Film, Writing

Bill, Ted & the Dark Fate of the Legacyquel

With the arrival of Bill & Ted Face the Music, we find ourselves facing down the latest example of what has become known as the ‘legacyquel’.
First coined in late 2015 by Matt Singer in a piece for ScreenCrush, in advance of Star Wars: The Force Awakens, the legacyquel operates from different principles than a traditional, standard follow up. The standard sequel continues the established story introduced in the original narrative – The Godfather Part II, for example. A legacyquel revives a property and the characters we came to know, years after the fact, often once they have been immortalised in popular culture – The Godfather Part III, for example, which gave us the final part of Michael Corleone’s tragic story sixteen years after we last saw him. Such immense gaps of time are common in sequels which are expressly designed to recapture, in the audience, a sense of reconnection with worlds and characters, and indeed the actors who play them, who mean a great deal to us.

This is certainly the case with Bill & Ted Face the Music, which expressly delivers another key aspect of the legacyquel – familiarity. Most legacyquels do not rock the creative boat and if they do, it is for a specific reason; a good example that bucks the trend is Star Trek 2009, which J. J. Abrams uses as both a legacyquel (allowing us to reconnect with Leonard Nimoy) and canonical reboot in which we rediscover Kirk & Spock while experiencing their origin stories. Star Trek in that sense is an aberration, with most legacyquels operating to the Bill & Ted principle: more of the same, with a much longer gap. This is the appeal of the legacyquel. Reboots offer nostalgia while exploring new ideas. Sequels or continuing franchises build on what has come before. Legacyquels are all about bringing you ‘home’ again.
This was, in many respects, the intention behind Terminator: Dark Fate. What saddens me is that it didn’t really work.
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Film, Reviews, X-Men

Franchise Retrospective: X-MEN: DAYS OF FUTURE PAST (2014)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Bryan Singer’s 2014 epic, X-Men: Days of Future Past

Though ostensibly designed as a new beginning for the X-Men franchise, Days of Future Past oddly works better as an ending.

Bryan Singer’s return as director of the franchise, after abandoning the third intended X-Men film in 2006 for Superman Returns, gives the film an unexpected level of continuity back to his original first two pictures and allows it to work as a capstone for the original X-Men cast, the majority of whom return for this adaptation of Chris Claremont & John Byrne’s legendary 1981 Uncanny X-Men saga set in a dark, post-apocalyptic future where both humans and mutants have been subjugated by the Sentinels, a force of man-made, mutant-killing robots. Days of Future Past ends up allowing Singer to both tie-off many of the loose ends left remaining after X-Men: The Last Stand, and continue the rebirth of the saga after Matthew Vaughn’s X-Men: First Class. As the film brings together two different generations of X-Men and these characters, so Days of Future Past unites Singer and Vaughn, who co-developed the story with First Class writer Jane Goldman, in developing a unique fusion of continuation and conclusion.

Days of Future Past is the most tangibly connected X-Men film to X1 and X2, even beyond Singer back in the director’s chair. It tackles the core ideological difference between Charles Xavier (James McAvoy) and Erik Lensherr (Michael Fassbender) that formed the backbone of those first films, as it does in the original Stan Lee/Jack Kirby comics, and naturally evolves that conflict from its foundation in First Class. Though the plot is driven by Wolverine in his role working to change the past, and it hinges on the historical actions of Mystique, Days of Future Past is as much an origin story for Professor X and his school as First Class was for Magneto. The script is cleaner, the dramatic through-line more directly apparent (at least in the first half), and it manages to both give the original X-Men trilogy a sense of closure while spiralling the franchise off into a new direction. This does for the X-Men franchise what JJ Abrams’ 2009 reboot movie did for Star Trek – new life born of old characters.

X2 may be the stronger movie by a yard or two, but Days of Future Past could well be my personal favourite for how it satisfies the viewer on multiple levels.

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Essays, Film

LAST ACTION HERO: A film ahead of and perfectly of its time

Last Action Hero is both ahead of its time and perfectly positioned within the era it was made, such is the paradox of a forgotten curiosity of 1990’s action cinema and the stratospheric career of Arnold Schwartzenegger.

Here’s my story and why I’m writing about Last Action Hero some twenty five years on from its release. I was 11 years old when Last Action Hero was released in cinemas, in the US one week after Steven Spielberg’s decade-defining Jurassic Park. In theory, I was the perfect age to consume a film which is entirely about the youthful obsession of a similarly-aged child, Austin O’Brien’s Danny Madigan, with action adventure cinema. Jurassic Park I badgered my parents to take me to see three times yet I didn’t go anywhere near Last Action Hero. It didn’t even register with me.

It has taken me until age 36 to actually sit down and watch it, and this is after spending at least the last twenty years being an enormous fan of Schwarzenegger’s movies and career. Last Action Hero was always the Arnie film I missed.

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Film, Reviews

Film Retrospective: THE ABYSS (1989)

James Cameron is an unusual director, in many ways, and The Abyss underscores this quite keenly. Despite the fact Cameron has made some of the biggest motion pictures of the last almost four decades, you consistently still feel the pull of his Roger Corman-training, his B-picture origins on movies such as Pirahna after spending years as a Corman student, helping put together his beloved but schlocky contributions to cinematic history.

Cameron took plenty of those lessons, those touchstones, and threw them into his movies across the 1980’s & 1990’s with such arrogant bravura, such relentless chutzpah, that he crafted movies which by all accounts probably shouldn’t have been as critically successful as they were. The Terminator in 1984 is a B-movie with the style, smarts and cutting wit to rise above its origins, while Aliens saw Cameron perhaps at his egotistical directorial best, remarkably for only his third picture. The Abyss feels like his first attempt to make a film which can’t be defined, clearly, as a James Cameron movie, and it’s probably why it’s amongst the worst of his efforts.

What makes a James Cameron movie? Granted, many of his films have existed in different decades and in completely different and unique worlds; the washed out, fatalism of the first two Terminator films, the dark and cynical future he presented in Aliens, through to the tragic romance and austere glamour of Titanic. All of those films share common themes and cinematic styles, nonetheless.

Every single one has a sense of scale and import unique to a filmmaker like Cameron, a director who builds his pictures around some level of grandeur and spectacle – he wants you to feel like you’ve had an experience in the cinema, that you’ve encountered a visceral, often alien (using the term broadly) world he has constructed, from design through to visuals.

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Film, Reviews

Film Retrospective: WATERWORLD (1995)

Excess is probably the word to best associate with Waterworld.

The excess of Hollywood in the 1990’s. After the blockbuster formed at the tail end of the 1970’s thanks to the efforts primarily of Steven Spielberg and George Lucas, the 1980’s saw the phenomenon largely dominated by Olympian action heroes or stars whose names towered on the poster above the title – Schwarzenegger, Ford, Willis, Stallone, Snipes. Alternatively, sequels and franchises began to form and dominate – Bond continued making money, joined by Indiana Jones, Star Wars of course, Star Trek back from the dead, and a whole surfeit of sequels which evolved into trilogies, and continued the trend into the 1990’s. That decade, nonetheless, added an extra dimension.

Waterworld is indicative of the mega-budget ‘high concept’ which had crept in over the last decade and really bore fruit during the 90’s. A high concept movie, essentially, was a picture you could boil down in one, easy for a movie studio executive to understand soundbite. Waterworld’s, without question, would be ‘Mad Max on water’. Simple, clear, readable. Everyone had heard of Mad Max, a successful trilogy itself early in the 80’s. The idea of trying to replicate the success of George Miller’s desert-based post-apocalyptic action series would have seen the bean counter’s eyes kerching with dollar signs. Waterworld smacks of a high-concept, money-making exercise, taking this one-line idea and bulking it out into an event blockbuster.

The irony, of course, was how expensive Waterworld ended up being. A year later, Independence Day revitalised the alien invasion B-movie with a high-concept, simple idea which, schlocky as it may have been, reaped the rewards in dividends. Though chock-full of CGI, some of which at the time was stunning to audiences, it wasn’t nearly as expensive as Kevin Reynolds’ fourth collaboration with star Kevin Costner, given the amount of water-based sets which needed to be constructed in order to adequately sell the idea of a futuristic world where the polar ice caps have melted, consigning the ‘ancient’ world we live in now to the sea bed.

Though a picture designed to make big bucks, Waterworld ultimately became one of the biggest critical and financial disasters of its decade, or indeed any decade.

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