Thursday, March 15, 2018

A Wrinkle In Time 2018

I think this will be the second to the last movie review I'll do this year as summer blockbuster fatigue season moves in.

I read A Wrinkle In Time back in seventh grade for school and it blew my mind, the way it presented a science fantasy setting with Meg and family, Calvin and the Witches fighting against the forces of darkness while trying to find her missing father. A lot of the typical heroes journey, light vs. dark themes show up in this 1964 novel before it became required in all fantasy before Tolkienism set in completely. I have seen the 2003 movie version and I hardly remember it outside of the bad cgi affects. With that in mind here's my observations on how this new adaptation by Ava DuVernay movie holds up:

Meg Murray is a clever child of two genius parents who starts to lose her way when her father leaves for four years. Charles Wallace is her adopted younger brother (not adopted in the novel) and he's a cutie who stands up for his sister when teachers talk shit. Meanwhile their stuck up neighbor who heads a popular clique gives Meg shit for her missing, or dead father, taunts her and basically says they wish she had disappeared too. I didn't have that kind of gossip when I was growing up, but I was always told the line when picking on others is to not give them shit for having dead, jailed, or absent family members. That was a no no in my school district. Otherwise everything else was fair game (everything else), so these kids as portrayed in this movie whether accurate to current real life, or not, just goes to show that they're mean about anything just to be mean, which sounds about right. So Meg's Principal in the movie and her mother pull the whole bullshit that since Meg threw the first hit (smacking a ball in the neighbor's face) she has to apologize even though they started the taunts. This is why I hate parents and school staff. This shit. Whatever I'm over it. Also the Principal lecture's Meg over her grief as if it was some moral defect, which is bullshit.

The movie mostly follows the plot of the book with minor changes and a lot of cuts. Meg and Charles Wallace don't have twin siblings to join them in their journey. Calvin does show up, but most of his development and use of "diplomacy" hardly comes up so he's sort of just their as the platonic, but potential love interest. I dig that he and Charles Wallace have classic male haircuts, none of this crew cut crap, or shaved sides shit men do now that's disgusting. It gives them that sixties vibe that this movie has due to it's source material, though it's updated for today.

There are lines of dialogue in the movie that I swear are lifted from the book, but I can't be sure because I haven't read it in years, but it feels familiar, but their are some updated changes I don't mind. For example different people Mrs, Who quotes, such as Chris Tucker himself. Also at the end when they talk about the heroes that fight on the side of light against the dark, the list is slightly changed to include later people than the book's publication. I don't mind that honestly. It would have been too dry if they stuck exclusively with what L'Engle references.

A lot of this movie's appeal in marketing was the casting of the three witches because the children are unknown. Oprah Winfrey, Mindy Kaling and Reese Witherspoon. Most people complained that Oprah plays Mrs. Which who in the book can't keep her form and is often a bright light, but they reference that in the movie with Which's legs being transparent. I didn't mind the change, you don't cast Oprah to be a disembodied voice in a live action movie. Kaling was disappointing as Mrs. Who, only because no matter who played Who they would have been resigned mostly with quotes than original dialogue. Witherspoon as Mrs. Whatsit could be both annoying and amusing. I didn't mind her change in the movie being this visually stunning leafy serpent/flying carpet thing instead of a centaur pagasi type being. I have an irrational hatred of horses, so other people will be pissed at this change, but I still have nightmares of the earlier movies horrible cgi transformation.

As I've said before I was happy they mostly stayed accurate with ages. They cast fourteen year old’s, or close to, Storm Reid and Levi Miller to play Meg and Calvin instead of aging them up and giving them sexual tension like every other young adult movie ever in the last twenty years. Charles Wallace as played by Deric McCabe was bumped up from five to six years, which isn't a big deal.

Other cast-members are Chris Pine as the dad, Gugu Mbatha-Raw as the mom, Andre Holland as the Principal and Michael Pena as Red. I'm sort of glad the marketing didn't emphasize Pine over the Witches.

One of the casting choices I'm a bit annoyed with is that they cast bearded Zach Galifianakis as The Happy Medium. Now I swear my memory was that this character was genderqueer, or agender, but that might have been only in the older movie adaptation as according to wikipedia she's a woman, so what the fuck happened here? Was one more woman with a speaking role too much to ask for in a movie about female empowerment? If I hadn't known this, it wouldn't bother me. It's one thing to change character's race, whatever background it then informs on the character because white people have almost all the roles so losing some doesn't matter. Changing a character's gender on the other hand is kind of annoying. Disney is guilty of this when is comes to source material female characters turning into guys all the sudden, like Bagheera in every Disney Jungle Book movie adaptation and no changing Kha to a girl in the new adaptation was not a consolation.

Anyway this movie is a visual treat and has a mythology and similar themes that would fit in with Kingdom Hearts which is a shame it won't make it in there when we're stuck with crap like Tron Legacy making it in the last title. I feel like a lot of the journey is cut and, or rushed and no there aren't big blockbuster battles, or cheap, stilted young adult romances. The battle is strictly personal and between family, the light and dark. I didn't expect more. Other people disappointed: Sorry, new movies spoiled you. This movie would have fit in with a lot of 90's family movies, but the visual effects at that time would not have made this possible and they probably wouldn't have done diverse casting like making the main character, her mother, and not one, but two of her mentors as poc. Another good thing about this movie is that it doesn't bait you for a sequel that might not be made. If it does get a sequel, I'd like to see more of the family, the three witches and the It fleshed out more.

I've read rumors that Ava DuVernay is now going to helm the Fourth World/New Gods for Warner Brothers. Here's hoping it's a hit like Wonder Woman and that DuVernay doesn't have too much studio meddling fucking it down.

Wednesday, February 21, 2018

Black Panther 2018

Saw Black Panther yesterday bringing an end to the last Marvel movie I have anticipated seeing. After seeing this I can safely say that other than a Black Panther sequel with expansive potential it all goes down hill for Marvel's cinematic universe. No hyperbole.

Warning: My review has spoilers and jumps around incoherently.

I honestly would look elsewhere for in depth reviews than here because I am a comic book fan first and comic fans are annoying when judging the  quality of an adaptation. I will say ahead of time that I'm pleased with how this adaptation's changes because they work for the tight narrative. Films are different mediums than long serialized comics. As this is a sound and moving vision medium, you get cool scenes like T'Challa suplexing a rhino and Shuri using driving tech from her lab in Wakanda that pilots a car remotely in Busan, South Korea with her brother riding on top trying to pursue Claue. Other highlights are the ceremonial dancing, the ancestral plane, the waterfall fights, both of them, the one with Killonger was adapted from the comics, the fight between T'Challa and Killmonger on the magnetic trains tracks under the city. This movie unlike every other Marvel movie besides maybe Guardians, Vol 2 actually has eye-popping color. Strange that movies adapted from the four color page have muted, ugly grey and brown tones and washed out reds and blues. What is wrong with Marvel? Also the soundtrack and score was good too, which again most Marvel movies are background noises, or they're Guardians and have a Jukebox song list.

The cast of characters have complex motivations that feel real instead of merely being informed. That sounds like a generic statement, but I mean it. I always get the feeling in a lot of films that many characters have no depth outside of "they killed my dog, I want justice!" Killmonger has complex feelings about Wakanda and how it should conduct itself in international affairs. This movie doesn't shy away from racial problems, which makes stock tropes like Killmonger's dad murdered as a traitor more complex. If this was a white story the traitor betrays because he's greedy filth and that's it. His father did something shitty helping a shifty white guy steal Vibranium from Wakanda. However, he had problems with Wakanda hoarding their metal and tech advancements from the world. So here the traitor's got a point whether he went about it wrong, or not. His being killed for it was one thing, leaving his son behind in America created a bigger problem T'Chaka couldn't forsee. The film questions Wakanda's isolationist policies and rather than acknowledge and move on actually addresses it with T'Challa making decisions to rectify that which opens up for a sequel that explores Wakanda's place in the world.

I'm pleased that they changed Nakia from being a former Dora Milaje turned spurned, traitor femme fatale henchwoman to an Wakandan undercover agent and proper love interest to T'Challa. I mean the options would have been shoehorning Storm who's off limits, or bringing in American Monica Lynne, who they could have reinvented and given Agent Ross's role, I guess. Dating a CIA agent would be weird though and bring a lot of questions. This will probably piss off comic purists as well as Killmonger's origins being changed, W'Kabi being more adversarial, giving T'Chaka a brother and giving T'Challa and Shuri the same mother. Usually that stuff would piss me off, but here it works. It's a film and it has to condense things, draw tighter relationships and dispense with some of the tired sexist tropes that do no favors for black women. A lot of women love interests come out blander, pointless, or replaceable, Nakia wins in adaptation compared to the source material.

I think the only minor flaws are Agent Ross, he could be cut. Was he there to have one heroic white guy? Does that really matter to have the squeeing Sherlock fans money? Also the ending fight with all the tribes as they disagree on siding with Killmonger, or T'Challa. That's formulaic, but expected. Okoye asking W'Kabi to stand down was an interesting way to end it though, and I feel like there's a bigger story there that was cut. Do not sit on this movie if you have any intention of seeing it because it's not the same by the numbers formula other than the big fight at the end that still looks visually impressive. At least T'Challa and Killmonger get a one on one final fight, mercy and refusal scene that works.

Friday, December 8, 2017

You Had Your Chance

I'm slowly becoming an avid reader of Frederik Pohl as I get his paperbacks little by little. I don't have the biggest budget for recreational things and internet comes first until that too gets to high and I'll just ghost everyone and update sporadically through libraries and wifi spots. It could be sooner if net neutrality is repealed.

The question of why read Pohl when I can read more current science fiction is because accuracy and miring in current troubles is not what I'm here for when reading sci-fi. It's why I'll never be a true fan of the form. I want the fantasy of it, the parallel world that doesn't exist and has it's own rules, not the forecast of cold, hard facts you read in this weeks science journals, or the mere parody of today's social trends turning into tomorrow's exaggerated post-apocolyptic dystopias. That ain't me. Though all these old stories were written with those two mentalities and methods in mind, they long since been outmoded and I don't have a lot of interest in forecasters current predictions unless the book is that good. I read science fiction of the past like a parallel reality and as a context for the times it was written more than anything.

Recently I finished reading Age of The Pussyfoot by Pohl. It was about a fireman who died in 1968 and was cryo-freezed and wakes up in the 25th century where there's a the possibility of a Sirian invasion and people carry around controller like things on their belts that mine as well be smart phones. Also because people with insurance plans can get cyro-freezed, people can also put hits on people. Sexual norms are looser, nuclear families aren't the norm. Couples pick a name to refer to themselves, family members also have special names for each other in the context of their relation. I might steal this idea, honestly. It was a short book the way I liked that gave a glimpse of a place to get my mind running. That's what I'm here for. People wanting more detail and painstaking development will be disappointed. For one I liked the subplot of the main character going homeless and hanging out with the forgotten men and that ends too soon, but it's fine.

The first time I enjoyed Frederik Pohl's writing was when I was browsing through the bookshelf of a thrift shop and found a hardcover collection of the Starchild Trilogy he wrote with Jack Williamson, another writer I like. Williamson would write the first drafts and Pohl would add, fix up and edit it. So it's more a Williamson book, honestly. The cover has a hippie in a spacesuit riding what looks like a dragon. I'd show you, but this website sucks for uploading on my crappy internet. The Reefs of Space changed my life. The story involves a scientist being demoted and given an explosive collar that could detonate if he gets out of line, or doesn't check in with his appointments. He's called a "risk." The problem is he has amnesia and can't remember important details that would exonerate him. The government is ruled by a computing machine and there's people who read the ticker tape and put it into action.  The story has noirish mystery and feel with some thriller elements, even if I don't like amnesia plots (a common abused neo-noir trope that shows up in maybe a fraction of old noirs). Though I have an irrational phobia of coral in real life, the idea of it growing in spacelike a forest is beautiful imagery even though it's scientifically impossible. My favorite part of the book is the body bank. That's the one part everyone sort of ignores more than the rest when reviewing, but I think it has more development than the reefs of space itself and it's the culmination of the protagonists lot in life. The psychology of facing his ex-girlfriend, an undercover agent who turned him in was well done, but creepy. I think this may have influenced part of Miyra's characterization in my Red novel. I also liked the junkman mystery and the main character possibly being him and his identity crisis. My biggest disappointment was the protagonist coming to terms with his identity and then his memories come back that he isn't the junkman so he can live happily ever after with the semi-annoying love interest. If I crib this idea, I'm definitely playing it differently.

This gets to my new point. Since I'm feeling sick and want to vomit, I can't write, so I mine as well read. I had the choice of a Nero Wolfe mystery about a radio host, or two Frederik Pohl books. One was Plague of Pythons, which from what little I gather is about people who are mind controlled into doing horrible things that make me sick. I hate mind control stories as a rule. The other is Drunkard's Walk. The problem with this first edition book is that there is nothing on the back, or on the inside that tells you what you're in for. Just a bunch of blurbs about how cool The Space Merchants with C.M. Kornbluth is and I know this back when they were written before what was classic was decided, but everybody who's heard of Pohl has heard of Space Merchants at most. So my brother decides to flip through the book and tell me some things. The main character's name is Cornut, ewww. He's a professor. Math's involved including Pascal's Triangle. He has a wife, there's a senator, there's a guy with this name and that, one sounds suspiciously close to the author's, an author avatar, perhaps? He decides to read the last line and he won't spoil it, but he basically describes it like some Snape as Terminator shit and I'm like, whoa, I got to read this. He asks me if this was written before Day of The Daleks and Terminator. Yes. So Harlan Ellison can shut the fuck up. My brother surmises a strange plot involving the character becoming Darkseid and looking the equivalent of the anti-life equation and other things. So not wanting to spoil the ending, I decide to look up the wikipedia article to see if it had more plot information. The article has one sentence only. Something about a professor who discovers a monstrous plot. Very vague. Needless to say the plot is probably nothing like my brother's imagination. Also the original Galaxy digest cover totally looks like a superhero surrounded by atoms and holding a beer bottle. Definitely look up the article. Also the first two parts can be read through scans on Internet Archive. I wish they could make those scans have a text format that isn't fucked by the incoherent ocr they use because I do not fucks with smart phones, tablets, or kindle fire. Burns my eyes like reading a computer screen for too long. Either I find the original digests, or someone makes a text file for my black and white kindle. That's why I haven't taken advantage of all Internet Archive has to offer and mostly stick with the slow releases in Project Gutenberg.

Also one of my big regrets is that while Frederik Pohl was still alive and blogging, I didn't muster up the courage to comment on one of his articles and tell him how he influenced me. Got me that much closer to actually writing.

Saturday, October 21, 2017

Nate Heywood Is An Emotional Abuser

Rewatched last Legends of Tomorrow Episode again because my brother missed it and he loves Victorian Circus motifs and Billy Zane, so he had to watch it.

On watching this a second time, I've come up with why Nate bothers me. I'll get to that, so let me explain the situation before I make accusations:

Nate's upset about Amaya showing up after leaving without saying goodbye, he decides to get drunk and blows the team's cover. Whatever everyone ends up idiot balling in this episode even Sara so he's not the only offender and everyone can take some of the blame here, but man is Nate the cause of the idiot snowballing.

Everyone else has explained better than me why Nate's been acting like an asshole before he got drunk and how he basically seems to be dense when it comes to reading the room with his beau when making donuts. I'm aromantic and even I'd be charmed by Amaya making donuts from scratch. True fact my greatgrandmother made homemade donuts. I've never tasted them, but my grandma raves of them and can find only one bakery that's open in limited hours, limited days of the week and has a first come first serve policy and those are the closest she'll ever get to tasting something similar to her mother's homemade donuts because she don't know the art of making them herself. She was a child when Amaya would have been an adult to put it in perspective. Getting off topic.

Amaya comes back to the Waverider trying to be professional for this mission she got dragged back under false pretenses that Nate was okay with it. Later when things go wrong she talks to him about her reasons for leaving, he makes the whole mess about her and blames her for all of it backfiring. The whole mess they are in this episode, he puts on her shoulders for not being honest with him. Basically he won't own up to any of his own mistakes, whether they be mutual things like the two of them aren't communicating with each other well (Barry and Iris dealt with this), or how he makes everything about himself. Maybe drinking his problems away and denying it as anything more than hanging out isn't a good look and did in fact cause the whole cover to blow. What it turns into is Amaya withholds secrets (well he doesn't exactly give her confidence she can talk serious when often he just wants to have amazing sex and eschew romantic things and kind of brushes off her need to make sure her grandchildren are born and the timeline is stable last season).

It turns into “Look what you made me do.” Nate Heywood is an emotional abuser. Is he ever nice to Amaya in their downtime? He seems to only be tender to her when their lives are in danger because otherwise it's he won't talk to her, okay he'll talk to her and call her out on her bullshit and sweep his own under the rug. That's their relationship.

Friday, October 13, 2017

Cross Media Will Never Understand Oliver Queen And Dinah Drake-Lance

I know this is old news and old complaints, but man do I hate cross media missing the point on Oliver Queen. They get it in their head that he's Bruce Wayne and then make assumptions based on that. This is what's ruined him in Smallville and Arrow. They decided that Oliver can't marry his should be battle partner Dinah, or Laurel depending on the media and that he better marry the cute, nerdy blonde girl with the laptop that the showrunners poured all this time into when they decide they don't know how to write a girl vigilante better than Oliver, nor fathom he can be into such a woman. This is an irritating trend, i hope they don't repeat if ever they're adapted in the movies.

Oliver Queen loves badass women. Honest. He can be a blowhard and border on patronizing, but he knows to let Dinah steal the show because she doesn't need him. but they like each others company and fighting crime together. He's not the guy who makes his women stay safe at home, the office or in the arrow cave punching computer codes talking into his earpiece. Never was. Why does tv get this wrong? He trusts Dinah to get them out of situations when he's at a loss. Trusts her to be the powerhouse fighter she is because while he has some moves, he's more of a long range kind of guy and she's hands on. They're a team. No media outside the better comics runs get this and yes there's plenty of shitty comic runs that throw this out the window for the sake of drama and writer's male insecurities. That's a problem, no doubt, but so is these tv shows being unable cast the appropriate actors and screen test them for proper chemistry and then write them without undermining Dinah/Laurel as a character.

Look I know we all prefer Dinah to be with Barbara Gordon, but because of the Bat embargo on cw this shouldn't even be an issue. That showrunners have to undermine Dinah/Laurel to prop up Oliver's usefulness is the problem. He's not the alpha male. He's the battle partner. He's not Bruce Wayne. He's closer to Steve Trevor, but that he has a specific skill in trick arrows and street fighting instead of guns and military training. He and Dinah are battle couple, but she takes down most of the enemies more efficiently. He does his part, but he's not the star of the show. This is why Arrow is a faulty premise. They had to change Oliver's character out of the gate in order to justify him dating Felicity, or Chloe instead of Laurel/Dinah. They had to make every other woman vigilante evil, reckless, incompetent, or just utterly undermined to make them all bad choices so the real woman who doesn't fight gets the prize. What the hell does that say?

I understand that we need more female characters that aren't martial arts badasses, but are useful in less glamorous ways like being a hacker, a journalist, a doctor, a scientist. That's not the problem. It's the problem that there's no room for women who are brawlers to have the same kind of humanization and nuanced femininity. Dinah in the comics is not only the best martial artist, sometimes a g-man, sometimes a cop, field agent to Oracle, chairwoman to the JSA and JLA, she also owns a flower shop, likes gardening, is a mother figure to many characters, is arrow's team mom when they stop embargoing her. She's not just miss fanservice badass. This shouldn't be an argument on being a better character, or worse character for your fan favorite blonde support character.

Sunday, July 30, 2017

Bear Witness, An Old Shame

So, I'm writing a novel where one of my characters is a gangster and has amnesia from as an after affect from using his innate demi-god powers. He spends a lot of his recuperating and paid vacation time watching all kinds of movies at the theater and he likes to quote from said movies. None of the movies are real. I did this as a challenge because you're not writing a fantasy world that isn't Earth and including quotes from The Godfather, or Titanic because it would take you out of the story. So I used one from my brother's fortune cookie he got a couple days ago because it actually says:

You will always have good luck in you. Personal affairs.

So I decided the not very useful advice is bad dialogue from a movie called Personal Affairs because the second sentence is such an afterthought as to be like it was quoting from something. This got me into busting out my old folder: Debt To Hollywood, a dead project and old shame where I was going to make a story about timeless Hollywood following the filming and backstage politics of a studio and its actors, directors, producers and whatever. I knew I had to have written some mock movie titles and plot synopsis's somewhere for my amnesiac gangster to quote from. Most of these files span from 2013 and January of 2014. I dumped this project after and then by the end of October, I abandoned all projects I was working on completely and formulated a new project from scratch for my first Nanowrimo where I wrote manuscript over 60k words and never looked back.

One of the better fake movies I wrote I intended to be a dumb action revenge movie starring my Clint Eastwood expy. It's called Bear Witness and in retrospect it sounds like a parody of The Revenant, which I've never watched.

Bear Witness

In the Alaskan wilderness, a scientist toils away in his lab when the other scientists barricade his fortress and accuse him of the murder of his wife and fellow scientist. In an act of cruel and unusual punishment, they strand him in the snowy tundra with an angry bear who he soon finds out had mauled his wife the night before, after she dumped chemical waste in the river killing the bear's family. After the two grief stricken widowers have a fight to the death in the snowy tundra, the man barely (heh) escapes alive to return to the compound. The other scientists forgive him after he explains his story. To save the compound from a raid of deadly bears, the man must wear a fur suit and disguise himself as one of them to infiltrate their lifestyle. After the bear sniffs him out he takes his grenade at the bear and walks away from the fiery blaze.

Wednesday, July 26, 2017

Valerian and the City of a Thousand Planets, A Film Review

I saw Valerian and the City of a Thousand Planets yesterday and I liked it in spite of not liking the two leads. When the production credits segued into the beginning prologue to Bowie's Space Oddity, I got chills and sang.

My brother and I were the only people in the theater which means it's probably a box office bomb and no sequels will be made, but I enjoyed being able to talk and point out details. I've honestly not read the source material, but I've had the translated graphic novel collections (all probably incomplete and edited unfortunately) sitting on my Amazon account for years now, but I've honestly not bought anything on Amazon in over a year because I don't have a steady income so I can't compare it, but I will say that they should have cast leads that didn't feel like twentysomethings playing young adult teenage protagonists. It was jarring.

These are shallow complaints honestly, but Dane DeHaan ladies man status seemed informed than shown. Cara Delevingne came off better than in Suicide Squad, but I still don't like her as an actress and honestly would have preferred Rihanna with an age appropriate male lead. Scarlet Johansson with her Avengers look would have looked accurate to Laureline in the comics, but that's nitpicky and none of us really want to see her keep getting roles anyway after that Ghost In The Shell debacle.

What I liked about the film is that it proves you can do a space opera with tons of nonhuman aliens that isn't Star Wars. A lot of comparisons will be drawn to Star Wars and Fifth Element, which the director lifted a lot of design elements from the original comics. To get it out of the way yes the original Valerian and Laureline comics predate Star Wars so their ship resembling the Millennium Falcon is the source material and changing it to modernize it, or kill comparisons is sort of inauthentic. I like that they kept a lot of the retro feeling that probably is in the source material instead of foregoing it for bland apple sleek futurism, or whatever is in for portraying the future now. The sprawling cities made up in the satellite not only remind me of Fifth element, they remind me of paintings of Trantor from Isaac Asimov's Foundation books. That's a good thing because I fear that if Foundation ever got adapted we're stuck with modern sleek with no definitions. Everything looks lived in Valerian, most set designs for the future, or the past don't. They looked pasted on and sparse.

The plot isn't anything amazing, or world bending, but it's the adventure that I liked and it teaches a moral lesson of foregoing protocol when an injustice is made. When the bad guy of the film says he's a soldier and will take genocide over humiliation, (paraphrasing, I know i have some words off) you wanted him to get it.

Another thing I liked that will bother people is the nineties style writing and dialogue. It was refreshing. I watch a lot of films from my childhood that would now be called out for bad writing because people have earnest emotions and say what they mean and then ridiculous stuff happens that escalates, or fixes a sticky situation and they don't break the fourth wall and turn snarky over it. If Cara Delevingne rolled her eyes less like a poor man's Emma Stone, or Dane DeHaan did more than ape Keanu Reeves's speech patterns it would have felt more classic.

Of course there's probably a lot of things people especially on tumblr would have a discourse over, like Valerian housing a woman's soul. I as a transmale didn't find it offensive, but it's not for me to say how a transwoman would feel about that. Things relating to the body and mind become a tricky (hate that fucking word) or, problematic in sci-fi fantasy when you factor that in. It's why I see Ready Player One failing with it's avatar controversies in an age of social media dictating that you answer for your identity on a constant basis. Rihanna's character will definitely bother people. Herbie Hancock doesn't get enough to do. The relationship between Valerian and Laureline will bother people too among other things I can think of.

Anyway, I don't regret seeing this movie and will probably own it if I see it discounted. I would like for some sequels to happen, but it's not going to happen because we can't have cool things. I wish we could have more space opera's that aren't Star Wars, Star Trek, or Marvel. I think this movie does way better than what a lot of people complained about Jupiter Ascending lacked. It's just a shame it isn't perfect enough to garner another chance and we probably won't see another space opera property outside of the big three for another decade, or more because of diminishing returns and then we're back to lazy post-apocalypse, tired teenage dystopias, boring cyberpunk and isolation, stuck in a spaceship survivor genres.

By the way I saw the preview for A Wrinkle In Time and and I know people are going to hide their racism behind unnecessary creative liberties arguments. Unnecessary creative liberties would be aging up Jonas four years in The Giver so he can have hormonal teenage angst and making it in color because people can't sit through the art direction of Schindler's List and Sin City, so his seeing color loses meaning, or how it had to be scored because people need to be bombarded with sounds constantly instead of daring to see a cinematic experience that could challenge you, or make you feel unsettled.

Meg was cast to look thirteen as the books. That's promising. So all the complaints about how Oprah shouldn't materialize and be a shining light with a disembodied voice is a nitpick. That's a necessary change because I've long learned that masking named actors backfires. That's why all superheroes barely wear their masks if they have them at all. It was wasteful of Star Wars to waste Lupita Nyong'o as a voice under motion capture, at that point anyone can do the role. Valerian at least showed us Bubble's two forms, Rihanna and blue squishy alien. I think about the fact that Julia Roberts in Hook had to have a lot of closeups to justify her being Tinker Bell because she'd otherwise be a glowing silent light.