Search results for: solo

Disney/Pixar may now include a warning for viewers that some scenes in their latest hit, Incredibles 2, may induce seizures at the request of the National Epilepsy Foundation. Some viewers found the strobe and flashing light scenes to be potential seizure triggers.

Veronica Lewis tweeted the following:

HEALTH ALERT I haven’t seen this mentioned in a lot of places, but the new Incredibles 2 movie (#incredibles2) is filled with tons of strobe/flashing lights that can cause issues for people with epilepsy, migraines, and chronic illness.

 

What is a seizure?

 

A seizure occurs when there is abnormal electrical activity in the brain.  If the electricity doesn’t conduct properly, brain function gets disrupted. This could lead to convulsions  (involuntary jerking movements), loss of muscle tone, changes in senses such as vision, hearing and smell, loss of bladder control, loss of consciousness and sometimes stroke, brain damage and death.

 

HGT0066_neurons-seizure-brain_FS.jpg

 

What is Epilepsy?

 

Epilepsy is a neurological disorder in which a person has recurrent, unprovoked seizures.

Photosensitive epilepsy, in which visual triggers can induce a seizure, occurs in 1 in 4000 of the population.

Can Movies Cause Seizures?

 

In December of 1997, a Pokemon cartoon aired in Japan resulting in over 700 children to the hospital with ailments ranging from dizziness to epilepsy.  It was determined that the rapidly strobing flashes of red and blue lights induced this “Pokemon Shock.”

 

pokemon1

 

A study from Prasad et al in 2012 found no increase risk of seizures with 3D movies than conventional television. They explain why seizures are induced here:

The mechanism in which TV and cinema movies trigger seizures in patients with photosensitive epilepsy is related to several factors including the light intensity, the environment and the frequency of picture frames per second. Normal 2D movies have a frame rate of 24 per second, which may pose a risk for patients with photosensitive epilepsy, but the light intensity in the cinema is very low and there are relatively a few reports of seizures precipitated in cinemas. In contrast, 3D movies project images at 48 frames per second aimed, by the use of colored or polarizing filters, at different eyes and resulting in 24 frames per second per eye. The polarizing effect of 3D films may reduce the light output by around fifty percent leading to a reduced risk to trigger a seizure to people with photosensitive epilepsy. Therefore, the risk of 3D movies to trigger a seizure is around fifty percent less than with conventional 2D movies. However if provocative material such as flashing light is presented the risk can be as high as that for normal 2D movies.

Although there is “insufficient evidence” to connect 3D movies to epilepsy, researchers agree with the need for more study.

Which makes us rely on anecdotal, or testimonial evidence such as the tweet from Veronica Lewis.

“Risky Movies”

 

The following have been suggested on moviehealthcommunity.tumblr.com to have strobe effects or flashing lights that may affect one’s photosensitivity risk of inducing a seizure:

 

  • Ocean’s 8 – fast-moving trains
  • Incredibles 2 - villain weapon
  • Solo, A Star Wars Story – laser fire and sparking electrical equipment
  • Speed Racer – bright headlines, racing cars
  • Deadpool 2 – gunfire, high-speed chase scenes
  • Hostiles -flashes from the gunfire
  • 300 – lightning scenes
  • Avengers, Infinity War – fight scenes, shaking cameras, laser based weapons
  • Iron Man series – strobe and flashing lights
  • Incredible Hulk, 2008 – strobe lights
  • Ready Player One – high-speed chase, shaky camera, flashing lights
  • Tomb Raider, 2018 – strobe lights, shaky cameras
  • A Wrinkle in Time – lightning storm
  • I, Tonya – fast speeds, quick camera shots
  • The Cloverfield Paradox – strobe lights

Although one of my favorite franchises, some of my listeners found the Transformer movies to have similar issues with high speed movements and strobe lights.

Many more movies are listed but the common thread are those with high action, high-speed, strobe lighting, storms, horror, and fast-moving race or fall scenes.

More can be found at moviehealthcommunity.tumblr.com.

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Daliah Wachs is a guest contributor to GCN news. Doctor Wachs is an MD,  FAAFP and a Board Certified Family Physician.  The Dr. Daliah Show , is nationally syndicated M-F from 11:00 am - 2:00 pm and Saturday from Noon-1:00 pm (all central times) at GCN.

 

Published in Health

Solo: A Star Wars Story opened to fine reviews but performed well below expectations at the box office, even for a non-episodic Star Wars Story. But that shouldn’t deter you from seeing it, and it shouldn’t deter Disney from making another.

The Film is Just Fine

A lot of things go into a film’s box office performance besides the quality of the film. I can assure you, Solo is just fine, and while fine might not be good enough for some, it’s a whole lot better than the atrocities that are Episodes I, II and III, and those performed very well at the box office.

Before seeing the film, I was excited for Solo to finally introduce Chewbacca as a main character and develop his relationship with Han, portrayed as well as could be expected by Alden Ehrenreich (although I think those casting the film could have sacrificed looks for performance potential). I wanted Solo to be a bromantic comedy of sorts, and it is, in a less-funny, Dude-Walter Sobchak kind of way.

When Chewie first sits in the Millennium Falcon’s copilot seat, I got goosebumps, and while nostalgia was the source of most of the joy I derived from the film, and most of the its best parts are in the trailer, the movie was worth seeing in theaters. You’ll want to see and hear Solo’s action-packed moments in a movie theater. There are some deep blacks displayed during moments of action that your television at home might not display very well. Despite Solo paling in comparison to Deadpool 2 and Avengers: Infinity War, it’s a solid movie that’s probably a tish too long and falls short of its unfair expectations. I don’t even know if I liked it as much as Tomb Raider, but I’ll probably see it in theaters again regardless.

Bad Timing for Solo’s Release

Solo released two weeks after a Deadpool sequel that except for the first 15 minutes, might be better than the original. And young Han still has Avengers: Infinity War with which to contend. Oh, and box office returns were at record lows last summer and are only getting worse, with U.S. theater attendance the lowest it’s been in 23 years and home entertainment spending up 11 percent. It’s a very competitive movie market and one that’s most friendly to a select few blockbusters -- generally the ones with the biggest budgets.

Budget Woes Sunk Solo’s Ship

Jon Cazares wrote about how Solo was a sinking ship from the start. The two original directors, Christopher Miller and Phil Lord, had reportedly shot 80 percent of the film and were fired for allegedly over-spending. Then the hiring of Ron Howard, who reshot much of the movie despite saying much of what Miller and Lord had shot was usable, probably doubled the budget. While Solo ended up a big-budget blockbuster, it wasn’t meant to. In fact, had Solo stayed on budget, it would have been the cheapest Star Wars film produced by Disney and cheaper than all but the original trilogy at $125 million, making its $104-million opening weekend look a whole lot better.

So while Solo is already considered a flop by the entertainment media, don’t let that be the reason you don’t see it in theaters. Think for yourself. Don’t let the mass media dictate your consumption. And if you’re looking to give your air conditioner a break for a few hours, hit a matinee and enjoy a Star Wars film that challenges the norm more so than any before it.


If you like this, you might like these Genesis Communications Network talk radio shows: The Karel Show, Erskine Overnight, The Lounge, The Debbie Nigro Show

Published in Entertainment

Holy wow, Batman! “This is America” is sophisticated, genius art!

 

But I’ll get back to that.

 

First I just want to say that, oftentimes music and movies are too quickly labeled “genius” or “art,” simply because they are created. And if something is created it must be - art. Especially if it’s created by someone we adore!  Well - maybe. But not all movies are art, nor do they try to be. The same, I think it could be said, is true for music.

 

And then there is the much maligned “music video.” A truly lost form of expression. Well, not “lost” exactly but certainly ramped way down from the 90’s heydays where music companies paid to produce music videos because, “If you don’t have a video - you don’t have a hit!”

 

Remember, MTV used to have two full channels dedicated to music video. Not so much any longer. Nowadays, rich musicians use their own money to finance their own music videos and take the loss in hopes that increased publicity from said video, will lead to higher sales and more clicks on YouTube (or similar stream channels,) which also brings in the bacon.

 

And then we come to Childish Gambino’s “This is America.” For those that don’t know, Childish Gambino is the musical stage name for freakishly talented Donald Glover - actor, writer, producer (no relation to actor  Danny Glover). Gambino actually has several music videos out, most of them cleverly written with semi humorous, semi serious tones. And, for my taste - with mixed results.

 

So, this weekend, when I heard the crushing throng of folks talking about Gambino's “This is America,” I was skeptical. I mean, Glover’s talent is self evident. His writing is fantastic, his comedic timing is spot on, he’s going to be BADASS as Lando Calrissian in the upcoming Star Wars Solo film. (But that’s just a prediction. That will totally become truth!)

 

Anyway. Again, I was a bit skeptical because - as much a fan of Glover’s as I am in regard to his writing and acting, I am lukewarm on his music.

 

And then I watched “This is America.” Dear Bloody God was my skepticism misplaced!

 

As a song - “This is America” has choir melodies and trap rhythms that blend incredibly well together. The writing is blistering social critique from all angles of race. But as a video - it’s a work of genius art.

 

Movies, and music video are a world of images and imagery. “Show, don’t tell” is the most commonly used phrase told to young directors - “Show your audience what is happening - don’t have characters tell the audience what happened or is happening!”  Show your visuals. Show your imagery. This is, after all, a visual medium.

 

And “This is America” drips with important imagery beginning with (but certainly not limited to) Gambino’s Jim Crow comparison.  The NY Times has a nice collection of writers from all over the country commenting on the video’s imagery. And since the imagery is critical to understanding the video, I urge viewers to read into some alternate theories into the “meaning” behind Gambino’s “This is America.”  

 

David Pilgrim, the founder and curator of the Jim Crow Museum at Ferris State University is interviewed over at Huffingtonpost.com. Pilgrim has this to say,

 

“You never know what’s in the head of an artist unless they tell you. So we have to interpret and sometimes we get it right. I did go out and read some of the critiques from various people and they’re just all over the place. I like it. I like it because, quite frankly, I like any art that pushes intelligent discussions about racism. Any art that pushes that is good for this country.”

 

In all his points here, I agree wholeheartedly. I would also add that in order to be “great art”, it has to have the capacity to scare people. And “This is America” is doing just that - angering & scaring folks of all races, all over the country. That being said, the positive praise far outweighs the negative. The video has a crushing amount of fervent supporters. Count myself among the supporters.

 

But if you watch the video and you “just don’t get it” or even if you hate it - that’s okay too. Great art, such as this, can handle the criticism. I would urge you to read up more on the history of the imagery Then watch the video again, watch the sharply directed & choreographed obfuscations in the foreground and the background and take note of the loving treatment guns receive juxtaposed with the cold indifference of dead black bodies.

 

“This is America” is a really great, and important work.

 

I am certainly not alone in my thoughts. In less than one week, “This is America” has racked up more than 65 million hits on YouTube alone. And so, like this upcoming fact I am about to drop, or not but - “This is America” will go down as one of the greatest music videos ever produced.

 

Maybe even the greatest.

 

And that title will be well deserved.

 

Published in Entertainment

As a long time Star Wars lover I honestly believe there are only two terrible Star Wars films. The first: The Star Wars Christmas Special, which remains the holocaust of television. It’s technically not part of canon but it’s so bad I have to mention it.

 

I’m ignoring the Ewok films because they are not canon. Besides, I've only seen them once and I was a kid so I remember nothing about them.

 

The Clone War animated series is technically canon Star Wars but it's five seasons long. Perhaps one day I will get around to watching them. Today is not that day.

 

So it really just comes down to the other Star Wars movie that I think is terrible. A film so awful I will go out on a limb and proclaim it to be one of the worst ever made, but we’ll get to that in a minute.

 

Aside from that one film, most Star Wars movies are -- well, mediocre. Which means I am splitting hairs deciding that one mediocre film is better than another. You know what, I’ll assign letter grades to help with the process. I mean, we all understand that a C + is better than a C, which is better than a C -, despite the fact they are all average. This also means that my opinion of them is so close that I could easily shuffle a lot of those C movies around, but for today, here's where they stand.

 

But how can I claim to love Star Wars and then say the majority of the movies are -- "Meh, they're okay." It all about the execution, man! So, the SW universe continues to enchants me. When they're good, they're great. When they're mediocre, they're still - set in the SW universe (and they probably feature light sabers!) =)

 

To be fair there is plenty to like and dislike in most Star Wars films. And while going to the movie theater can be an experience it's sometimes hard to separate that experience, from the movie itself. I mean, seeing Star Wars in the theater when you are five years old is AN EVENT. And from there it's hard to create an objective analysis of what works and / or does not work in the movie itself.

 

But I’ll try. Though, Luke is probably right -- “This will not work out that way you think.”   

 

As a final note, I am fascinated with the Star Wars Ring Theory and, if it’s one hundred percent accurate, it means that the directing sophistication of all six of Lucas’s SW films are staggering to comprehend. If the Ring Theory is not one hundred percent accurate then, well -- George Lucas still remains an incredible producer and a very skilled director. Regardless, neither one of those things make Lucas a better writer. And that's always been the pratfall of the execution of Star Wars films. I honestly believe that George Lucas creates great stories. But when it comes to transforming his broad story into a day to day detail of what characters say and do -- well ...

 

Take Star Wars Episode 4: A New Hope (which I will henceforth refer to as, “Star Wars”). A lot of George’s dialogue is clunky and hamfisted and it’s a testament to the skill of the actors that they pull it off with any sort of believability. Harrison Ford is famously known for making fun of George Lucas’ dialogue, he shared this story in a GQ interview while promoting The Force Awakens:

 

“George usually sits near a monitor, far removed, so I had to convey my impression…or my feelings…about the dialogue across a great space," the actor recalled. "So I did shout it. ‘George! You can type this shit, but you sure can't say it! Move your mouth when you're typing!’”

 

Later, Ford was asked if he thought he offended George by making fun of the dialogue and Harrison replied, "He sold the company for, you know, $4 billion. He doesn't give a shit what I think."

 

Maybe. But it is true that Star Wars has always had ham fisted dialogue. And when you cast well, your actors can absorb it and make it believable as Ford, Fisher, Liam Neeson, Peter Cushing, and Alec Guiness did.  If you do not cast well and / or end up with child actors, like Jake Lloyd and CW-esq. over emoter Hayden Christensen -- then dialogue issues become exacerbated.

 

And that’s it. Dialogue. Acting. Adventure. Entertainment. Tone. That’s Star Wars for me. That's what I watch for - though, not necessarily in that order. And finally, if you’re going to make a SW film -- it better have a lightsaber in it.  Just sayin.



My Star Wars Feature Film List Ranked Worst to First:

 

 

WORST: Episode 2: Attack of the Clones. Director: George Lucas. Writers: George Lucas & Jonathan Hales (w/ rumored uncredited script “doctoring” by Carrie Fisher and Tom Stoppard). It’s very easy to trash bad movies, but Episode 2 is so staggeringly bad it defies -- well -- it kind of defies words. Attack of the Clones is, frankly - completely incompetent. The poor actors in Clones are saddled with a specifically brutal level of hamfisted sentences and each and every one of those inglorious lines are mangled beyond acting comprehension by Hayden “fucking” Christensen. Natalie Portman suffers with the same dialogue that Christensen does, but she is clearly the more talented actor of the two and is at least tolerable to watch on screen. Christiansen is so bad in every scene I can’t actually blame the actor. It’s the director's exact responsibility to notice when an actor needs help finding acting choices that work. Lucas is clearly just couldn’t do it. Lucas uses the same two directing phrases over and over, “Say the lines faster (or slower)” and “Yes, but better next time.”  If you’re Liam Neeson, you can work with that level of non-direction. Hayden Christensen is not Liam Neeson. Nothing about Clones works; from the ridiculous over the top droid factory scene, the soul crushing amount of actors trapped in CGI hell (as in, an actor “acting” to an empty green room which does nothing but create wooden performances) and / or Hayden Christensen just flat out ruining scene after scene with the mind numbing dialogue. Can you imagine all the other humiliated actors who read for teenage Anakin Skywalker and did not get the part?  I wonder if each and every one of them saw Attack of the Clones and thought, “Wait, Lucasfilm casting department thought THIS GUY was better than me? I should probably go kill myself now!” I honestly believe if Attack of the Clones was not a Star Wars film it would be widely regarded as a Battlefield Earth-esq disaster of a movie. Sadly, the SW moniker creates too many apologists. Episode 2: Attack of the Clones: F

 

Epispode. 3: Revenge of the Sith. Writer / director: George Lucas. And here begins the run of mediocrity. There is not much to hate in Sith. Instead it's is more like a film of giant missed opportunities. Nothing in Episode 3 is as good as it should be, no moment as satisfying as it could be. Much like the action sequences in Clones, they are equally over produced.  The drama plays exactly as you expect it to. Christiansen, a bit older, isn’t as awful as his blisteringly bad Ep. 2 performance. To be fair, Christiansen evilly hams it up to the degree Lucas probably directed him too. Ewan McGregor remains the minimal heart and soul of the film, in that - he’s fine. He’s no Luke Skywalker or Han Solo or Princess Leia but his Obi Wan is -- well, fine. He’s a little too bitchy and harsh in Ep. 2 and I never warmed up to him as a lead in Ep. 3 I think as written, Kenobi is flat and hollow and McGregor doesn’t do much to wake the character up.  I certainly take issue with a few questionable script choices; the Darth Vader -- “Nooooooo!” probably could have been handled better. Or that fact that, once again, the Jedi totally forget they have powers that they have actively demonstrated to possess - over and over again. I’m specifically thinking of the opening space battle over Coruscant where Ani and Kenobi should both just use the bloody Force to knock the buzz droids off each other’s ships instead of the ridiculous and dangerous flight stunts they perform. It’s just one of those moments where “the screenplay says it happens this way” despite the fact it ignores all of the rules SW has created in the previous five films. Revenge of the Sith, much like Ep. 2 completely abandons the oft used “less is usually more” rule, Lucas directs scenes of lifeless, mediocre action & emotionless, predictable drama. Finally, I know this actor was in the previous two movies but Sam Jackson is totally miscast and should not be in the SW prequels. Episode 3: Revenge of the Sith: C -

  

A Star Wars Story: Rogue One. Director: Gareth Edwards. Writers: Chris Weitz and Tony Gilroy. This film, I suspect, many of my SW loving friends and allies will put much higher on their list. Fair enough. I just don’t understand the love. Rogue One wants to be a war film first, a SW film second. You already lost my support. There are plenty of options for filmmakers to create dark and cynical movies with war themes that focus heavily on believable trauma and the horrific toll created by war. But SW has a well established tone and Rogue One wants it both ways. The film wants to be about war, and trauma, and sacrifice but it also wants dopey SW humor & push cuts which creates a massive tone clash. I mean, what’s next? A Superman film that turns Kal-el into a bitter, brooding, cynical jackass who murders people to solve his problems? Because no one would do that! (Suck it Man of Steel). I haven’t even  mentioned the fact the Rogue One has like, thirty lead characters. Who are all these poorly drawn characters and why should I care about any of them?  Well, I don’t. As a matter of fact most folks who love Rogue One can’t answer this basic question, “Name one of the characters in Rogue One?” I usually get sputtering, “Ummmm” response and of the one or two folk who can name the lead female protagonist, I have yet to meet someone who can name a second character from Rogue One. That is certainly suggestive of something. Even the drama of Rogue One is suspect - The protagonist party goes to a planet. The Empire, coincidentally, happens to be there. Huge fight -- this repeats for two hours. Not exactly the stuff of dramatic legend. For some reason Forest Whitaker and his bulbous mind reading alien have worthless cameos. Ben Mendelsohn who is so, so mesmerizing in Bloodline plays Adequate Evil Villain One and spends the entire movie desperately trying to suppress his southern drawl. Tarkin is CGI thrown in, because the producers want to show us what they can accomplish -- a five minute rewrite could (and should) have taken Tarken out of the film entirely. And Darth Vader should not be in the movie at all! I really like that the cast is super racially diverse but what a wasted opportunity to have thirty poorly realized lead diverse characters with -- um -- well, no chance of a sequel. Finally: no fucking light sabers! A Star Wars Story: Rogue One: C -

 

Episode 6: Return of the Jedi. Director: Richard Marquand. Writers: Lawrence Kasdan, George Lucas. I did love this movie as a kid because, well, what else did I have to compare it too? Return of the Jedi has not aged well and I lay blame on the shoulders of its strange choice of a director - Richard Marquand. He had mainly done TV until Jedi. Sadly, it shows. Action sequences are blocked awkwardly - as if Marquand didn’t understand a widescreen format. He does not have an eye for the camera and shoots scenes with seemingly very little concept of how dramatic motion moves forward. Marquand certainly has no idea what to do with puppets, framing each of them perfectly on for the camera, as one would do for TV, which just highlights their fakeness. Compare the cantina scene in Star Wars to Jabba’s palace in Jedi. Jedi has several years of additional technology but looks amateurish compared to the original cantina scene. Marquand is just the wrong guy to be directing. Plus - Ewoks. Okay, I get it. SW is a family friendly adventure movie and kids love Ewoks (despite the fact that Ewoks were totally going to burn Han and Luke alive and then probably eat them!). I was eleven when Jedi came out and therefor too old to like Ewoks but still a bit too young to hate them. At the time I remember thinking they were kind of cute. Later in life I was able to see the obvious primitive technology vs. advanced technology story trope and that Ewoks were clearly designed to sell toys. Jedi is the first SW movie that made story choice less important than marketing, a sad trend that continues through the prequels. Jedi is universally considered the weakest of the original trilogy for good reason but still there things to like, but mostly a lot to - “meh.” None of the character work plays out as well as it should. Ford hams it up too much. But the final Jedi duel between Luke, Vader, the Emperor is very emotionally satisfying and intercut with, probably the best of all the SW space battles but then cut back to - stupid Ewoks fighting on the moon of Endor. Return of the Jedi should have been much better than it was. And to prove there was a calculated, giant marketing strategy to sell Ewok toys to kids, think of this --  in Return of the Jedi, how many times is the word,“Ewok” used? You probably just guessed it -- not one single time! And every kid and their best friend knew what an Ewok was a month before the movie came out because of - stupid marketing. Episode 6: Return of the Jedi: C

 

Episode 1: The Phantom Menace. Writer / director: George Lucas. I know, I know. Midichlorians, trade agreements and something about space taxation, blockades and the fact that the drama plays out as a series of meetings (seriously, the Jedi have a meeting with one person, then the next, then the next, then the next…) and finally -- Jar Jar Binks. I hear you. I dislike large portions of Phantom Menace. I will offer only this in its defense -- Liam Neeson’s Qui-Gon Jinn. I posit that Neeson’s Qui-Gon single handedly picks up The Phantom Menace and carries the entire film on his acting genius shoulders.  I am not suggesting Qui-Gon is Neeson’s greatest acting achievement. Neeson, much like actors from the previous trilogy, takes the gobbledygook SW dialogue and makes it believable. In fact, he makes it look easy. Neeson creates the only consistently great and likable character in the prequels. Qui-Gon is the Jedi we’ve always wanted to see in SW. He’s a great combination of Solo and Luke - honorable, wise, heroic and roguish. Qui-Gon breaks the rules when the rules aren’t just. He disobeys orders and, despite having an apprentice -- he’s a solo rogue. But he’s also a good guy. He’s pretty much everything we love in SW characters. Also, he’s played by Liam Neeson! If I haven’t convinced you that Qui-Gon is the best character in the prequels and arguably the best character in the SW film universe, then I haven’t. But The Phantom Menace is eminently watchable because of Qui-Gon. Not only that, but PM gives us the most physically imposing, unexpectedly charismatic and acrobatically dangerous SW villain in Darth Maul. Maul only gets a handful of lines but immediately after his introduction his presence is felt for the rest of the movie - just like all great villains. Yes, there is much to dislike in Phantom Menace, and as it was the first SW movie in almost two decades, it's an easy target and is far from being a perfect movie. Poor Jake Lloyd needed a lot of actorly help and Lucas was not able to deliver. Lloyd is universally hated in the role of young Anakin, his performance mocked as “Mannequin Skywalker.”  Fair enough. He’s a kid actor. Most of them suck. Lawrence Kasdan tried to get Lucas to cast older in order to avoid just this problem. Lucas ignored Kasdan. The rest is history. Other things about PM - Padme should have been a stronger character, Jar Jar is half awful - and I will only say he is half awful - because Jar Jar Binks is written to entertain children. And children LOVE Jar Jar Binks (adults -- not so much.) Another thing I dislike about Ep. 1 is that it’s the beginning of “Jedi forget they have Jedi powers” in order to create artificial drama. The main example -- at the beginning of PM the Jedi use the Force to run super fast to avoid battle droids. At the end of film when Qui-Gon is in danger, Obi Wan runs to the aid of his master and forgets to use his super fast Force running power -- because the screenplay didn’t want him to get there in time to save Jinn. Argh!  That being said, of all the prequels, PM remains the only one that  has exciting action sequences. The pod race is fantastic and has an exquisite sound design. The Duel of the Fates combat between Qui-Gon, Obi Wan and Darth Maul remains the most physically beautifully choreographed of all the SW lightsaber fights, though -- ultimately that final battle between the three doesn’t have much dramatic weight (but that’s another story). Which leads me to, what a shock -- the moment the prequel trilogy kills off its single great compelling character -- it’s all downhill from there. Episode 1: The Phantom Menace: C +

 

Episode 7: The Force Awakens. Director: JJ Abrams. Writers: Lawrence Kasdan, JJ Abrams, Michael Arndt. The Force Awakens feels like two separate movies. Movie one: the entertaining story of Rey and Finn. Movie two: all that poorly conceived Han Solo garbage. Now, before you say anything -- I adore the character of Han Solo but his return was a mixed bag for me. Who doesn't want to see Solo back to his old shenanigans? But most of the Solo portion of the film doesn’t feel quite right. Characters make choices because the screenplay demands them to make that exact choice in order for the story to continue. Nothing feels organic. The entire scene with Solo, Chewie, Rey and Finn encountering each other on the Falcon was undercut by the dopey gang that tries to kill them all. Then, someone thought it would a grand idea to thrown in silly, rolling tentacled aliens. Because -- funny. The reunion between Solo and Leia wasn’t given enough time to develop. In fact, the Force Awakens does a huge disservice to the character of Leia. Princess Leia, the woman who led the defense of Hoth, and oversaw the destruction of Death Star I, the women who, by herself, strangles Jabba the Hutt to death. In Force Awakens she’s nothing more than background fluff who, when she finds out Solo is killed --  runs to comfort Rey! Rey?!?!? A kid that Leia has known for like five minutes -- instead of going to comfort Chewbacca! (Abrams has gone on record to say this was a huge mistake on his part). And that’s the problem with Force Awakens. For each new scene involving the two young, very compelling characters of Finn and Rey we are subjected to really strange (stupid?) character choices by the old guns. I adore Rey and Finn and want to see more about them. Solo’s scenes deserve better than what FA offers. Leia is under utilized. And for a film about “the search for Skywalker” the characters don’t seem to make a lot of active choices to, you know -- look for Skywalker.  And as for resident villains Snoke and Kylo Ren. Well, Snoke (a terrible name) has secrets to be revealed I’m sure, but as presented in Force Awakens he’s just an Emperor knock off. But Kylo Ren, well, I found him more compelling then I expected. A rich, white, privileged young man who has it all handed to him on a silver platter is then tempted with power and wants more and more and more. Seems legit (and kind of scary). Anyway. Of all the SW films this is the one I am most conflicted about. I adore and loathe portions of it in an equal 50/50 mix. Episode 7: The Force Awakens: C +

 

Episode 8. The Last Jedi. Writer / director: Rian Johnson. It’s certainly a far more complex movie than its predecessor, Force Awakens. Vast portions of Johnson’s SW deconstruction film are rich, beautiful and deeply satisfying - if not slightly heavy handed. Rian's use of color metaphor works well as he stages one grand action sequence (in the throne room) bathing it in front of blood red walls with the heroes fighting red armored warriors and a second decent sequence (the final fight) bathing it in red salt rock powder; mimicking extreme violence, loss of life and blood shed without resorting to showing a drop of gore. The heavy handed deconstruction continues with Skywalker’s off putting “get the fuck off my lawn” attitude. Rey and Ren come off the best as all their scenes are well written and play out far more sophisticated than the trailer suggests. Adam Driver is particularly good as Ren and the film wisely takes his helmet off as an actor's face is way more interesting than costuming or special effects. Carrie Fisher is, again, just like in Force Awakens, underused. And sadly, due to Fisher's untimely death she will continue to remain so in the trilogy end (which is too bad because there is a scene in the movie involving her that begs further exploration)  Alas.  Finally, all that being said, as much as there is to admire and as much as there is to love -- there are things that I can’t stand. I strongly rebelled against the shocking large amount of really, really awful, dopey “humor.” And I don’t mean, “Jar Jar Binks trying to make the kids laugh” humor. I mean the sheer unbelievable extended jokiness of characters in dramatic situations. The opening sequence with Poe facing off against the First Order is terrible. It is so bad it deserves to be in Ep. 2. As the first ten minutes of the movie played out I literally thought, “I am going to rage hate this entire movie.” I mention above that I can’t wait to see more about Rey and Finn. I will amend that. I can’t wait to see more about Rey. In Last Jedi we get multiple scenes of Finn bumbling around with his new partner Rose both continuously saved via coincidence in the film’s most grating story arc (designed to teach Finn his lesson - which is what this whole dam film is about - learn your lesson - you bloody child!). Yes, yes. We get it. But now I hope to see much less of Finn in the final film.  And don't get me wrong - SW needs comedic relief. I mean, I thought the best part of Rogue One was the prickly comic relief droid. Maybe LJ just doesn’t have my kind of comic relief. I suppose Johnson’s writing / directing track record could have told me what I was going to like / dislike in LJ. His best film, Brick, is filled with fantastic characters and drips with beautiful noir drama. His worst film, The Brothers Bloom, desperately tries for chaotic, quirky charm and falls flat on its face more often than not. The Brothers Bloom reminds me a lot of the Finn sequences in Last Jedi. But, as for The Last Jedi - when it’s good, it’s really good - the throne sequence might be my favorite thing in all of SW. When it’s not so good … Finn is probably involved. Episode 8: The Last Jedi: B -

 

Episode 4: Star Wars (I still refuse to call it A New Hope). Writer / director: George Lucas. To be honest I go back and forth with my preference between Star Wars and Empire. But for now Star Wars is where it is. Also, I have been working on a very long piece about Marcia Lucas, one of the film’s main editors and how she, basically, saves Star Wars from being as dull as THX 1138 (but that’s a different story). Much has been written about this film, I won’t elaborate too much. Perfectly cast, well paced, well acted - well for the most part. Both Hamill and Fisher are very young and inexperienced. Fisher comes over better than Hamill but honestly, we can forgive one performance moment where a certain beloved character whines about power converters, right? Anyway, SW is revolutionary and mind blowing (for its time). Multiple Academy Award nominations. Multiple wins. Adored by hundreds of millions. The movie that introduces lightsabers to the world. The names! Oh the names - Millennium Falcon. Darth Vader. Han Solo. Chewbacca. Luke Skywalker. Princess Leia. Those are names! Hero names. Villain names! I can’t accurately describe to you what it was like being a five year old and being in a theater watching Star Wars for the first time. Perhaps modern day kids feel the same way being five and seeing Harry Potter. As for my five year old self, I remember the day. I sat in that theater and the opening music hit, the text crawls by and then a ship appears and it goes on and on and it keeps coming and coming and coming. You know what I’m talking about. And all I could think of was, “I’m in love.” Now and forever I am in love. Episode 4: Star Wars: A

 

FIRST: Episode 5: The Empire Strikes Back. Director: Irvin Kershner. Writers: Leigh Bracket, Lawrence Kasdan, George Lucas. I know Empire is universally viewed as the best of all the Star Wars films and I can’t find a single reason to disagree. First off, listing Leigh Bracket as a writer isn’t entirely fair. She did turn in the first draft of the screenplay but Lucas universally hated everything about it. And then Miss Bracket died. So Lucas decided that, even though he and Kasdan rewrote the entire script, he would forever keep her name on the film. But who’s to say her influence doesn’t remain somewhere in Empire - I don’t know the exact answer to that. The addition of Kasdan as writer seems to, for the most part, clear up a lot of the clunky dialogue bits that plague Star Wars. Any minor quibble I might have is drowned out by the flood of greatness. The directing, the strong character work and the incredible action sequences all flow together. Hamill is a much better actor than he was in SW. Also, the character of Yoda was never better. I watched Empire many times as a kid but then went about fifteen years without seeing it. As an adult I watched it and was not prepared for how delightful those early Dagobah / Yoda scenes are. It made me a bit sad to know he turns into CGI boring old wise wizard Yoda (although Johnson’s LJ remembers what I am talking about). Yoda is a perfect character in Empire. Beyond Empire he becomes more of a storytelling device used mainly to dish out cryptic sounding wisdom. Empire has, arguably the two greatest action sequences in all of Star Wars canon - the Hoth invasion and the Cloud City lightsaber duel between Luke and Vader. The stakes are never higher than that Luke / Vader battle leading up to the great story reveal. And finally, Empire introduces the first non white character in the SW universe -- I love Lando! Plus, ugnaughts are way better than ewoks and Lobot is super cool. And, finally -- what a hell of a cliff hanger! Even the silly space asteroid monster that almost eats the Falcon doesn't dethrone the SW big boy on the block. The Empire Strikes Back remains the greatest of the SW films and one of, if not the best space opera movies in cinema history. Episode 5: The Empire Strikes Back: A

 

 

 

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JJ Abrams taking over writing and directing duties on Episode IX from ousted helmsman Colin Trevorrow is not exactly surprising. Citing, “creative differences” Lucasfilm sent Trevorrow packing, which makes him the fourth time Disney has hired a director -- had said director work on their Star Wars project (for years!) and then fired said director. That’s six feature films, four fired directors and two fired screenwriters.

 

To be honest, the removal of a screenwriter is nothing new; however, the removal of a director is rare and the removal of a director after shooting some, if not most of the production -- is unheard of.

 

Unless, apparently, you work at Disney Lucasfilm. Where it happens all the time. 

 

So what’s going on over at Disney Lucasfilm? 

 

The simple answer: They keep hiring indie directors who are used to having enormous creative control. Those directors don’t do well when under the microscope of a colossal tent pole franchise construction where everyone wants a piece of the pie.

 

That being said -- four director replacements in six movies? Are we talking gross management incompetence or are all these changes justified? Or is it both?

 

Let’s take a look at the hit list:

 

Screenwriter -- Academy Award Winner Michael Arndt. Movie: Star Wars: The Force Awakens.

 

Screenwriter Michael Arndt, (Little Miss Sunshine, Toy Story 3), was brought on to Star Wars way back in 2012, and he toiled on the screenplay for almost a year and a half -- and never produced a single complete draft.

 

By the end of 2013,  JJ Abrams had had enough, stepped in as writer but also hired screenwriter and Star Wars vet -- Lawrence Kasdan (writer: The Empire Strikes Back, Return of the Jedi, Raiders of the Lost Ark). Arndt was out and Abrams and Kasdan hacked out a first draft by January 2014. 

 

It should be noted that Abrams has gone on record to say that while it’s true Arndt never finished a completed draft but Arndt did turn in plenty of notes, treatments & outlines and offered plenty of ideas and input that made it into the final Abrams / Kasdan screenplay.

 

Arndt discusses with Entertainment Weekly, some of his story problems and the ideas that did not make it into the final draft:  

 

“Early on I tried to write versions of the story where [Rey] is at home, her home is destroyed, and then she goes on the road and meets Luke. And then she goes and kicks the bad guy’s ass, It just never worked and I struggled with this. This was back in 2012. It just felt like every time Luke came in and entered the movie, he just took it over. Suddenly you didn’t care about your main character [Rey] anymore because, ‘Oh fuck, Luke Skywalker’s here. I want to see what he’s going to do.’”

 

Fair enough. But still. If you work on a screenplay for a year and a half and don’t turn in a single complete draft -- you get fired.

 

I call this firing: Completely reasonable.

 

Director -- Josh Trank. Movie: Untitled Boba Fett feature film.

 

During the 2015 Star Wars Celebration in Anaheim, CA, Lucasfilm set up a panel for directors Gareth Edwards of Rogue One, Monster and Godzilla (2014) and Josh Trank of Untitled Boba Fett feature film, Chronicle and Fantastic Four (2015) to discuss their upcoming Star Wars projects. Mysteriously, Trank no showed. Edwards pushed forward alone. Soon there after we found out that Trank pulled out of the event a two days before when he realized he was getting removed from the Boba Fett film. And, sure enough, a week after the Anaheim celebration, Trank was fired from the Boba Fett feature film.

 

Trank’s statement at the time:

 

“After a year of having the incredible honor of developing with the wonderful and talented people at Lucasfilm, I’m making a personal decision to move forward on a different path. I’ve put a tremendous amount of thought into this, and I know deep down in my heart that I want to pursue some original creative opportunities. That said, the Star Wars universe has always been one of my biggest influences, and I couldn’t be more excited to witness its future alongside my millions of fellow Star Wars fans. I want to thank my friends Kathleen Kennedy, Kiri Hart, Simon Kinberg, and everyone at Lucasfilm and Disney for the amazing opportunity to have been a part of this. May the Force be with you all.”

 

Very polite. But the firing was not surprising. Do a quick Google search on Trank and Fantastic Four and you will find a slew of articles that detail Trank’s erratic behavior on the set of the much maligned F.F. film. It really was no shock to hear he had been fired. In fact, his juvenile antics, his chronic tardiness and absenteeism and, according to many cast and crew members, his unprofessional behavior on the set of the Fant4stic has all but effectively ruined his film career. Trank has had no major studio work since the F.F. and nothing mapped out for him on future charts.

 

With the horrible stories coming off the F.F. set, it’s not surprising that Disney had cold feet about the young director. The Boba Fett film died with Trank’s departure.

 

Okay, so -- several months of crazy, bad behavior by immature director and no one wants to work with him ever again? 

 

I call this firing: Completely reasonable.

 

Directors -- Christopher Miller and Phil Lord. Movie: Untitled Han Solo feature film.

 

The co-directors behind the new Han Solo film were replaced after shooting, reportedly, almost eighty percent of the film. This is totally unheard of.

 

According to the Hollywood Reporter:

 

“Several sources close to the movie and others close to the directors tell EW that ever since filming began back in February, Lord and Miller, who are known primarily for wry, self-referential comedies like 21 Jump Street and the pilot episodes for Brooklyn Nine-Nine and Last Man on Earth, began steering the Han Solo movie more into the genre of laughs than space fantasy.

 

According to some sources, the split was a subtle one that became magnified over time: Lucasfilm and producer Kennedy believed Lord and Miller were hired to add a comedic touch; Lord and Miller believed they were hired to make a comedy.”

 

For a more detailed view,  I wrote about it a few months ago.  But, basically, the directors ignored the required tone of the film and began to make a screwball comedy. Some of the actors complained to execs and producers. Director were fired. Ron Howard was hired to finish the film. 

 

Now, the director, not anyone else -- creates the tone of the film. UNLESS -- you are making a franchise picture with decades and decades of backstory and baggage. Then the tone is probably set in stone and with that in mind you do what the studio tells you too. On the other hand, the duo directors were well known for their highly improvisational film sets (both the modern 21 Jump Street films).  It’s hard for me to fathom someone hiring directors that are known for improvising vast portions of their film and then -- fire them for improvising vast portions of your film.

 

I call this one: Partially reasonable.

 

Director: Gareth Edwards. Movie: Rogue One

 

Technically, Edwards was not fired from the set of Rogue One but he certainly wasn’t in charge of the reshoots -- of the film he directed. Instead, Tony Gilroy (writer/ director: Michael Clayton, screenwriter: The Bourne Trilogy) was assigned to retask Rogue One to make it less grim and give it an entirely new ending. There are enough stories leaked from the set and the editing studio to suggest that a full thirty percent of the film was rewritten and reshot, with the majority of the film’s storyline being rearranged in the final edit.   

 

Disney never confirmed much regarding the hiring of Gilroy and on the movie's changes other than a generic, “All movies have reshoots,”  but -- why would you not let the director of your film -- direct the reshoots? Of the film he directed?  

 

There really is only one answer -- Disney was not confident Edwards was the right director for the job (or, perhaps, in the first place).

 

Word on the interwebs is that Edwards just went too far in making his gritty, realistic space war movie and ignored the principal reason he was there -- to make a Star Wars movie. So Disney brought in someone else to do it "right."

 

Edwards worked on this film for three years. I find it unlikely that, suddenly, at the very end of principal photography, execs at Lucasfilm were like, “Wait-a-minute! This isn’t what we wanted.” How the hell did it take execs two years of pre production, an entire year of principal photography and then multiple edits in order to figure this out?  Besides, Edwards delivered the film -- he always told Disney he was going to deliver! From day one Edwards called it a “gritty, realistic space war film.” And then he gave Disney just that.

 

And then they gave his job to someone else.

 

I call this one: A mixed bag but probably; partially reasonable.

 

Director -- Colin Trevorrow, Writer -- Jack Thorne. Movie: Star Wars Episode IX.

 

Back full circle. Another director fired. Another screenwriter fired. According to The Hollywood Reporter, Trevorrow (Safety Not Guaranteed, Jurassic World) turned in multiple drafts but no one at Disney was satisfied with the work.

 

So they brought in another writer, English playwright and TV scriptwriter, Jack Thorne (Harry Potter and the Cursed Child, Skins, Shameless). When Disney decided to let Trevorrow go for “creative differences,” Abrams stepped in and teamed with screenwriter Chris Terrio (writer: Argo, Batman vs. Superman and Justice League), which means Thorne was let go.

 

Disney is being very tight lipped about all the changes up to and including the recent Star Wars Episode IX shake up. No one knows, yet, if any work from the Trevorrow / Thorne drafts will be kept or if everything will be trashed and Abrams / Terrio will start from scratch.

 

Another Disney-Lucasfilm dust up. To be honest, I'm sure there will be many more to come. 

 

I call this one: Not enough information to judge. Yet.

 

Star Wars: The Last Jedi will be released December 15th, 2017.


Star Wars: Episode IX will be released December 20th, 2019.

 

--

 

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Phil Lord and Chris Miller, the duo directors behind The Lego Movie and the Jump Street film (revival) have been removed from production of the Untitled Star Wars Han Solo film after seventeen weeks of principle photography. Seventeen weeks!  With only five weeks left of shooting, production shut down until replacement director, Ron Howard, stepped in to pick up the pieces.

 

According to the Hollywood Reporter:

 

“Several sources close to the movie and others close to the directors tell EW that ever since filming began back in February, Lord and Miller, who are known primarily for wry, self-referential comedies like 21 Jump Street and the pilot episodes for Brooklyn Nine-Nine and Last Man on Earth, began steering the Han Solo movie more into the genre of laughs than space fantasy.

 

According to some sources, the split was a subtle one that became magnified over time: Lucasfilm and producer Kennedy believed Lord and Miller were hired to add a comedic touch; Lord and Miller believed they were hired to make a comedy.”

 

Okay. Fair enough. I see the potential for disaster there. Another issue was that Lord and Miller have been known to allow significant improvisation on the set of their previous films. Which is precisely what they did on this set, too! Super screenwriter and Star Wars royalty Lawrence Kasdan (writer - Empire Strikes Back, Return of the Jedi, The Force Awakens and the Untitled Han Solo Film), was none too pleased at the dailies coming back from set. The entire story line, it seemed, had been significantly derailed, due to the improvisational direction that Lord and Miller had taken.  

 

Writer / Executive Producer Kasdan stepped in with a, “Stick to the script” note. A note, apparently, the directors thought was just a suggestion. Lord and Miller ignored the note. Finally, Kathleen Kennedy, president of Lucasfilm Ltd., fired Lord and Miller after seventeen weeks of filming.  Seventeen weeks!

 

You keep saying “seventeen weeks” as if that’s significant. What’s up with that?

 

It is significant! Directors aren’t fired after seventeen weeks. Ever! If they’re fired at all, they’re fired after a week or two. Or three or four. It doesn’t take seventeen weeks to figure out that the movie isn’t working! That can’t be the only reason for the removal of the directors after about 80 percent of principle photography.

 

Seems suspicious. Or, as Bill and Ted would say, “Strange things are afoot at the Circle-K!”

 

Strange things indeed. The only other (potential) negative rumor coming out of the Han Solo film camp was that lead actor, Alden Ehrenreich (young Han Solo), didn’t have the acting chops they at first thought. According to the popular online movie news source The Wrap:



"Matters were coming to a head in May as the production moved from London to the Canary Islands. Lucasfilm replaced editor Chris Dickens (Macbeth) with Oscar-winner Pietro Scalia, a veteran of Ridley Scott films including Alien: Covenant and The Martian. And, not entirely satisfied with the performance that the directors were eliciting from Rules Don't Apply star Alden Ehrenreich, Lucasfilm decided to bring in an acting coach. Lord and Miller suggested writer-director Maggie Kiley, who worked with them on 21 Jump Street."

 

As has been pointed out by many sources, adding an acting coach is not unusual. But acting coaches are usually on set from day one and/or brought on by the actor themselves. Some actors have worked with the same acting coach for years, or decades, and work with them on set. But it’s certainly unusual to bring an acting coach in so late into production.

 

So, while it appears there were difficulties behind the scenes, even that is nothing new. If you’ve ever worked on set you know that making movies is controlled chaos, at best. There are no mystical properties that a director possesses. Directing is paperwork, organization, collaboration and making choices. In fact, the only solo choice a director adds to the production without collaboration from anyone else is tone. The tone of movie is decided by the director. Unless, of course, you work for Disney. Or Lucasfilm Ltd. In which case they will fire your ass if you change the tone of their films. Just sayin.

 

And now we have little Ronnie Howard piloting the fate of young Han Solo. How much of the original footage Howard will be able to use is unknown. It would probably be too expensive to reshoot the majority of the film. Besides, these tent pole flagship movies have marketed release dates to keep! It’s true that all huge films like this have time and money budgeted for the inevitable reshoots but this situation is unprecedented.

 

Unlike the Zack Snyder/Joss Whedon switch up on the Justice League film, Whedon is going in to finish up the film and do his best to match the style and tone of Snyder (because the film was ninety percent done). Whedon was not hired to rethink the entire movie and significantly restructure the picture.

 

Ron Howard will have to make due with a lot of footage that Lord and Miller produced, and he probably won’t get any extended amount of time to complete the picture. It should make for an interesting challenge. And hopefully, an interesting movie.

 

So, I'm sorry, Mr. Howard, but you will probably have to make due with what time is left for production. But in Hollywood, much as on Broadway, as they say -- the show must go on.

 

NOTE: This story is developing and will be updated with new information as it becomes available.

 

 

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