Written by: Joseph Naguski

The ending to the final installment of the animated film trilogy How to Train Your Dragon will leave audiences on the edge of their seats until the credits roll.

The Hidden World takes place a year after the events of the second film, with the island of Berk becoming comparable to a utopia to its human and dragon citizens. As the people of Berk continue to rescue and bring back more dragons, Hiccup faces his first real challenge being chief. The overpopulation of the island is becoming more evident and he must find a way solve it. He finds his resolution through multiple flashbacks of the late Chief Stoick informing a young Hiccup of a legendary dragon safe haven which he dubs “The Hidden World”. To the rejection of his mother and many others, Hiccup becomes determined to find this mythical world. He is hindered by Grimmel the Grisly, an infamous dragon slayer who is determined to capture toothless and uses a female “Light Fury” as bait to lure Toothless into his hands. The two dragons fall in love and Hiccup must find a way to save them and the rest of his friends while finding a new home for the dragons.

While the overall plot of this film does not quite stand up to its predecessors, the series' finale is still noteworthy. A major theme in this film is learning to “fly on your own”. What arose from this was a change in The Hidden World’s plot formula from the previous movies. While the first two films focused heavily on trying to outmatch unbelievably colossal dragons as enemies, there is a much more human battle between good and evil. Hiccup and the rest of the humans learn to become less reliant on their dragon companions while Toothless has his own little adventure with the female Light Fury. They do come together to try and defeat the antagonist but the way this happens is very much unique to this film. The antagonist himself is pretty mundane, but that is lost through the exhilarating moments of the characters’ journey.

Much like this film DreamWorks itself has grappled with the concept of flying on its own. DreamWorks continues to be a 3D-animation beast that can rival Pixar, but still struggles to be the superior animation studio. The How to Train Your Dragon series is certainty a standout trilogy that has elevated the success of DreamWorks. The film maintains themes of thrilling fantasy atmospheres that takes them past even the level of their previous pictures.  The Hidden World continues to bring stunning visuals to the franchise through the new technology that has been developed since the original’s release in 2010. In an interview with cartoonbrew.com, the series director Dean DeBlois noted some of these technological advances. He mentioned some simple things like displacement of clouds and characters walking through grass. Adding greater amounts of characters in the frame and increasingly complex camera movements have also developed over the duration of the series. These things may seem trivial to some but in the grand scheme they make for much more aesthetically pleasing and interactive film. As DeBlois says “Now that we have the technology, I wanted to make sure that we used it. Our environments are very alive.”

Overall, this movie is a fantastic ending filled with the adventure, friendship, romance, and ageless humor which makes the series so special. I would definitely recommend this film to anyone who is a fan of animated films and/or has watched the previous two films in the franchise.

Work Cited
https://www.cartoonbrew.com/interviews/how-to-train-your-dragon-series-director-dean-deblois-on-being-blown-away-by-the-advancement-of-animation-tech-169217.html

Searching is a 2018 mystery/thriller film about a father who goes through his missing teenage daughter’s laptop in search of her whereabouts. The unique aspect of this film is that the entire experience is presented from the perspective of a computer screen, whether it is that of the father’s computer, his daughter’s laptop, their smartphones, a television, or even security cameras. It takes a strictly digital approach to convey the story. If it had to be related to any existing genre, it could be considered a form of found footage. This analysis is going to contain spoilers, so if you have not seen the film, watch it before continuing.

​David Kim is a single father to Margot, his teenage daughter. Together, nothing really seems to be out of the ordinary, until she goes missing one night. She leaves behind one very important piece of evidence: her laptop. David hires a private investigator to look into the case but grows suspicious when she is not found after forty-eight hours. This is when something sinister becomes revealed. Due to a lack of progress, he investigates himself.

​Upon initially hearing the concept, it may seem as though an audience would lose interest fairly quickly while viewing a man interact with several computer windows for around two hours, but it surprisingly keeps you on the edge of your seat. Similar to the panic that the main character is going through while rummaging through a technological nightmare, we as the viewer get to witness this from the same point of view, which is something that audiences rarely get to experience.

​From a script writing perspective, this must have been a very complex undertaking to write considering the unusual medium of the film. While it can be restricting, it also opens doors for news ways to tell the story. The screenplay allows for some touching emotion and quite elaborate character development between the father and his daughter without the use of that much dialogue. Instead of silence, we get a more deliberate visual cue: text in the context of the devices that we all use on a daily basis. This is mostly surrounding the relationship they had with David’s deceased spouse. This in a sense connects the two of them, because you can notice an apparent absence in their lives.

​Without hearing any dialogue, much of the communication is done through text messaging and emails. While being quite literal in its presentation, it sheds light on the lack of emotion that exists between two people communicating digitally. We cannot necessarily interpret the distinction between happiness and sadness, or identify sarcasm as easily. Of course, emojis can be used to supplement basic text, but the principle generally applies. Knowing this about digital communication, and how difficult it must be to incorporate the essential emotion necessary to drive the characters, what are the advantages to using this approach to tell this story? Well, seeing the actual conversation take place from one side allows for the viewer to recognize the specific nuances of how the messages are typed, and what is deleted. We get a glimpse into the mind of the father while he is writing and get to see what is going through his mind as he revises his messages before sending them. This would not be possible in a traditional medium. 

​Besides focusing on the relationship between a father and daughter, this film also ends up revealing deceit and selfishness from certain characters whom we thought had good intentions. The story tends to be a bit of a roller coaster, containing many unexpected plot twists, further adding suspense and incentive to keep watching. To add structure and simultaneously incorporate the computer's user interface, the film uses the start up, login, logout, and shut down actions as a method to help keep the audience on track, and add structure to the beginning, middle, and end.

​Additional conflict is introduced when David becomes a suspect in his own daughter’s disappearance. As the audience, we find ourselves on David’s side, constantly searching for answers to this devastating problem. We witness extreme denial happening with David’s character, as he repeatedly claims that Margot is not dead. One can only imagine the mental trauma that comes from going through a situation like this. 

​Upon reaching the resolution of the story, when Margot is found barely alive in the bottom of a cliff, the satisfaction comes from realizing that if it were not for David’s perseverance and unconditional love for his daughter, he would not have found her in time to be alive. The film also ends on a very positive and heartwarming note, relating to the tension shown at the beginning between David and Margot, and how her mother would have been proud of her. It is also interesting to see that even though we suspected Margot’s supposed misbehavior resulted in her disappearance, we see that it was because she had good intentions for another person, and that the situation unfolded due to an irrelevant and unrelated pursuit. Creatively speaking, changing the desktop wallpaper to a photo of them in the hospital after she was rescued, and then shutting down the computer really ties everything together nicely. 

​It is interesting to consider the versatility of this format, and whether or not it will be obsolete in the future. Because technology is changing so rapidly, it seems impossible to predict the future of this method of filmmaking. However, it is a breath of fresh air to bring a different approach to the thriller genre and inspire other directors to possibly rethink their own ideas. It is by no means an easy task to tell a story this way, which is probably why we have not seen as many.
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In general, the risk taken by the filmmakers to think outside of the box and utilize this method of storytelling really paid off for this film. It adds an additional dimension not only to the intensity of the genre, but also has the potential to be applicable to many other script formats. 

Written by: Dylan Delaney

By Lindsey Horner

Picture this: Tom Cruise and Nazis.
If that combo has got your history nerd side excited (because admit it, we all have one), then director Bryan Singer's Valkyrie ​(2008) is just the movie for you.

Inspired by true events, Valkyrie follows the story of Wehrmacht Colonel Claus von Stauffenberg (Tom Cruise) as he joins, and then leads, a conspiracy to rid Germany of Nazi ruler Adolf Hitler through a well-organized and calculated assassination plot. The film depicts real-life events that transpired before, during, and after July 20, 1944, the day the conspirators led their coup on main leaders of the Reich. Their conspiracy involved using the Operation Valkyrie national emergency plan to shift powers and take control of the country.

After being badly injured during a Royal Air Force Raid in Tunisia and losing his right hand, two fingers on his left hand, and his left eye, the colonel is sent home to Nazi Germany. Now sporting an eye patch, survivor's guilt, and questioning the trajectory of the war, the German officer comes to the heavy realization that in order for Germany to truly survive, major changes must take place within the Motherland's inner structure, starting with the ruling authority.

Along for the ride are other German officers such as Henning von Tresckow (Kenneth Branagh), General Friedrich Olbricht (Bill Nighy), General Ludwig Beck (Terence Stamp), Dr. Carl Goerdeler (Kevin McNally), and Erwin von Witzleben (David Schofield) who agree that in order to save their country, they must destroy it from the inside first. 

One of the reasons why I was so pleased with this movie was Singer's extreme attention to historical detail. Actors were hired who closely resembled their roles, and Cruise especially poured over Stauffenberg's story, wanting to honor the man's true patriotism and sacrifice through this adaptation. Much of the filming took place in Germany on the same pieces of land where the events actually occurred decades earlier. All those involved with the making of the movie wanted it to be as historically accurate as possible, and the end result is gorgeous and thought-provoking; a movie that is stunningly real.

While Valkyrie isn't a well-known movie, it's still an important film to watch. It depicts a painful past while offering a glimmer of hope. Despite the movie ending with a firing squad, Stauffenberg's last words - "Long live sacred Germany!" - give the audience a sense of optimism even after his figure falls. Even in the midst of genocide and corruption, there will always be individuals who rise up to take action against oppression, no matter the personal cost. Claus von Stauffenberg was one of them, and his legacy now serves as an example for future generations.

By Liz Steeves

Good news, it’s not another Hallmark movie! And better news, Instant Family (2018) manages to be comical without making fun of the foster care system! 

​These were my two fears going into the film, but in the end,  I was very pleased with the way director Sean Anders presented such an important topic. Anders is able to give the audience a taste of the heartache of fostering and adopting kids in a such a reflective and comical way. While still managing to fight for the importance of family, without going too far into chick flick territory. In fact, there was at least one satisfying punch in the film (by the jacked Mark Wahlberg), officially clearing it from such a label.

The film follows the decision of a husband and wife, Pete (Mark Wahlberg) and Ellie (Rose Byrne), to adopt not just one teenager but her two younger siblings as well. This kind of story is so important to share on the silver screen, because so many people are unaware of the heartbreaking numbers and statistics that children in foster care face. With this, I was extremely pleased to see that the film contained real data, regarding the number of children in foster care as well as the devastating situation that follows aging out of the system. While I would have liked to see more statistics worked into the dialogue, I think Anders did a good job pulling at the audience’s heartstrings without making them so overwhelmed that they left with a bad taste in their mouth. 

​This story was actually inspired by Sean Anders and his wife Beth’s decision to adopt three siblings out of foster care years before. Anders was therefore able to tell his story in such a way that sheds a true and positive light on the decision to adopt, particularly older kids. Furthermore, Maraide Green, a former foster child, was hired on to the film as a consultant, she was essential in how a lot of the sensitive information was communicated, particularly the attitude toward the children’s birth mother. Anders’ others films however, are not known to be this… respectful. Films like Daddy’s Home, We’re the Millers, and Horrible Bosses 2, are known for being screwball comedies, but Anders and his crew’s representation of his story and the stories of others definitely hit a home run. 

Casting Mark Wahlberg as the Pete, the dad in training, was an amazing and vital choice that added a lot to the film. Everyone views Mark as a man’s man, but they also recognize that he isn’t afraid to care about the important things in life, like family. As Mark runs a restaurant chain Wahlburgers with his family. Furthermore, he is a devout Christian and father of four, and is always willing to stand up for his values and morals.

One of the many important messages in the film, is portrayed in that the audience is able to see the struggle of the couple, without them throwing in the towel, no matter how appealing that may sound to them. This is very relevant especially concerning foster children, because a lot of children are toasted from house to house and learn not to trust people. As a result, they will always test the supposed ‘love’ of the people taking care of them, but it is when you pass the test that their love and family will knock your socks off.

Pete and Elle in the film worried that they had to be a special kind of people to do something as extraordinary as adopting kids, but they soon discover that all you need is love. The film doesn’t aim to send you out of the theater and right to the adoption agency, but it aims to get rid of a lot of the negative connotations that have grown around the idea of adoption, particularly of a teenager. Instant Family is an honest, and heartfelt story that is sure to bring you and your family closer this holiday season.

By Joseph Naguski

Let the amazing type and colorful lights take over as you enter the void.  As we began to explore in the WATCHMEN post, title sequences can be much more than just the names of cast and crew. The art of designing title sequences has long been in development since the beginning of films. From works like North by Northwest designed by Saul Bass and Se7en designed by Kyle Cooper titles have evolved dramatically. A very prominent part of these works and other notable sequences is the way they use typography combined with images to communicate the themes of the films in which they reside. The type of typography that is used in a film’s title sequence can evoke certain emotions from the audience as it prepares them for what is in store.

The 2009 movie Enter the Void by Gaspar Noé starts off with a psychedelic barrage of typography in its opening title sequence. When the credits first hit you, they are not too outlandish. The words go by, flickering rapidly. Only one typeface is used with an orange and white color palette, until a sudden pause occurs. Then an abrupt onslaught of different designs starts to flash before the screen to the tone of a booming electronic beat. As the sequence goes on, the credits rapidly pick up speed with neon colors flashing before the viewer. This gives them a visual sensation of essentially what it feels like to be tripping on drugs. This might look familiar if you are a fan of Kayne West or his song “All of the Lights”. The music video for the song is heavily inspired by Enter the Void.

The way this title sequence is portrayed certainly begins to prepare the audience for the psychedelic mess they are about to jump into. As the title sequence suggests, this movie revolves around drugs and the experience of using them. The plot centers on the life of an American drug dealer named Oscar living in Tokyo. The film explores the outer body experience he undergoes after his death. The composition Noé uses is cinematically captivating in the way it uses high crane shots to show this experience from a first-person narrative. Scenes filled with flashing lights and other trippy cinematic images are also scattered throughout the film. The content of the film is somewhat grotesque and heavily explores violence and sexual themes. It shows the troubling events of Oscar’s childhood, which led to him into the world of drugs. It also shows the relationships of those he was close to when he was alive. There is a special focus on his sister who became an exotic dancer, to his displeasure. The psychosis derived from these events could not have been displayed better than in the stunning visuals of the title sequence.

There are many layers to the design of this title sequence which make it so fascinating. Enter the Void is very unique  because it focuses on using almost entirely type within its design to convey its theme. There are many films that mesh well with images and typography together but seldom do we see the sole use of typographic work alone. This work does not stick to one simple design either; there is a multitude of different styles that cohesively come together to express what tone Noé is trying to achieve. Interestingly, the logo was created using electrophotography by the German filmmaker Thorsten Fleisch.  The use of different languages also uniquely adds to the motif of this piece. The combination of English, French, and Japanese collide in the same way as the different cultures do throughout the movie. The film itself is created by a French director and is designed by Tom Kan, who is Franco-Japanese. An interesting point about how the layout was made is that Noé “wanted a fast-paced compilation of typefaces, all very different, inspired by films, flyers, and neon signs to announce the tone of the film… wanted each title to reflect the person it concerned” (Kan). From this, I assume Noé truly appreciated his film crew and this is a nice way to honor them. Another interesting and integral part about the credits is that instead of just a select few of the credits placed in the beginning, Noé chose to have all of them at the start of the movie. The innovation that this sequence contains would not be possible without the choice to do this. More type allows for more possibilities to enhance the creation of the title sequence.

The original designs aren’t the only thing that make this so special. By themselves they have a presence but without sound to assist them they become less effective. Sound design is just as important as visuals in film, and title sequences are no exception. The electronic pop song “Freak” by LFO enhances the emotions being conveyed by the designs. As soon as it blasts, it assaults the audience with its energetic sound as the in-your-face type enters in and out of the title screen. The music definitely helps to portray the feeling of psychosis and causes a sense of anxiety in the audience. Moving the designs to the rhythm is no easy task and Kan does it beautifully.

Typography is something that not too many people outside of design think about. It is something that is seen all over in real life and it undeniably has a place in film. Type combined with cinematic images can create masterpieces of title work that can stand on their own, separate from the film they reside. In the case of Enter the Void, barely any images are even used. The variety of different designs and how they all cohesively come together is a sight to behold. This united with the fast flashing screen and stellar soundtrack creates something very remarkable and unique. I will come back to this title sequence many more times even though I will most likely never want to watch the actual movie again.

Works Cited
Noé, Gaspar, director. Enter the Void. Fidélité Films, 2009.
Kan, Tom, designer. Enter the Void. Fidélité Films, 2009.
 http://www.artofthetitle.com/title/enter-the-void/

By Megan Hess

A Simple Favor (Feig, 2018) is anything but. Based on the Darcey Bell novel, it’s Nancy Drew (Fleming, 2007) mixed with Gone Girl (Fincher, 2014) and a splash of Game of Thrones (Benioff and Weiss, 2011). It’s best described using a Kanye West album title: a “beautiful, dark, twisted fantasy.” Director Paul Feig, who’s best known for Bridesmaids (2011) and the ill-fated, all-female Ghostbusters reboot, has found a profitable niche in comedy. However, other than I Am David (also based on a novel) in 2003, A Simple Favor is the most serious movie on his resume – and, coincidentally, one of the best.
Several years ago, Stephanie Smothers (Anna Kendrick) experienced a startling and gruesome personal tragedy. Thanks to her type-A personality, she’s been able to rebuild her life and even has a successful “mommy vlog.” Then she meets Emily Nelson (Blake Lively) a fellow parent from her son’s class. Despite being different in every way other than having children, the two become best friends. One day, Stephanie gets a phone call from Emily asking for “a simple favor…” which whips her formerly uncomplicated life into a frenzy of mystery, lust, trauma and murder. 

The base storyline of A Simple Favor is meaty and twisty enough on its own that it would make a decent movie with almost any cast, but Kendrick and Lively make it impossible to see anyone else in their roles. Cutesy-awkward Stephanie isn’t anything new for Anna Kendrick – imagine her Into the Woods (Marshall, 2014) character as a mommy vlogger. Besides the Pitch Perfect trilogy and Scott Pilgrim vs the World (Wright), she’s made a career of earnest, enthusiastic women cleverer than they appear. 

The one moment in Pitch Perfect that feels like something Stephanie – or almost any of Kendrick’s other characters – would do. 

​Blake Lively’s character is the total opposite: chic, cool, a little crazy. Lively’s made a career out of playing leggy blondes  - in Gossip Girl (Savage and Schwartz, 2007) the Sisterhood of the Traveling Pants (Kwapis, 2005) movies and more – but, unlike in Green Lantern (Campbell, 2011) or Café Society (Allen, 2016) she’s more than just pretty window dressing here, and thinking of her as such seriously underestimates her talent. (Saying any more than that would be venturing into spoiler territory.) She and Anna Kendrick have an authentic, compelling, sometimes homoerotic chemistry. Other than the two leads, the only actor whose performance really stands out is Andrew Rannells, who takes a break from Broadway for a catty dad cameo. (Emily’s husband, Shawn, is attractive but forgettable…although he does get to have a steamy sex scene with Kendrick.) 

The one major critique of A Simple Favor (other than that it’s heavy on the profanity, which is a personal preference) is that it does its job too well. On its way to wrapping up, it gets so twisty that it’s a little hard to follow. However, an attentive viewer might bypass this problem – the film’s way of keeping the audience on its toes. If you want to skip the gore and guts this Halloween season and are looking for a psychological thriller, Feig’s contemporary neo-noir effort might be just what you need. 

By Bill Friedell

Have you ever heard the phrase, “it isn’t about the destination, but the journey”? You probably have, and it can certainly be applied to storytelling. It is a journey with a beginning with a destination: the end. This idea is paramount when it comes to understanding the twelve issue comic book Watchmen, written by Alan Moore and drawn by Dave Gibbons. When Watchmen debuted in 1986, the comic book medium had been around for fifty years, giving it time to develop its own storytelling techniques and tropes. What Watchmen did was showcase the uniqueness of what comic books can do. It is a comic book about comic books, or a metanarrative. This integral aspect of the story made the idea of adapting this story into other mediums. Specifically, movies. So how would a filmmaker go adapting Watchmen?
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In 2009, Watchmen, directed by Zack Snyder, comes closest to capturing the spirit of the original comic with its opening credit sequence. Using film language to mimic the storytelling style of comics through the combination of montage and slow motion, it condenses of themes of the film in an artistically beautiful way and pays tribute to it’s comic book origins.

In montage, images are assembled together so that they might explain an idea. In the case of Watchmen, the montage effect is used to give the backstory of the world by showing the rise of superheroes in the 1940s to the cataclysmic results in the 1980s. Juxtaposed with Bob Dylan’s “Times They are A’ Changin”, the opening credits portrays the passage of time and the decay of American morale.

​To make this montage, Snyder uses a technique seen throughout Watchmen, but is most skillfully used in the opening credits: slow motion. While in the bulk of the film itself, Snyder attempts to use slow motion as a way of bringing the comic panels. With time slowed down, the framing can become still enough to linger on an image (effectively remaking the panels themselves) but remains in motion and therefore cinematic. The best example of this is recreating the panel of the Comedian (Jeffrey Dean Morgan) being thrown out of his condo through the window.

What makes this technique work well in the opening credits is the framing device of photography. If you notice, many of the shots in the montage are events being photographed by photographers: the heroes of the past and present together, the pictures taken of the forty’s heroes’ demises, among others. The merging of slow motion and on-screen focus of photography recall the still images of comics and the way they capture heroism and its downfall.
In doing this, Watchmen’s most famous exploration of the medium is condensed: the idea of superheroes removed from fantasy. What if the superhero did emerge on the verge of World War II, but not just in[HL1]  comics, but reality? What kind of effect would they have on America and world history? In the sequence of events, we see the glamor of superheroes punching bank robbers and taking pictures of their meetings and celebrations, but as the montage goes on, we see the superhero Dollar Bill (Dan Payne) shot dead as the result of his cape getting stuck in the bank door, punching the myth of the superhero in the gut. Silhouette (Apollonia Vanova), is kissing a woman on the day Japan surrendered as a sailor would heroically kiss, later paying off with the image of Silhouette murdered in her bed with her lover. Mothman (Niall Matter) is dragged off to be put in an asylum. Silk Spectre’s (Carla Gugino) marriage is shown to be unhappy and argumentative. The Comedian is revealed as the assassin of JFK. As America progresses, more darkness is uncovered, as shown through the intertwining of history and superheroes.By adding the JFK assassination, references to Russia and the Cold War, and the moon landing, Watchmen juxtaposes the fantastical with reality, showing you a backstory of a world hinted at in the book with supplementary material found at the end of each issue of the original comics. Using psychiatric reports, excerpts from autobiographies and newspapers, Watchmen uses this as a way of filling out the world’s history while also juxtaposing the comic book medium with other paper-based mediums. The photography motif is its play on other visual forms as well as the use of Bob Dylan’s song, where the combination of visual and sound creates film, thereby recreating that same juxtaposition the original comic did.
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While the opening credits create the past of the world it presents, it also establishes the next generation. Dr. Manhattan Billy Crudup), being the only hero in this world with actual superpowers, is connected to America’s positive aspects: the lunar landing and shaking hands with JFK. He is associated with power and accomplishment. But a hero like Rorschach (Jackie Earle Haley), alluded to with his card resembling his mask, is associated with brutality. The modern Night Owl is shown as an art piece by Andy Warhol's Campbell Soup Cans, tying into the pop culture of the world and the commodification of the super hero. Even regal presence of Ozymandias (Matthew Goode), juxtaposed with the crowded slum visually establishes Ozymandias as his namesake: a conqueror modeled after conquerors of old, looking at his “subjects” which he wants to bring to the world.​

Works Cited
MOORE, ALAN. WATCHMEN. DC COMICS, 1986-1987.
Snyder, Zack, director. Watchmen. Warner Brothers, 2009.
Black, Shane, director. Iron Man 3. Walt Disney Studios Home Entertainment, 2013

By Dylan Delaney 

​Bohemian Rhapsody is the 2018 biopic of rock and roll legend Freddie Mercury and Queen. It captures their initial formation, and the years leading up to their famous Live Aid concert appearance in 1985. Queen fans or really anyone who has heard their popular hits are going to love this film. Not only does it bring them back to life, but it also tells the story behind how they came to be. 

Rami Malek’s portrayal of Freddie Mercury has been very well received considering the complexity of the character, and the skill level required to convincingly pull it off. Replicating Mercury’s unique demeanor and stage presence was no easy task. Malek said that he worked with a choreographer to master Freddie’s mannerisms and dance moves. The vocals were a combination of Malek’s and the original soundtrack. Malek has explained in interviews that he met Brian May and Roger Taylor, the remaining members of Queen, at Abbey Road Studio in London prior to receiving the role. He also took voice and piano lessons beforehand in preparation. The actual Queen members were involved with production, which added to the film’s overall authenticity. Another large attribute of becoming the character was his false teeth, which helped him understand that specific insecurity. Needless to say, he did a fantastic job.  

Music defines this entire film, and emotionally unifies the members of the group who “don’t belong together”. Most of the popular Queen songs are incorporated into the film. If they aren't literally sung, then they are played as background music. Given that the film is well over two hours long, they could only highlight their major hits. Seeing the unique behind the scenes process of how the songs came to be is fascinating, and makes you appreciate them even more.

With any success story, there is always plenty of conflict. Controversy has surrounded the film related to how much attention would be paid towards Freddie’s sexuality. From the moment the trailer was initially released, only a brief shot of an intimate moment between him and another man was seen. Compare that to his relationship with Mary Austin, which is repeatedly shown, there was an apparent imbalance. Regardless, the film does a good job touching upon the various aspects of his career while still addressing other important areas.

The final sequence of Live Aid concert is truly spectacular. Live Aid was global initiative meant to raise one million pounds for the hungry affected by the Ethiopian famine. Every little detail was recreated, down to the Pepsi cups on the piano. There are a few shots in particular that left my eyebrows raised. Experiencing the film in IMAX is also incredible, especially during all of the concert sequences. It is extremely immersive, and simulates the viewer as being a member of the crowd.

From the fantastic visuals and performances, Bohemian Rhapsody beautifully recreates the iconic moments which shaped Queen's legacy. 
 
Written by: Dylan Delaney 

Source: 
https://www.usatoday.com/story/life/movies/2018/10/31/freddie-mercury-rami-malek-upbringing-helped-him-play-queen-singer/1819592002/
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By Bill Friedell

Star Wars: The Last Jedi (Johnson, 2017) is the eighth film in the Star Wars saga of films. The movie picks up where Star Wars: The Force Awakens (Abrams, 2015) left off. Rey (Daisy Ridley) seeks the guidance of world weary Jedi Master Luke Skywalker (Mark Hamill), both to train her and help the diminishing Resistance due to the destruction of the New Republic. Meanwhile, Poe Dameron (Oscar Isaac) and Finn (John Boyega) come up with a dangerous plan to save the Resistance from destruction at the hand of the First Order, with the help of Resistance engineer Rose Tico (Kelly Marie Tran). The Last Jedi may have been the most controversial of the Disney released Star Wars films, or possibly any. And while I don’t believe it to be perfect, The Last Jedi presents a more retrospective and contemplative take on the franchise through the themes and characterizations, reconciling the past of the franchise while finding the future path it should take.  

The most compelling characters in the story are Luke, Rey, and Kylo Ren (Adam Driver). Daisy Ridley sells Rey’s confusion as she tries to find her place. She has this powerful connection to the force and she doesn’t understand it. Adam Driver also excels even more than in Force Awakens. His inversion of the hero's journey (the villain’s journey, if you will). Mark Hamill gives perhaps his best performance in this film. He was given the hardest role to sell to the audience, a Luke who has seen so much go wrong that he is in a crisis of faith in the force and the “Jedi religion”. This isn’t the same Luke we left at the end of Return of the Jedi (Marquand, 1983). But, Hamill brilliantly sells this idea, especially when he interacts with Chewbacca (Joonas Suotamo) and R2-D2 (Jimmy Vee), where you can see the old Luke from the Original Trilogy emerges, showing his inner struggle his frustration with Rey and where he fits in her story. He has been through some of the greatest challenges and loses in his life; losing his Jedi Temple and being unable to prevent the turn of Ben Solo to Kylo Ren, tragically going through what his previous mentors went through when the Jedi first fell. Even Finn struggles with finding his place. He now has someone he cares for (Rey), but he still struggles with where he fits within the galaxy. He still wants to run away from the First Order, thinking the Resistance has no chance. But it is through meeting Rose, acting as the angel on his shoulder showing the injustice that permeates the galaxy, on a world that looks closest to Earth compared to other worlds, and D.J. (Benicio del Toro) acting as a devil on his shoulder, showing that the injustice is just a part of life, implying that Finn should live with it and even take advantage of it. To DJ, there are no good guys or bad guys.

Thematically, there is a treasure trove in the Last Jedi. The primary theme would have to be the relationship people have to the past and the future. A fundamental misreading of this film seems to come from people taking Kylo Ren’s viewpoint on the situation, “Let the past die. Kill it if you have to.”. Because of how certain perceptions have taken the movie to be completely irreverent to Star Wars traditions, it has become popular to site this as the point of the movie. However, it is relevant through Luke and Rey’s journey. Luke learns that the past is something to learn from, especially failure. To completely forget the past is to make the same mistakes as before. The First Order is a perfect metaphor for this idea, being a returning Galactic Empire. The past needs to be remembered, but we cannot be weighed down by it, like Luke had let the past temporarily defeat him when he failed Ben Solo (Kylo Ren). Luke and Kylo believe the past should die, but Luke learns through the ghost of Yoda (Frank Oz) that the past, especially failure is to be a teacher. 

In many ways, this brings in a meta narrative aspect of the film. Johnson is looking at what the fundamentals of a Star Wars movie is. What does the legend of Luke Skywalker mean to the audience? Johnson displays through Rey and the final shot of the movie, where the legend of Luke Skywalker inspires the generation to come. Rey, like the audience, knew him both as a legend, and more importantly, as a human being.

Now like I said earlier, Last Jedi isn’t a perfect movie. While the exploration of the past and future worked well, there are times where the movie can become unfocused or muddled in its messaging. For example, the movie wants to make the point that it is more important to live and protect what you love rather than sacrifice everything, but it appears to be the right move to sacrifice. With Finn alone prepared to sacrifice himself to protect everyone else, but Rose stops him from doing so. The message gets muddled when the situation seems to contradict the message. Also, there can be awkward portrayals that if shot or framed differently, could work. For example, Leia gets shot into space, still within the ships shields and uses the force to return back to the capitol ship. It’s shot to make it look like she’s Superman or Mary Poppins. With perhaps a different approach, this would be easier to swallow, but in its existent form seems far fetched. Another scene that suffers from this problem is the scene where Luke throws away his old lightsaber, rejecting Rey’s initial call for help, asking Luke to help the Resistance.  This could be a moment where audience members gasp, but the timing of the scene makes it humorous. I don’t believe the director meant it to be funny, but with the tone the movie sets, it can be mistaken for a joke. Speaking of jokes, the humor for some people may be hit or miss, but I overall thought the jokes were in character for each, the jaded sarcasm of Luke, General Hux’s (Domhall Gleeson) lack of self-awareness, and Poe’s distraction method, similar to his classic line in Force Awakens, “Who talks first?”

While The Last Jedi may rub fans the wrong way in certain moments and asks you to understand a Luke who has suffered his greatest failure, the movie gives fans the chance to see the farm boy we met in 1977 overcome perhaps his greatest hurtle and gives the galaxy an ideal to strive for in the way nobody expects, much like his victory in Return of the Jedi as he finds victory as a true Jedi would, as well as mirroring his former masters. The journeys of Rey, Finn, Poe, and Kylo Ren take their next logical progressions, both completing arcs from the previous film and setting for what’s to come. 

By Bill Friedell

​With the upcoming release of Avengers: Infinity War (Anthony and Joe Russo, 2018), I thought I’d look back at the previous Avengers film, Avengers: Age of Ultron (Joss Whedon, 2015). While it isn’t regarded as a terrible or bad film by most, many brush it off as being more of the same and bogged down in setting up future movies, as well as other complaints. While I agree it isn’t among the very best MCU movies, I feel like it gets dismissed too easily. Age of Ultron brings us further into the dynamics of the team and allows us to truly understand who the Avengers are. If Avengers (Joss Whedon, 2012) is about how "Earth’s mightiest heroes" can come together, Age of Ultron is an exploration of how the group operates afterwards. Avengers is the story of flawed “gods” from different creeds and backgrounds coming together for one shared cause. Age of Ultron is the story of monsters, as seen in the various members of the team, either creating monsters or being monsters themselves, as shown through these archetypes; the mad scientist and the monster continuing a cycle of violence that threatens everything.

The mad scientist has been a major figure of the horror and science fiction genre both in film and comic books. Typically, a mad scientist is a genius who wants to achieve something god-like, but end up creating something terrible. They create monsters. This goes back to Mary Shelly's classic novel, ​Frankenstein or the Modern Prometheus​. Victor Frankenstein, the protagonist is a genius who wishes to achieve something god-like, but ends up creating an abomination, or, a monster. The most popular version of the mad scientist in film, also Victor Frankenstein, was forever defined by Colin Clive in the 1931 adaptation, ​Frankenstein ​(James Whale, 1931), which defined the mad scientist as singularly driven to the point of raving madness, but realizes what he has created and tries to deal with the monster himself as best he can (Frankenstein). The influence of this movie has not only influenced movies, but comic books themselves. Originally, Lex Luthor, Superman's arch nemesis was introduced as a mad scientist (Siegel, Shuster). An even more direct translation is Dr. Bruce Banner, irradiating himself, whether intentionally or accidently, becomes both man and monster. Sympathetic and dangerous (Lee, Kirby).

But for Joss Whedon, most obvious “mad scientist” of Age of Ultron is Tony Stark, aka Iron Man (Robert Downey Jr.). Tony Stark is a “genius, billionaire, playboy, philanthropist” who has far from a perfect record. As said in Iron Man 3 (Shane Black, 2013), “We create our own demons”. Tony used to create weapons, demons of his own design and the reverberations of that have been felt even after he shuts down the weapons program at his company. Most, if not all of Iron Man’s villains in the MCU are the result of technology he created, especially his final weapon, the Iron Man suit. Iron Monger in the original ​Iron Man​, (Jon Favreau, 2008) is made of the scraps of Tony’s original armor, and Whiplash in ​Iron Man 2 ​(Jon Favreau, 2010) creates the arc reactor technology he uses to make his whip weapons based on his father’s work as well as Tony’s. But not only did he create demons and monsters through technology; he also made monsters through his character. The primary example of this is Aldrich Killian, the villain of Iron Man 3. Tony brushing off Killian’s offer to join his think tank inspired his scheme to take over the war on terror behind the scenes. Tony has created countless problems and demons to face, which doesn’t end in Age of Ultron.​

But Stark isn’t the only mad scientist of the group. Dr. Bruce Banner (Mark Ruffalo) is unique in that he is both mad scientist and monster. He made himself into the Hulk to recreate the super soldier serum of Captain America and also assists Iron Man in scientific endeavors, such as creating Ultron. He is Jekyll and Hyde, Frankenstein’s monster, and Victor Frankenstein rolled into one. Captain America (Chris Evans) and Black Widow (Scarlett Johansson) can also be considered monsters. Captain America is the result of experimentation. Now, pulled out of the 1940s, Cap is a man out of time. He doesn’t know where he fits in. In being a man out of time, he has become an outsider, as seen in the running joke of Cap pointing out Tony’s “language”, merely out of force of habit because of the time he came up in. Black Widow was taken to the Red Room, trained since childhood to become an assassin. She has no place in the world, she admits to her teacher, and is solidified in a “graduation ceremony” where Black Widow is sterilized, unable to bear children. Her entire self was violated and manipulated into making her a killer, a guilt she carries with her to this day. It's the “red in her ledger” she refers to in the first Avengers. Even Thor (Chris Hemsworth) is grappling with the idea that he is going to be a monster to his own people, having a vision of Ragnarok; the death of Asgard, brought about by him.
​

This is all best summarized by Ultron, saying, “Everyone creates what they dread. Men of peace create engines of war, invaders create avengers, people create… children, designed to supplant them. To help...end them”. Ultron sees himself as the child of Stark and that it is his duty to supplant him. This is particularly shown in Ultron’s personality, mirroring Stark’s quippy, smug, personality. Ultron is representative of this cycle of “creating what we dread”. Iron Man makes way for Killians, Ironmongers, and Ultrons. Hydras create Shields, which rebirth Hydra (Captain America Winter Soldier, Anthony and Joe Russo). ​\
The movie, particularly, the character of Ultron, employs many Biblical allusions. Ultron refers to Captain America as “God’s righteous man. Pretending that you can live without a war." He first meets the twins in a church, which was built in the center of the town, so that everyone will be equally close to God, and says he will “build his church” on vibranium (his chosen rock). He equates his plan with God flooding the world, which points to the fact that Ultron believes that he is God and that it is his duty to destroy humanity so that it will evolve and create peace. His sitting in the center of the church is like God sitting on his throne.
Let's go back to that line referring to Cap as the righteous man. Here, Ultron is pointing out that Captain America is a soldier, and without a war, he has no place. The Avengers gave Cap an avenue to continue the fight, to retain his sense of purpose. In many ways, this is what the Avengers are here for: to stop threats to the world. If there are no threats, no more Avengers. If there are threats, the cycle continues. This was why Tony wanted to create Ultron: to be the suit of armor to protect the earth from cosmic threats like the Chittari from the first Avengers. But in doing that, Tony created another threat. Another demon to dread.

The cycle clearly hasn’t stopped in these movies, seeing how the MCU continues to this day. But there is acknowledgement of the failings and troubles of these characters we all come to admire. While we know from their own movies and even the previous Avengers film that these are far from flawless people, Age of Ultron addresses the idea the demons they create are a cycle, much like others in the superhero genre. Some villains are self-made; others are born of the heroes, or even exist merely to challenge them. But what makes the Avengers special is that they acknowledge the nature of this cycle and must understand that they must own up to what they have wrought, which is perfectly encapsulated in Hawkeye’s (Jeremy Renner) words to Wanda Maximoff, “Its your fault, it's everyone's fault. Who cares? Are you up for this? Are you? I need to know, because the city is flying. The city is flying, there’s an army of robots… and I have a bow and arrow. None of this makes sense… It doesn’t matter what you did, or what you were, if you go out there, you fight… but if you step out that door, you are an Avenger”. It’s up to us to own our mistakes and we can choose what to do next. Ignore the problem or stand for change. We are all responsible. We create monsters. We transgress against each other all the time. As Banner says and Ultron realizes, the biggest threat to people are people. As Vision observes, “Humans are odd. They think order and chaos are somehow opposites and try to control what won’t be. But there is grace in their failings. I think you missed that”. Avengers: Age of Ultron is an exploration of what it means to be human, like most all art, by capturing the worst and best of humanity.  

Works Cited
Whedon, Joss, director. Avengers: Age of Ultron. Walt Disney Studios Home Entertainment, 2015
Whedon, Joss, director. The Avengers. Walt Disney Studios Home Entertainment, 2012. 
Black, Shane, director. Iron Man 3. Walt Disney Studios Home Entertainment, 2013. 
Favreau, Jon, director. Iron Man. Paramount Pictures, 2008.
Favreau, Jon, director. Iron Man 2. Paramount Pictures, 2010.
Russo, Anthony and Joe Russo, directors. Captain America: Winter Soldier. Walt Disney Studios Home Entertainment, 2014
Whale, James, director. Frankenstein. Universal Pictures, 1931.
King James Bible. Holman Bible Publishers, 1973.
Britannica, The Editors of Encyclopaedia. “Frankenstein.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 27 Apr. 2017, www.britannica.com/topic/Frankenstein.
​Siegel, Jerry (w), Shuster, Joe (p, i). Action Comics #23 (1940). DC Comics.
​Lee, Stan (w), Kirby, Jack (p), Reinman, Paul (i). "The Hulk" The Incredible Hulk 1 (May 1962)​​