films can often fall into the trap of having too many trailers, as well, and I hold the belief that a film only needs 2 trailers max, and 1 will typically suffice. If I’m not drawn in by the first trailer, I probably won’t be swayed by another.

Trailers can be deceptive, as well – they can show a snapshot that is nothing like the completed picture, and effectively “trick” viewers, for the better or the worse. Trailers for Zack Snyder’s films are some of the best out there – I can still imagine just about every frame of the brilliant Watchmen trailer in my head, almost a decade later – but his films tend to have a polarizing reaction. Regardless, the trailers make you want to see his movies. 2012’s Brave offered a trailer that made the movie seem like it would follow a certain narrative, but it went off in a direction that my best friend and I totally didn’t see coming, and it was a pleasant surprise.

Trailers also make me not want to see movies, sometimes. I’m a big fan of the original Jumanji, and was skeptical of the remake/sequel, but when I saw the first trailer, I was tentatively hooked. There were some decent jokes and it looked like, if not a direct successor, a spiritual successor to the original. Since the first time I saw the trailer, I have  now seen it 5 or 6 times, and the second trailer 3 times. I’m kind of burned out on it, at this point, and I can probably quote the entire thing. “I’m an overweight middle-aged man!” “We’re in other people’s bodies!” “I’m missing the top two feet of my body!” Again, if the reviews are okay, I’ll probably still make the effort to see it, but I’m now worried that the funniest moments are all in the trailer, as is often the case. I’ve got The Greatest Showman, TLJ, and a few others to see before it, and it I must suffer through the trailer again, I might shelve my Jumanji plans until it’s available for streaming. Oversaturation can, unintentionally, kill the interest in a movie instead of building it up. I felt the same about last year’s lackluster Warcraft film. I saw the trailer every time I saw an IMAX film for months, and all it did was make me not want to see the movie. I actually did leave a theater after the Warcraft trailer began for what must have been the 10th time, and that remains the only time I have ever left a theater during the previews. I LOVE previews, but I hated that trailer, though Transformers: The Last Knight sure gave it a run for its money this past year. If I so much as see an Autobot onscreen, it is an insta-groan.

So that creates a question; do trailers ruin movies? After all, the big wigs behind a film’s production have no idea how many times you are going to be forced to see a trailer. They just want to put butts in seats. But they do have control over how much info goes into a trailer, and it’s a fine line; give too much away and risk scaring people off, or don’t offer up enough and fail to hook viewers. Avoid trailers, and you might fall behind on what movies are coming out, unless you monitor them religiously (as I do). I may love previews, and eagerly anticipate trailers for films and film series that I’m a fan of, but nothing ruins a movie for me like a trailer rife with spoilers.

 

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If you’re in need of a new read, check out my YA novel, I’m With You! The ebook is only $1.99 or (£1.55) and paperback is $9.99 (£7.99) on Amazon Amazon UK.  Paperback is also $9.99 on BN.com.

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Five Memorable Film-Going Experiences

Sometimes, it’s not the film itself that makes a film-going experience memorable… sometimes, it’s the circumstances surrounding it. And I’ve had a handful of these experiences during my years as a film “buff”…

1.) Harry Potter and the Deathly Hallows pt. 2 (2011)
I made it to the front page of the paper for this one, so it’s probably going to be on the most memorable list for a while. My group of friends and I had to line up for this one four hours ahead of time, since this was before the launch of the assigned seating era. One friend dressed as Bellatrix, my best friend made Potter Puppet Pals masks for us to wear, I wore my “Particularly Good Finder” homemade shirt (Hufflepuffs represent!) and we re-enacted the “Mysterious Ticking Noise” while waiting behind the stantions. Needless to say, we were the most spirited and entertaining group in line, which is why a reporter took our picture to platdter on the front page the following day. This film was the end of an era for Potterheads everywhere, and even though I had to be at work at 7AM the morning after, I wouldn’t have changed a moment of that night.

2.) Percy Jackson and the Olympians: The Sea of Monsters (2013)
I did not like this film (though I loved the books) but had a rip-snorting good time watching this movie because my best friend and I were completely alone in the theater, so we were free to be as obnoxious as we wanted and we took total advantage of it. We loudly called out the inaccuracies, speculated on the plot changes, and made jokes throughout the entire thing, so even though the film wasn’t  quite up to snuff, it was a great and memorable film-going experience for the sheer enjoy-ability of it all.

3.) The Dark Knight Rises (2012)
TDKR was the final movie I saw as a midnight premiere, before my local theater started doing showings earlier on the night before a film’s release. The Dark Knight actually sparked my love for film, and I was eager to see a conclusion to the Bale/Nolan trilogy. The theater was mobbed, because this was also in the days before assigned seating so you couldn’t roll up to the show five minutes ahead of time and get a primo spot, plus this was the first and only time I ever had to park in the upper parking lot of the theater. Anticipation was thick in the air as folks lined up and waited outside the individual theaters, and I remember getting into my seat in between my mom and my best friend and tapping my foot on the floor, waiting for the film to start. This experience was most memorable because it gave a definitive ending to the film series that sparked my love and appreciation for film. Aaaand I sobbed like an infant at the end.

4.) Iron Man (2008)
Way back before the MCU was as huge as it is now, I had absolutely 0% interest in seeing Iron Man. My dad and I eventually struck a deal; he would go and see The Chronicles of Narnia: Prince Caspian with me, if I would go to see Iron Man with him. And the arrangement worked out quite well for both of us! My dad actually enjoyed Prince Caspian, with it’s chatty badgers, triumphant music, and rightful heirs ascending the throne, and I fell in love with superheroes and garnered an appreciation for the then-fledgling MCU, which continues to this day. I remember sitting in that theater, watching RDJ sell the role of Tony Stark like he was born to play it, and being absolutely blown away. There hasn’t been a Narnia movie since 2010, but 10 years later, my dad and I still see almost every Marvel movie together, and I have a 2008 bargain to thank for that.

5.) Birdman or (The Unexpected Virtue of Ignorance) (2014)
I wish I could say this experience was memorable for a good reason, but actually, this post is ending on a sour note. After studying film in college and expanding my cinematic horizons, my mom and I made the trek across town to see Birdman after we heard a bit of Oscar buzz about it. In total, when the film began, there were five people in the theater… by the end, there were three. And I’m pretty certain only two of us were awake. I totally get why folks didn’t like this film, and I love “average joe” films just as much as the next film-goer, but it’s still a huge bummer when more “artsy” films don’t get recognized by general audiences. In Birdman, the cinematography was gorgeous (I mean, that tracking shot in the beginning is a stunner) and the acting was phenomenal, yet still, two folks walked out midway through. And the film won Best Picture.

Five “Anytime” Films

Everyone has at least one “anytime” movie – a movie that, while scrolling through the channels on a rainy Saturday, you can tune into no matter how many times you have seen it, and still enjoy it. And here are a handful of my favorite “anytime” movies!

1.) Jumanji (1995)
Whenever this film comes into conversation, my first comment is always, “I f*cking LOVE Jumanji.” Unless there are children around, of course. Then I just say, “I LOVE Jumanji.” And it’s true – the film about a jungle-themed board-game come to life to terrorize a small New England town is one of my all-time faves, and also one of my most personally-treasured Robin Williams performances. Sure, the effects are super dated by today’s standards which causes a bit of a kink in the immersion factor, but I adore the story and the characters/performances so much that I watch it any time it’s on TV. The trailer for the sequel/remake coming out next month actually made me laugh, so I might end up seeing it, but I don’t think it will ever triumph over the original. And though I’ve seen it several times, I never put together that Jonathan Hyde plays both Van Pelt (the hunter) and the dad until very recently.

2.) The Princess Diaries (2001)
I saw this movie in theaters when it first came out and instantly fell in love with it. Though I love nearly all of her performances, I think Mia Thermopolis will always be my favorite Anne Hathaway role, as she was just so convincing and relatable as the awkward girl turned unexpected princess. I think I’ve seen this movie well over a dozen times and I still enjoy it 100% each viewing. The Hathaway/Andrews chemistry is unreal and my favorite scene is toward the end, when grandmother and granddaughter enter the ballroom together. I also have this film to thank for introducing me to Meg Cabot, one of my all-time favorite authors!

3.) Remember the Titans (2000)
I first saw this film in school (junior high, I think, though I can’t for the life of me remember what class) and it resonated with me in a way I didn’t expect. I even went out and bought the DVD not long after and used to watch it on a portable DVD player during every long car drive. The true story of a recently desegregated football team during the 70’s features an important message and I haven’t gotten tired of it after multiple viewings. Plus, the music is stellar, and the acting is great!

4.) The Mummy (1999)
I know this isn’t widely regarded as a “great” film, but boy is it entertaining! The effects are dated and it doesn’t do anything groundbreaking plot-wise, but it’s a fun romp in the sand with decent humor and action, and I absolutely love Brendan Fraser. The scene where he screams back at Imhotep makes me laugh every single time I see it. Besides, it might not be a masterpiece, but at least it isn’t trying to be; and it’s still better than the 2017 remake/reboot. And the super-fast scarabs still scare me! I also bonded with my study abroad friends from college over this film after we spotted John Hannah (who plays Jonathan) at a cafe near our university one morning.

5.) Spirited Away (2001)
The first time I saw this film, I was so spellbound I watched it two times in one day. Miyazaki is a master storyteller and Studio Ghibli’s animation is always enchanting, but I think Spirited Away is the one Ghibli film that has the highest “re-watchability” factor. I can jump into the film at any moment – whether it be after Chihiro’s parents have been turned into pigs, or when she’s helping a contaminated river spirit – and watch it through to the end, and still enjoy it just as much. Chihiro’s journey in the spirit world is a timeless one, and the magic of the film does not get old upon multiple watches.

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If you’re in need of a new read, check out my YA novel, I’m With You! The ebook is only $1.99 or (£1.55) and paperback is $9.99 (£7.99) on Amazon Amazon UK.  Paperback is also $9.99 on BN.com.

 

Film Review: Home Again (2017)

Dir. Hallie Meyers-Shyer
Starring: Reese Witherspoon, Michael Sheen, Nat Wolff, Pico Alexander, Jon Rudnitsky, Candice Bergen
Rating: PG-13
Runtime: 1hr37m
Spoiler level: Light

This past Tuesday, for the first time in ages, I went into a film without looking at the RT score. I saw the trailer a couple of times, chuckled a bit, and decided that I wanted to see it based on that, and it turned out to be a wise move; the RT score is currently at 35%, but I still loved the film!

Home_Again_poster
By Source (WP:NFCC#4), Fair use, https://en.wikipedia.org/w/index.php?curid=54570184

Home Again follows newly-separated and newly-40-year-old mother of two Alice Kinney (Witherspoon), the daughter of a renowned filmmaker, who, while attempting to rebuild her life, ends up offering her guest house to 3 aspiring 20-something filmmakers. Naturally, as the boys lives become entangled with her own, Alice learns how to let go, move on from the past, and embrace the future.

The story is straightforward and solid, but many plot points are predictable; Alice striking up a romance with Harry (Pico Alexander), her ex-husband Austin (Michael Sheen) re-entering the picture and stirring up a whole bunch of tension, the boys negotiating with producers and directors on their dream project, etc, but don’t let the familiar premise fool you; the narrative does contain a few (mostly pleasant) surprises. While there’s shades of tales told many times before, there are a couple of fresh twists to keep the viewers guessing or hoping for a particular outcome. There’s a smooth balance of humor and drama, though perhaps less romance than a traditional rom-com, as the film takes the time to explore a variety of real-life issues, such as ambition versus reality, turning a new page, and taking risks.

The exploration of numerous ideas is both a boon and a bane, as there are times where the film feels as though it is stretched too thin and tries to do too much, so certain plot-lines don’t get as much resolution or attention as they deserve. Issues get resolved in a “last minute” fashion, almost like an afterthought. For example, there’s a plot device about Alice’s deceased father being a filmmaker that is intriguing, and is a stepping stone for Alice connecting to her three unlikely house guests, but sort of gets discarded in the latter half of the film. The music and montages seem to aim for an old Hollywood type feel, but at the same time, the tone doesn’t remain consistent. When the boys get into an argument, it gets resolved in a disproportionately swift manner compared to the set-up. As such, the pacing suffers a bit, as resolutions don’t live up to the set-ups, but regardless of this, the film doesn’t drag – I found myself engaged throughout.

The cast also delivers; Witherspoon carries the film with a charming performance that reflects both strength and vulnerability as a woman dealing with a new start at 40 years old. The 20-something trio (Nat Wolff, Jon Rudnitsky, Pico Alexander) all shine in a unique way, particularly Rudnitsky as George. Michael Sheen and Candice Bergen are also great in their roles, despite having less screen time, and both of the children (Lola Flanery and Eden Grace Redfield) were delightful in their supporting roles, and looked like they could be the actual children of Witherspoon and Sheen.

Honestly, the film is not awards fodder, but it provided me with a fair amount of laughs, and even if it treads familiar ground, it conveys a message that doesn’t get old despite multiple re-tellings. If you need an enjoyable way to pass a rainy afternoon or have a couple of hours free in the evening with nothing else to do, and you enjoy a decent rom-com for a bit of light-hearted fun, this film is a treat. Or, you know, if all the showings of It are sold out, this is a nice, if not comparable, alternative.

Overall rating: 7/10

Shameless plug: My book tour for my YA novel, I’m With You, is still ongoing! Check it out here: LINK! Plus, the ebook is only $1.99 or (£1.55) on Amazon Amazon UK. 

Film Review: Dunkirk (2017)

Dir: Chris Nolan
Starring: Mark Rylance, Cillian Murphy, Tom Hardy, Kenneth Branagh, Fionn Whitehead, James D’Arcy, Harry Styles, etc.
Rating: PG-13
Runtime: 1hr 47min
Spoiler Level: Light

A lot of the early buzz about the latest WWII drama Dunkirk has called it Christopher Nolan’s best film to date. Considering he’s the man who brought us both critically-acclaimed Inception (2010) and widely-lauded The Dark Knight (2008), that’s a statement that isn’t to be taken lightly. Now that I’ve seen it, I have one thing to say about the monumental praise this film’s gotten thus far; it is 100% deserved, and Dunkirk may well be Nolan’s best so far.

Dunkirk_Film_poster.jpgBased on true events, Dunkirk presents three different timelines (land, sea, and air) within a non-linear narrative that chronicles the journeys of various characters – from struggling soldiers to stalwart civilians – during the evacuation of Dunkirk in 1940.

Story-wise, I didn’t find the three different timelines too difficult to follow – it was compelling to see land, air, and sea diverge from and intersect with one another. The timelines are a bit disjointed, and it might take a bit to get used to the switching between perspectives (at one point it’s day, then night, then day again, though less than 24 hours have passed) but the narrative is consistently captivating, and as the timelines merge, it’s intriguing to see how certain characters meet and interact with one another.

The entire cast is strong; newcomer Fionn Whitehead delivers a mesmerizing performance as an Army private desperately trying to survive a relentless wave of peril, Tom Hardy, a Royal Airforce Pilot, evokes powerful emotion even while most of his face is concealed, and Mark Rylance is solid as a civilian mariner heading to Dunkirk to try and save some of the stranded soldiers. No one really stood head or shoulders above the rest, but in that same vein, I don’t think there was a weak link among the cast. Performances all around were impressive, especially considering the sparse dialogue, as great acting speaks much louder when there are no words at all. The narrative is carried by everyone, and even though about 90% of the character’s names don’t get spoken onscreen, it’s easy to get invested.

And for those of you wondering, Harry Styles is fine in it – definitely holds his own against the talented veterans. From what I’ve seen browsing around the internet, I imagine a significant chunk of this film’s box office will come from 1D fangirls, because anytime I’ve looked up anything about this film I have to slog through pages upon pages of Harry Styles swooning before getting anything of use, and there were as many middle-aged history professor type men in the theater last night as there were middle-school and high-school 1D fangirls. That’s not a criticism, though; it was actually awesome to see the IMAX theater in my local cinema close to full for a film that isn’t from Marvel. But I find the voracious media attention Styles has received simply for being in a popular boy band prior to this film is unfortunate because Dunkirk is an ensemble effort, and the other actors all deserve just as much, if not more, attention and praise for their performance.

Visually, the film is absolutely stunning – that’s an odd thing to say about a war film, I suppose, but the cinematography (per usual for Nolan) is gorgeous and the film is beautifully shot and edited. Dunkirk is also Nolan’s tightest film to date, as it offers nothing in excess; it’s clean and concise, presenting a well-balanced narrative and a clear picture without delving too deep or dragging too long. Sure, the film doesn’t show too much in the way of blood or gore, but it also didn’t need crimson spills in the sea or severed limbs splayed around craters to convey the horror and cost of conflict, nor does the lack of blood and guts glorify the idea of war in any way. The unseen enemy threat closing in, the stark faces of fear, a foot sticking out from a sandy grave, and the dead bodies floating in with the tide, are all images that stand out long after the credits have rolled.

The music (by Hans Zimmer) and the sound weave together to enhance the intense, knuckle-biting atmosphere. The scream of sirens, the whine of engines, the creak of sinking ships, the wails of dying men, the boom of torpedoes and crash of bombs and the ticking of precious time running out – and at times, silence – all serve to make the events of the film more visceral, more engrossing. The sound of bullets made me jump out of my seat on more than one occasion and honestly, I was so stressed out and tense throughout this film that I forgot to eat my Reeses Pieces. (I’m eating them now, don’t worry).

If it is possible for you to see this film in IMAX, you MUST do so – it’s worth splurging for the price of the ticket. The sound is incredible (VERY loud, but not deafening) and the sweeping shots of the beach and the sea and the dogfights in the air are best seen on a massive screen. My only quibble with the IMAX experience was the dialogue, as it was difficult to discern at times. It didn’t detract too much, since the gist of the narrative is easy to follow, but there were times that I genuinely had no idea what the characters were saying and wish I could have picked it up better. This might be different for the standard version, as it usually is.

I don’t know if this is Nolan’s best, but it is certainly a contender for the spot, and well worth seeing for fans of Nolan and war cinema alike. A sprawling film with a strangely intimate feel, Dunkirk shares bleakness and hope in equal measure, and though countless war films have been made, especially about WWII, there are still so many stories to be told, and Nolan’s put a unique stamp on this one. There’s not much bravado, virtually no soap-boxing, no victory-touting, no medals doled out, and the film doesn’t offer a lot of chit-chat about the horrors and toll of war; it simply shows it, along with the dedication and perseverance of the soldiers who yearn for home, and the civilians striving to get them there. It’s not as gory as Saving Private Ryan or as in-depth as Band of Brothers, but it certainly deserves a place among the memorable high-tier war films.

Overall Rating: 9/10

Top Superhero Film Themes

With so many superhero and comic book films coming out over the last few years, and more still looming on the horizon, I decided to scroll back through my music library and compile a list of what I consider to be the best superhero “themes” from these films. There may be a few films I haven’t seen, so certain themes might have evaded my notice, but I have witnessed the bulk of them and here are my results!

I’ve linked a Youtube video (not mine) after each selection that contains the theme, as well as the Amazon link for purchase/listening. This isn’t sponsored or anything and I don’t own the rights to these songs; just want to have a bit of fun and spread some good hero themes around!

5.) Spider-Man 2 (2004) – Danny Elfman
Obviously I haven’t seen Tom Holland’s solo spin on our friendly neighborhood Spider-Man yet (besides his appearance in Civil War, which was excellent) but I’ll always have a place in my heart for the original Spider-Man films and Toby Maguire’s portrayal of the character. Maybe it’s because they were the first superhero films I got into, but regardless, I love both the original Spider-Man and Spider-Man 2 – I actually still consider the second one to be one of the greatest superhero films to date. Not big on the third one, to be honest, but one thing is consistent throughout the three films – the music, and the amazing Spider-Man theme provided by Danny Elfman. In a way, the theme covers an “arc” – it hits different tones, from sweeping and emotional to action-packed and intense, hitting all the notes that combine to make a heroic sound. I honestly can’t even remember the theme from the second series of films; that’s not to say the music is bad, just that Elfman’s theme packed a bigger punch and has come to define the character (for me, at least.)

Here is the LINK! (Youtube)
Or purchase on Amazon: LINK!

4.) The Avengers (2012) – Alan Silvestri
Though I’ve loved nearly all of the Marvel solo hero films to date, I actually have trouble remembering the theme music for all of the individual characters; they’re all good in the moment, but none of them really “stuck” with me after the films ended. However, when the characters all teamed up for 2012’s The Avengers, they earned a new “team” theme, and it’s pretty great. It’s definitely the kind of song that will encourage you to finish the last strenuous laps of a running session or push you to the end of a difficult workout, and when it plays in the film, it’s easy to get pumped up about seeing a team of heroes take on a dastardly villain. It’s got the right blend of hype-building and morale-boosting, which is perfect for an ensemble film like The Avengers; it helps them sound like a team, instead of just looking like one.

Here is the LINK! (Youtube)
Or purchase on Amazon: LINK!

3.) Doctor Strange (2016) – Michael Giacchino
Benedict Cumberbatch’s turn as Doctor Strange is the most recent introduction into the MCU, and his theme music is very fitting for him as a character. Doctor Strange is enigmatic, sarcastic, and his ingenuity is as much as strength as his actual powers are; and since he is a “different” sort of hero than most of the other MCU characters, his theme is also a little strange – in the best way.  It’s definitely my favorite theme from the Marvel films, which isn’t much of a surprise, since Giacchino consistently delivers great themes and scores (Rogue One comes to mind as a recent non-superhero standout). I went into this film knowing very little about Doctor Strange, and emerged from the theater humming the theme song under my breath. It’s whimsical and heroic and evokes strength all at once; the perfect sound for a hero who defies the norm.

Here is the LINK(Youtube)
Or purchase on Amazon: LINK!

2.) Wonder Woman (2017) – Rupert Gregson-Williams / Junkie XL
One of the major highlights of 2016’s Batman V Superman was the introduction of Gal Gadot’s portrayal of Wonder Woman, and her solo film was released to glowing reception a little over a year later. And her theme music is absolutely BADASS – just like the character herself. The theme was initially created by Junkie XL for BvS but was also included and expanded on in the solo film, and Gregson-Williams does it justice. When this theme starts playing, it’s obviously a pulse-pounding, energetic prelude to some serious action, and it’s the perfect music to serve as the buildup and backdrop to battle. When Wonder Woman made her first appearance in BvS, this theme played to announce her arrival, and I remember sitting in the theater, listening to the music, and thinking “Wow – this is how a hero makes an entrance.” Now, every time it starts playing when Diana is fighting onscreen, I get chills; it’s everything a heroic theme should be and I hope we get to hear it in all Wonder Woman appearances to come.

Here is the LINK! (Youtube)
Or purchase from Amazon: LINK! (WW) and LINK! (BvS)

1.) The Dark Knight (2008) Hans Zimmer and James Newton Howard
Though the theme from the original Batman film back in ’89 is pretty excellent as well, I think Zimmer and Howard’s theme for the caped crusader is the most definitive and powerful version thus far. Whenever this theme kicks up, it gets the energy flowing; it’s come to signify Batman as a character and really helped to mold The Dark Knight Trilogy as a whole. Like Elfman’s Spider-Man theme, this one seems to cover an arc – it hits all the notes of Batman’s character; his suffering, his heroism, his experiences, his humanity. None of these films would be what they are without their score, but I’d argue that Zimmer and Howard’s contribution to this trilogy has the biggest overall impact. It’s a theme I won’t forget, even when new incarnations of Batman take the screen; this is a theme that will endure, and whenever I think of Batman, this is the theme I associate him with. I’m still baffled the soundtrack wasn’t even nominated for an Oscar, though that’s probably because I’m biased. The Dark Knight Trilogy really revolutionized the “comic book film” genre with its gritty, dark tone and groundbreaking performances, and the music provides the a fitting, powerful soundtrack to Bale’s incarnation of the much-beloved character.

Here is the LINK! (Youtube)
Or purchase from Amazon: LINK! 

Film Review: Everything, Everything (2017)

Dir: Stella Meghie
Starring: Amandla Stenberg, Nick Robinson
Runtime: 1hr 36min
Spoiler Level: Light, mostly; discussion of the ending will be below a “Read More” and will be preceded by a bold warning.

I have a policy about films with approval rating below 50% on Rotten Tomatoes, which is to not spend money to see them in theaters unless I have some sort of investment in the story/previous films/source material. Even scores in the 50’s are questionable. But, since I read and enjoyed Nicola Yoon’s YA novel Everything, Everything last year, I figured I might as well head out for Tightwad Tuesday and see how well the pages transitioned to screen.

16601948_699564803538333_7623149780067371960_o.jpgEverything, Everything follows 18-year-old Maddy (Stenberg), who suffers from an illness that severely cripples her immune system and basically makes it impossible for her to go outside. But when Olly (Robinson), a boy her age, moves in next door, Maddy starts to wonder even more about what she is missing out on. As she and Olly grow closer, Maddy decides that she wants to experience everything, no matter the cost.

Overall, I’m not a stickler who believes that book to movie adaptations have to be 100% accurate and true to the book, so I’m usually not a “the book is so much better” person. For a novel to make the leap to screen, changes always have to be made. Always. Sometimes, the changes can be for the better, as with The Lord of the Rings, or they at least stick mainly to the source material, like Harry Potter. However, they can also totally decimate the work on which they are based, like the Percy Jackson movies. Sea of Monsters is flat-out unforgivable.

Luckily, Everything, Everything, while it trims plot-lines and neutralizes characters, doesn’t fall into the “decimated” category. From what I remember of the novel, the film stays close, and the heart of the work – Maddy’s relationship with Olly, and her evolution as a person – is not severely damaged by the changes. It’s not a perfect adaptation, but I’d say it’s acceptable, and nowhere near Percy Jackson territory.

Stenberg is charming and bright as main character Maddy, and Robinson is equally as effective as her co-lead, Olly, although he does need a haircut. I’m glad he managed to escape that crazy dinosaur park, though. Unfortunately, Olly also gets less development than Maddy; they touch on his history and the issues he’s facing with his family, but don’t explore as deep as the book does, which made his character seem “unresolved” in some ways. He’s kind of relegated to “cute boy next door with some emotional baggage” but doesn’t get as much exploration or resolution. As a pair, their chemistry is convincing, but their connection suffers from the same pitfalls as several similar films/projects; it treads the dangerous line of “insta-love.” I didn’t really feel that way about the book, as their relationship seemed to grow over a greater length of time and with much more conversation, but in the movie, while their relationship is totally adorable, the risks that Maddy ends up taking just seem… a bit rash. But hey, it’s teenage romance, and maybe I’m getting jaded in my old age. I will say that as a duo, Maddy and Olly are mega adorable and felt more or less like a real young couple than some unrealistic idealization of teen romance.

The “texting” sequences are especially impressive and engaging; I liked the visualization of Olly and Maddy being inside Maddy’s architecture projects, speaking face to face, as opposed to through a screen, as it helps to better portray the development of their romance. The little pop-ups representing their email/text interaction works too, but I’m glad it didn’t dominate the entire film. Could have done without the narration, though; that’s something YA novel adaptations can’t seem to get away from, but it’s a superfluous inclusion that defies the “show not tell” mentality and undermines a viewer’s ability to draw conclusions on their own. Like, there are other ways to include exposition without a narrated info-dump at the beginning. Also, I must say, the astronaut is definitely the best supporting character in the film.

Other supporting characters of the fairly small cast include Maddy’s mom Pauline, played by Anika Noni Rose. Her portrayal is equal parts calculated and loving as she juggles the dual role of mother and doctor and grapples her own demons while dealing with Maddy’s illness. Ana de la Reguera is great in her role as Carla, Maddy’s nurse, as she does a great job of showing how Carla sympathizes with Maddy and wants her to experience at least a few aspects of a “normal” life. But really, it’s Stenberg and Robinson that helm the ship, and they do a fair job of plucking at your heartstrings; it’s easy to root for them and hope for a happy ending, even in the face of such bleak, unrelenting odds.

As far as other elements go, the music is nice; I’m not a big fan of insert songs, but the choices seem to fit the narrative, and the score was charming, if not exactly memorable. I loved how Maddy’s wardrobe changed over the course of the film, reflecting the growth in her character – even Olly trades in his signature black for a spot of color at one point. The sets are decent and the colors pop, and, as I mentioned before, the visuals are utilized in a compelling way. All in all, each portion of the film is solid and comes together smoothly; it looks and sounds great.

If you’re a fan of Yoon’s writing or are a hopeless YA fan (like myself) just looking for a way to pass a rainy day, then Everything, Everything is definitely worth a watch.  It’s a touch cliche, it’s escapist (to a degree), and it’s a love story – all the ingredients of great young adult media But if such content really isn’t your style, it might be wiser to sit this one out.

Overall rating: 7/10

DISCUSSION OF ENDING AND SPOILERS BENEATH THE “CONTINUE READING,” YOU HAVE BEEN WARNED.

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