Ever since November of last year, I had been itching to see the well-raved horror comedy film, The Menu. With the busy finals season and holiday extravaganza, I was bummed that I had missed my chance to see this film in theaters, but my mood was lifted when I learned that The Menu was coming to HBO Max. Very soon after its streaming premiere I finally got a chance to watch this extravagant film staring Ralph Fiennes, Anya Taylor-Joy, and Nicholas Hoult.  I had no expectations, but straight from opening, this film provided more than I bargained for.

The Menu is set in a restaurant called Hawthorne on a remote island. This very exclusive, highly acclaimed dining experience sets an odd mood as soon as the guests arrive, with Ralph Fiennes’ character almost immediately alluding  that this meal will end with death. As the dinner goes through its courses, the activities get more extravagant and gruesome.

As the plot progresses, the relational conflict between Joy and Hoult’s characters becomes more apparent, with the wonderful Anya Taylor Joy making some very crucial moves to have a better outcome in the end. When the ending credits came on the screen, I could not think of a s’more satisfying conclusion to this beautiful film.

The head chef, Ralph Fiennes, is a British actor along with Hoult. Famously known for his role as Voldemort in the Harry Potter franchise (which I had finished for the 5th time the day before), this actor’s accent was so peculiar. The character was from Iowa, but Fiennes visibly kept slipping between an American and British accent, combined with a posh, French attitude. Weirdly, I was annoyed with this accent at first but it kind of grew on me and added some mystery to his dark character.

Hoult’s acting was honestly forgettable, but I must say I loved Anya Taylor Joy in this film. Her attitude and choices through the jarring events build up to such a great ending for her character, which is what the audience is looking for out of this film.

The ensemble cast of The Menu gave the story so much needed depth as well and added drama to the various events. The dessert course of this film is simply epic, I love it so.

I find that in recent years, this sort of satirical, comedic mystery is becoming much more popular in Hollywood. Projects like Knives Out, The Glass Onion, Only Murders in the Building, and The White Lotus have tuned so many people into this niche genre that has not been so thoroughly touched in decades.

The Menu met all of my expectations and is a film that I think will lead to even more comedic and satirical mysteries. While there are many contenders for the Academy Awards this season, I think this Searchlight Pictures movie directed by Mike Mylod has a fair shot to see its name on the nominations list. If you have some free time, an HBO Max or Disney Plus subscription, and some popcorn turn this delightful film on. But, be warned–it might make you hungry.

References:

• https://www.disneyplus.com/movies/menu/6qKeWn5NKzDY
• https://www.eater.com/23458693/review-the-menu-2022-movie-ralph-fiennes-anya-taylor-joy-release-date
• https://news.artnet.com/art-world/the-menu-film-set-production-design-food-art-2244262

I have been anticipating Black Panther‘s sequel ever since it was announced in 2019. I loved the first film as it provided something totally new and different to the Marvel Cinematic Universe. The titular star, Chadwick Boseman, unexpectedly passed away from colon cancer in 2020. Literal days before his passing, director Ryan Coogler finished the sequel’s script. Boseman’s gut-wrenching loss left the Marvel team asking “Where Do We Go From Here?” How do you honor a man so vital to a story while still respecting his role and moving the supporting characters forward? After months of script editing, covid delays, heavy filming, and reshoots, this long awaited sequel has been released.

Walking into the College 9 movie theater, I could not help but emotionally prepare myself for what I was about take in. Led by Letitia Wright as Shuri, Angela Bassett as Queen Ramonda, Lupita Nyong’o as Nakia, Danai Gurira as Okoye, Winston Duke as M’Baku, and Tenovh Huerta as Namor, Black Panther: Wakanda Forever does not hold back. Right off the bat, this film does not shy away honoring its King, T’Challa. Thankfully never reincarnated digitally, Boseman’s movie funeral feels very much in reality. This opening motif of memorial scenes are played with such heart, particularly by Bassett. One particular rhetorical choice that I have held onto is Marvel’s logo sequence, which is silent with the only sound being the wind as the audience watches clips of Boseman make up the iconic lettering. This tribute and acknowledgment is so thoughtful and poignant, giving the characters strength to march on.

Jumping the timeline a whole year, it is obvious that the grieving process is still ongoing–as so many know. Faced with uncertainty, instability, and questioning, Queen Ramonda must take stance to defend her nation with only a daughter, no husband or son. Her nation’s “bread and butter”, vibranium, wants to be used by other nations. When the U.S. finds vibranium in the Atlantic Ocean, a new secret vibranium-owning nation comes into the story. From here, the supporting characters of Wakanda along with some new faces must come together to defend their nation.

The action sequences in this film are beautifully shot and I do really feel that the Black Panther sequel does do justice to its late lead character. But, there are definitely some questionable parts of this beautiful story. When Coogler and Marvel had to rework the entire story, I think ideas clashed a bit. The main mantra of the film, vengeance, comes through but in an artificial way. As this story works toward its end, it totally set up another possible film to come yet I don’t think this sector of Marvel necessarily needs one. Again, I think that Marvel is setting itself up for the question, “Where do we go from here?” Boseman’s role was crucial to the future of the MCU, and setting up a new leader of Wakanda greatly changes the dynamic of the film franchise’s future.

This is a problem, a question that I think the whole movie and entertainment industry is asking themselves. The 21st century has brought so much to theaters and has really revolutionized the film, entertainment, and media industry.

In my opinion, there has not been a totally new, revolutionary film series in quite a few years. A majority of things that are being put out are building upon past stories or reimagining them. So, when asking “where do we go from here?”, I think that the entertainment and media industry (and everything surrounding it) needs to focus on the audience and creativity. Diverse voices help with this of course, but resources and ample opportunities will as well. Technology is ever evolving in this industry, with concepts like virtual reality and CGI becoming more advanced. As the past 3 years have showed, this industry needs to be ready and adaptable to anything as whole stories may need to be reworked or pushed due to external circumstances.

Black Panther: Wakanda Forever is a great example of this: challenging to spark creativity and find a path through the darkness. Many other projects I have featured on this blog including Abbott Elementary, Weird, and Don’t Worry Darling have pushed the envelope, reshaping the media that audiences take in. But, as I mentioned in my Synergy blog, the entertainment and media companies backing these projects often look at profit over product. But, I think this thinking is on its way out.

On November 20, 2022, Disney announced that its money-focused CEO had been let go and the former CEO, Bob Iger, would be returning. One of Iger’s first moves back was to reorganize the whole company,  creating a “new structure that puts more decision-making back in the hands of our creative teams and rationalizes costs.” Success comes with pushing the boundaries, not restraining it with tight budgets and a bottom-line focus.

So, where we go from here is such a complex concept but there are definite ways to set up this industry for success. When quality and creativity are the focus, there is no limit as to where this industry may go and we as the consumers have the pleasure to take in the result.

References:

https://www.cnbc.com/2022/11/21/kareem-daniel-disney-head-of-media-and-chapeks-right-hand-is-out-following-igers-return.html

https://www.imdb.com/title/tt9114286/

https://www.wired.com/story/black-panther-wakanda-forever-review/

https://www.cbr.com/wakanda-forever-next-black-panther-speculation-mcu/

Many months ago, it was revealed that Daniel Radcliffe would be portraying Weird Al Yankovic in a biopic to be presented on Roku. Listen, I am a fan of the Harry Potter films so of course I was interested in this film, but not for that obvious connection. I have watched other things that Radcliffe has been in after the Potter franchise and could NEVER disassociate him from Harry. When looking at Previews, I felt that Weird could actually be the thing to break that glass ceiling, and luckily I was right: that afro won.

Radcliffe is supported by Rainn Wilson as Dr. Demento and Evan Rachel Wood as Madonna. This film also features many cameos such as Al Yankovich as Tony Scotti, Qunita Brunson as Oprah Winfrey, Conan O’Brien as Andy Warhol, Jack Black as Wolfman Jack, and Lin Manuel Miranda (jumpscare) as a doctor. Weird is very upfront as being mostly non-fictional with many story lines that simply go off the rails. Starting at Yankovic’s childhood, Weird showcases Weird Al’s odd and quick path to fame. Intertwined are dramatic improve-like scenes that add comedy and make sure you know that this is not a true depiction whatsoever. Yankovic was so deeply involved with the making of this film being its producer, so I know it has his blessing and I think I can give it mine.

I must say that I was intrigued to watch this film because 1. it was free (!)  and 2. its cast includes actors that I genuinely love like Radcliffe, Wilson, and Brunson. I honestly had never watched anything produced by Roku before this point and am greatly surprised by its creativity. Yes Weird Al was big at the time, but this is for sure a risky film for today’s audience. Its comedic, improvisational format I think greatly accompanies the subject as it really comes off as a film to enjoy not greatly analyze. Could it have been better quality? Of course, some of the sets are akin to a high school play. Would it have been better as a theatrical film with a bigger budget and more at stake? Maybe, but it is really hard to say. In my eyes Weird‘s back-end issues do not in anyway overshadow its content.

Starting with Radcliffe’s performance, I think the actor does a fantastic job personifying this iconic and niche culture icon. His voice is very similar (although does sound like Phineas from Phineas and Ferb) to Yankovic’s and his physicality matched perfectly (besides Radcliffe being a bit more fit). While he does not truly sing in the film, his energy and acting is spot on. Wilson’s portrayal of Dr. Demento is so well done and funny. The The Office star really gives it his all to add the necessary whimsical and cooky elements of the character. Wood plays a pretty solid Madonna, I love Brunson as Oprah, and oddly gave interest to O’Brien’s Warhol–it is just so oddly perfect.

Unlike other biopics like Bohemian Rhapsody, Rocketman, and Judy, Weird: The Al Yankovic Story does not feel exploitive or off-putting. There is no speculation on certain events or rumors because it is intentionally non-accurate! In this version of Al’s story, the man literally goes from nothing to fame in one hour and then hooks up with Madonna within a week. Radcliffe’s Yankovic kills people, does some questionable things, and somehow dies in an unfortunate circumstance in 1985. The actual Yankovic is in the movie so obviously none of it is true but that is why it is funny. There is always a running joke for the last 2/3 of the film which keeps the audience engaged and intrigued.

Weird: The Al Yankovic Story does not take itself seriously in the best way, creating a new genre of biopic where not everything has to act as though it is accurate. Its mindless and creative energy is a nice outlier in today’s movie scope. If you find yourself bored literally just type the word Roku into Google and you will be watching the film within two clicks. It is time to get out of reality and into parody!

References:

https://www.imdb.com/title/tt17076046/?ref_=ttfc_fc_tt

https://www.wired.com/story/weird-al-yankovic-movie-cameos/

I want to preface this review by saying that my experience with projects in the DC comics universe has been a mixed bag. In recent years, I have enjoyed Shazam!, fallen asleep halfway through Aquaman, dozed off during The Batman, disliked Wonder Woman 1984, and absolutely adored Peacemaker. So, coming into Black Adam I sort of just went in blind. It is difficult enough for me to understand the Marvel Cinematic Universe, so trying to understand the choppy connections of the DC films is just too much for me. As soon as the movie began, I felt an instant realization that I should have done some research beforehand to get me up to speed, because the audience is automatically thrown into a story with “pre-established” characters and little context. With that being said, there should be little spoilers but again I have a bad background with this comic universe, so I apologize in advance. Let’s get into it.

Black Adam is led by Dwayne Johnson, with a supporting cast of Aldis Hodge, Pierce Brosnan, Noah Centineo, Sarah Shahi, Quintessa Swindell, and Bohdi Sabongui. The film is set in an other-world city known as Kahndaq in which numerous supporting characters accidentally let out a 5,000 year old god (Black Adam). Appearing to be a bad guy, Johnson’s character fights the supporting characters in an effort to keep his newly re-establish power. The audience watches as Adam goes through his family history backstory and other characters have flashbacks that all connect as well. As everything wraps up, Johnson makes the  audience question what “side” he is on, potentially leading to another story in the future. I apologize for not being more thorough, but again this film is choppy and hard to follow.

I have lightly been watching this film’s development process and am well aware of how much Johnson was involved along the entire way. If my memory serves correctly, I believe he was the one to pitch this movie to the executives at Warner Brothers. He basically set up himself being the star, and it is so abhorrently obvious. Much like Don’t Worry Darling, this film thinks it is smarter than it is.  It tasks the audience to grapple with the idea that not all those with superpowers have to be good or be on one side, they are complicated beings. This part of the concept is executed clearly I suppose, but with little substance. I honestly think this is because of The Rock. I generally find him to be a bad actor, but he is just so blank in this film. Obviously, Johnson is best known for his physicality and prior wrestling career, but he should not be starring in this movie just for his pretty face, money, and recognition–it greatly takes away from the story.

Hodge, Brosan, and Centineo’s characters specifically have obvious ties back to prior DC films, but I could not tell you what they are. This creates a barrier for those less-committed audience members because there is no context on their back story which leads to an even more confusing story. DC often just throws groups together, but this group of supporting characters seems even farther a stretch than usual.

The story and plot itself simply have issues in my eyes. It is hard to follow yet feels familiar, like something that someone has done before. Key plot points like saving the citizens of a certain place, hero revitalization, and family reconciliation in this film feel as though they came from a template. The writing is rough, generic, and lazy–likely due to the film’s process–which hurt my attention span while watching. I suppose the best way to describe it is that nothing is genuine, which isn’t a great feeling to have about a story.

I will say that the action in this film is heavy and I greatly enjoyed that aspect. Unlike some recent DC films, I didn’t get a quick nap in at any particular point which is a positive. The costumes look very cool and the CGI is not appalling, which many superhero movies can have issues with. This film also seemingly moves the overall storyline of many of the supporting characters in a subtle way, which I appreciate.  The non-leading actors actually throughly did their job to act, which is a plus. I would watch this movie again if I had to, which cannot be said about some of its predecessors.

Ultimately, Black Adam falls flat but no one should really be surprised by that. A movie self-promoted, heavily funded, and pitched by its own star can often lead with ego over quality. The supporting actors tried their best and I do still love The Rock, but I simply cannot recommend this movie. Stick with Marvel like the rest of us.

References:

• https://www.imdb.com/title/tt6443346/
• https://variety.com/2022/film/box-office/black-adam-projected-second-weekend-prey-for-the-devil-1235417560/
• https://www.koimoi.com/box-office/black-adam-box-office-day-2-dwayne-johnson-starrer-stays-decent-on-friday-its-the-top-performing-film-amidst-competition/

In recent years, I keep hearing the word “synergy” from companies in the Entertainment and Media Sector. Disney, Comcast (NBC-Universal), Paramount, and even Netflix have steadily been increasing their corporate synergy machines; mashing/mixing their different businesses in order to appear as one connected unit in the public eye.

The greatest example of this to me is The Walt Disney Company, as they have recently added 20th Century Fox, Hulu, and Searchlight Pictures along with Disney Plus to their mega business. Because of the acquisition, Disney finally had total hold of The Simpsons and last November (for Disney Plus’ second anniversary)  the series released a special named “The Simpsons in Plusaversary” on Disney Plus, which practically was a mix of all of the intellectual property on the streaming service shoved into a 30 minute Simpsons episode. It was funny I suppose, but also directly cited in the episode that its purpose was to better push corporate synergy. I find it funny that the writers and those in charge of this lower-level special were able to directly make fun of their corporate managers who are pushing for this kind of content.

This type of synergy goes way beyond media as well and into the various theme parks and cruise ships that Disney operates. Disney’s hit Frozen opened in theaters in late 2013 and less than 3 years later a ride based on the film opened at Disney’s EPCOT in Walt Disney World. Disney just premiered its newest film, Encanto, at the end of last year and there are already rumors of a new attraction based on the soon-to-be franchise in Disneyland Park. Disney Cruise Line unveiled their newest ship over this past summer that features a Marvel-themed restaurant with a film starring Ms. Marvel, a marvel character whose show premiered on Disney Plus literally less than a month before the new ship set sail. These connections, this “synergy” is happening more quickly to try to immerse guests in the stories they see on the screen. It is sort of crazy how much trust and finances go toward projects based on intellectual properties that have no true evidence of longevity.

This type of corporate synergy is not exclusive to Disney though, with Comcast-owned NBC-Universal focusing more and more on synergy of their multiple brands. This past summer, Universal Pictures’ Minions: The Rise of Gru premiered as the first film in the infamous Despicable Me franchise in over 5 years. To celebrate and promote the film, NBC’s morning show, Today, showed drawings done by Universal artists of the anchors portrayed as minions. This helped advertise the film and connect the two brands that are not always seen as one.

Comcast is also pushing synergy in their Universal theme parks. NBC’s popular late night host Jimmy Fallon received his own ride in 2017 named “Race Through New York Starring Jimmy Fallon”. This attraction is screen based, riding along with Fallon as he goes through his show stage, Rockefeller plaza, the Statue of Liberty, and other NYC icons. They have done similar attractions with the recent revitalization of the Jurassic Park franchise and kid-favorite The Secret Life of Pets. Entertainment and Media companies are striving right now to push their products to as far means as possible, but this could actually end of hurting the consumer’s perception of the company.

Of course, this corporate synergy is nothing more than marketing in the name of the bottom line. But, when this marketing/advertisement for a certain product is encased within another, it puts a bad taste in the mouth of the consumer. When going to theme parks or watching media, there is an expectation, at least generally, to have new and original content that is more than just advertisement with little substance. While I do think that this gives these big conglomerates more money in the short term, there is a cap on how much the consumer will take. There can be too much of a “good thing” and in this case I think synergy has hit that mark.

References

• https://deadline.com/2021/11/the-simpsons-in-plusaversary-new-animated-short-to-premiere-on-disney-plus-day-1234866340/
• https://disneycruise.disney.go.com/why-cruise-disney/wish/
• https://wdwnt.com/2022/06/entrance-tree-to-tarzans-treehouse-fully-removed-for-retheme-at-disneyland/
• https://www.today.com/video/see-the-today-anchors-minionized-143160389514
• https://disneyparks.disney.go.com/blog/2016/04/frozen-ever-after-attraction-set-to-open-at-epcot-in-june/

Throughout the past few years, streaming services have been at war, trying to find a balance of value to the consumer and profits for the company. HBO Max, Netflix, Disney Plus, Hulu, Peacock, Paramount Plus, Showtime, and more had been so focused on subscriber growth. Many of these services are dependent on other aspects of their parent companies to keep them afloat because many streaming services are not breaking even, let alone making money. Recently, these streaming platforms have been shoving money at content based on reboots or sequels to originally cable-aired series/movies. For example, Hocus Pocus 2 just released on Disney Plus, Peacock recently announced a movie Sequel to their beloved Community series, a Frasier reboot is coming to Paramount Plus, and Fuller House recently ended its run on Netflix. While these streaming services also have a ton of original content themselves, there was not a ton of hit, original content on cable channels; that all changed last year with Abbott Elementary.

Written by and starring Quinta Brunson, Abbott Elementary focuses on the staff of a low-funded school in Philadelphia. Its mockumentary format is very similar to that of The Office and Parks and Recreation. In addition to Brunson, this series stars Sheryl Lee Ralph, Tyler James Williams, Janelle James, Lisa Ann Walter, Chris Perfetti, and William Stanford Davis as the staff of Abbott Elementary School. In my opinion, the writing is modern and genuinely funny, with a cast that showcases their skills in a brilliant and heart-felt way. Season 2 of the series started last month and while doing press with Variety, Quinta Brunson was asked why she wanted the show to be on cable. Her response struck me:

‘Abbott’ is interesting because of the audience it seems to bring back to network [TV], I can’t put my finger on it. Some people just say millennials, but it’s not. It’s a certain type of viewer that wasn’t watching network TV, and ‘Abbott’ has given them a show to watch.

There is just something unique, a certain spark perhaps abut this show that I feel has not been on network TV for over 5 years. Plus, ‘Abbott’ is finding its place in a more professional setting; getting 7 nominations and 3 wins at the 2022 Emmy Awards for Outstanding Casting, Writing for a Comedy Series (Brunson), and Best Support Actress in a Comedy Series (Ralph).

This series I find to be relatable to a wide audience as well as genuinely inclusive both in its cast and episode topics. In the first episode of Season 2, the teachers focus on finding solutions in their older school for students with disabilities. The ‘Abbott’ team also donates a majority of their marketing budget to help teachers get school supplies, which is so incredible. Quinta Brunson genuinely cares about these issues and you see that care in action on the screen, which I find so intriguing as an audience member.

While streaming services do have great, gritty content with high budgets and heavy work put in, cable is not going anywhere. The streaming service industry is arguably getting too saturated with its many options that can easily become overwhelming and unappealing.  Abbott Elementary is simply more accessible, making it easier to just watch and enjoy.

As many streaming services continue to struggle staying afloat, Abbott Elementary gives a new light to the glorious standard of network television. As media conglomerates continue to evaluate their products, I have a feeling that we will start to get more cable content thanks to Quinta Brunson’s Abbott Elementary. 

References

https://www.digitaltrends.com/home-theater/streaming-wars-not-what-you-think/

https://variety.com/2022/tv/features/quinta-brunson-abbott-elementary-network-tv-1235285395/

https://www.emmys.com/shows/abbott-elementary

https://www.tvinsider.com/show/abbott-elementary/

https://variety.com/2022/tv/features/quinta-brunson-abbott-elementary-emmys-season-2-1235372493/