Summary of “The Force Belongs To Us: THE LAST JEDI’s Beautiful Refocusing of Star Wars – FILM CRIT HULK! HULK BLOG!”

A charming way of storytelling that whispers sweet nothings in your ear and is out the window before you wake up.
In making a Episode 7, I was hoping he’d cast it aside, and in some ways he did, and in some ways doubled down on some of his worst story habits of “Momentary effect” over building to a coherent point.
Sometimes it’s done in a funny way, sometimes in an incredulous way, but it’s always in purposeful way.
So for something to be “Invisible” and for you to be “In it” is not necessarily a virtue of any filmmakers ability or the lack, but largely what we bring in our own way of seeing.
The way the film plays with audience expectations with her is never a “Ta-da! surprised you, didn’t I!?” It’s what most good turns do in that they make you slap your forehead and go “Of course!” Poe’s mutiny was always misguided, him repeating the mistakes of the past.
Because it has to earn so much of the real biggest mystery presented in the last film and that’s WHY, why would Luke ever do this and run away? The answer, and then the films answer to that answer, is one of the most brilliant last lessons that the Star Wars universe has yet to give: and that is the acceptance of / and learning from failure.
“My friend said this in a conversation a long time ago. And he didn’t mean it about the characters themselves, nor what they meant to him. He meant it in the sense of the Star Wars series’ focus on lineage and the way some all powerful family who are the most powerful force users who basically controlled the fate of galaxy was super gross. And he’s right, quite frankly. Because it’s everything I hate about the notion of ‘destiny” and “Why I’m destined to be a hero!” bullshit.
Who, within them so innately carry the understanding of the horrors of that world, and thus so tangibly know the simple, inescapable ways for it to be better.

The orginal article.

Summary of “How SuperShadow Tortured Star Wars Fans on the Internet for 20 Years”

There was never a good reason to take SuperShadow seriously as a news source.
Once the jig was up, he could have faded into obscurity.
As anyone who hung around message boards and in movie website comments sections of the time knows, goofing on Suttle was the pre-social media equivalent of quote-tweeting Dinesh D’Souza, Tomi Lahren, or President Donald J. Trump.
The more Suttle was singled out for cheap-and-easy laughs, the more popular he became.
“Truth be told,” says Rhea, “I think a lot of us, myself included, helped inflate his importance by being so gung-ho about disliking him.”
The original Legendary Iconic SuperShadow Ultra Infinite Mega Genius is no more, but his form of relentless self-aggrandizement is a thriving way of life for tens of millions of Americans today.
In the Star Wars microcosm, sounding off about the upcoming movies sans facts is now a lucrative cottage industry; one only has to look around to see the same practices working on a larger scale.
SuperShadow created a world in which he was always right about Star Wars, and he lived there happily, a fake-news publisher ahead of his time.

The orginal article.

Summary of “The 10 Best Films of 2017”

Columbus Any number of well-made, stylish indie movies can be full of gorgeous frames and scenic photography, and an even greater number of those movies can tell stirring stories of youth and self-discovery.
Get Out is a movie we’ll undoubtedly remember for being a surprise phenomenon, and rightly so.
Baker has one of the most sympathetic eyes working in American movies today, and this gloriously widescreen movie, which feels thoroughly steeped in a sense of community above all, is his richest to date.
The real story of Hittman’s movie, and the reason it stands out from Call Me by Your Name and other good movies of its stripe, is one of images.
The Lost City of Z I love jungle adventures, melodrama, and grandiose intellectual and spiritual revelations-so of course I love movies, and of course I especially love The Lost City of Z, James Gray’s rip-roaring account of real-life explorer Percy Fawcett’s professional obsession with uncovering the secrets of the Amazon.
Good Time, directed by brothers Josh and Benny Safdie and starring Benny alongside Robert Pattinson, is the movie 2017 deserves.
As cinema, it’s a smooth gloss on the gritty crime movies of yore, embodying everything that’s good about the ongoing nostalgia trip currently afflicting movies and TV while falling prey to none of the usual bad habits.
The movie tells the history of Dawson City, an old gold rush town in the Yukon territory of Canada, where, in 1978, 533 silent films dating back to the 1910s and ’20s were discovered to have been buried in the snow for decades.

The orginal article.

Summary of “Andy Warhol and Edie Sedgwick: A Brief, White-Hot, and Totally Doomed Romance”

When Andy saw Edie, leg in a cast, hair in a beehive, he was like a cartoon character who’d had a safe dropped on him, little stars and tweeting birds dancing around his head. Persky told writer Jean Stein, co-author with George Plimpton of Edie: American Girl, “[Andy] sucked in his breath and … said, ‘Oh, she’s so bee-you-ti-ful,’ making every single letter sound like a whole syllable.
Before Andy looked at Edie and saw Andy, Andy looked at Edie and saw Marilyn.
“I could see that she had more problems than anybody I’d ever met,” said Andy, describing his initial impression of Edie in The Philosophy of Andy Warhol.
There were differences, too, naturally, ways in which Marilyn and Edie couldn’t have been further apart: Edie was a debutante, not a guttersnipe; a party girl, not a career; a nouvelle vague gamine, cropped-haired and flat-chested, not a Twentieth Century Fox, silky-locked with cleavage running in both directions.
It’s a sign of how fast and hard Andy fell for Edie that a few weeks after Persky’s party he invited her to accompany him and his assistant, Gerard Malanga, to France for the opening of his Flowers exhibition.
Now for what Edie saw in Andy: the father she never had, and the father she did have.
My bet is that Irving Blum was closer to the mark when he said, “Hollywood was incredibly glamorous and Andy was seduced by glamour, but he was also absolutely on his own track. I think he would’ve loved to undo the Hollywood thing.” Edie was certainly his undone Marilyn.
Said Billy Name, the only person besides Edie to appear in the movie, “For Andy, when the camera was rolling, whatever was written disappeared.” And the movie, two reels, had nothing to do with Vélez, was the usual day-in-the-life-of-Edie, though at the end of both reels Edie’s head was in a toilet.

The orginal article.

Summary of “What Netflix doesn’t want you to know about how its synopses are written”

Netflix synopses can be concise, sassy, opaque, or on-the-nose.
Netflix descriptions aren’t all so conversational or tongue-in-cheek.
I wrote back asking if there were any details they could share, and was again rebuffed: “I don’t have anything to share, but thanks for checking.” First of all, you’re welcome! And second of all, what? Why, I wondered, wouldn’t Netflix want to let me in on the wondrous mystery of their movie synopses?
“The Netflix team decided to scan in photos and titles from the boxes anyway and wait for the cease-and-desist letters,” Keating writes.
I then contacted Keating, who responded that she doesn’t know how Netflix generates their movie descriptions now.
Keating had no explanation for why Netflix would be secretive about the way they generate their synopses now.
That’s what Netflix doesn’t want us to know.
“All Netflix synopsis writers are full-time, experienced, professional writers hailing from digital and print journalism, film scholarship and creative writing backgrounds. Many have 10 or 20+ years of experience and this also includes bilingual staff who bring regional content expertise. Their key objectives are to create 100% accurate synopses and provide the most trustworthy entertainment experience possible to help give viewers important contextual information about a title.”

The orginal article.

Summary of “The Fascinating Implications of a Disney-21st Century Fox Deal”

A disturbance in the force has emerged in the entertainment industry, as CNBC reported Tuesday that Disney is closing in on a deal to acquire a large portion of 21st Century Fox.
It’s not like Disney and Marvel were going to run out of heroes-Black Panther and Captain Marvel movies are on the way, and we just got reintroduced to Spider-Man-but acquiring Fox would give the MCU even more to work with.
A Disney streaming site on its own may not have been strong enough to make Netflix sweat, but adding Fox and everything that comes with it could do just that.
A Whole New World of IP Superhero movies notwithstanding, Disney would gain valuable franchises from 20th Century Fox in other areas.
Horror movies are having a critical and commercial renaissance thanks to the likes of Get Out and It; could we see another Omen film? What if Disney decided to reboot M*A*S*H? Who would say no to a new Sound of Music, aside from Julie Andrews purists? Assuming the deal goes through, Disney would basically become a synonym for entertainment.
Can you imagine that what Ryan Reynolds pulled to get Deadpool to the big screen would ever fly at Marvel or Lucasfilm? Would Marvel have let Hugh Jackman turn Wolverine into a depressed, suicidal alcoholic in a gritty, R-rated Western? Would Disney look at War for the Planet of the Apes and think, “Sure, let’s spend $150 million to make The Bridge on the River Kwai, but with monkeys”? Even 20th Century Fox’s recent flops, like whatever the hell A Cure for Wellness was supposed to be, are at least audacious attempts to reinvigorate the box office with something people haven’t seen before.
Disney is already the Galactic Empire of the entertainment industry, with or without the deal.
Having 21st Century Fox under its corporate umbrella would be like giving Disney a Death Star.

The orginal article.

Summary of “Hollywood’s Coveted New Audience? Young, Digital…and Chinese.”

Executives gathered at the 2017 Fortune Global Forum in Guangzhou, China to discuss how the burgeoning Chinese market is already changing the face of industries once solely dominated by the United States.
In a panel discussion moderated by WndrCo managing partner Jeffrey Katzenberg, China Media Capital chairman Ruigang Li and STX Entertainment CEO Robert Simonds agreed that the changing landscape presents ample opportunity.
“We’re the new audience,” Li said of China.
“It’s the fastest changing audience base anywhere in the world. The Chinese consumer-they learn, they adapt, they move on at a pace that I don’t think anyone is doing.” In China, you’re constantly trying to keep up with audience.
Plus, as China’s standard of living increases, “We’re gonna clearly get a much larger insistence for even better entertainment and more entertainment,” Simonds said.
What certainly did work in the ensuing years is the creation of successful, ambitious blockbuster films made in China for China.
So what’s the future of film? Chinese movies exported to the rest of the world, or a Hollywood that operates in a China it better understands?
“The system is the major thing we have to consider. Hollywood is a system. Everything is about an industry. It’s a systematic way of creating content. Education, talent management, creative production, financing. It’s industrial. China is still behind because it [needs] an industrial system for creating content in a sustainable way.”

The orginal article.

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If you missed it, the movie is a hell of a ride with some gorgeous filmmaking and one of the best endings of the year.
The more we learn about those secrets, the wilder the movie becomes.
J.D. Dillard’s Sleight is the best superhero movie you didn’t see this year… although it’s only partially a superhero movie.
The movie’s story beats can feel sort of familiar, but Jacob Latimore is fantastic as the lead, and it has a truly wonderful finale.
Spaceships, laser guns, massive alien creatures-The Osiris Child has everything you love about science fiction movies, all rolled into one.
While most movies love to show you as much as possible, It Comes at Night does not.
Suffice to say, A Ghost Story is a movie I haven’t stopped thinking about since I saw it, and you won’t either.
Is Darren Aronofsky’s mother! a science fiction movie? It can be if you want it to be, and that’s why it’s so good.

The orginal article.

Summary of “The Best Movies of 2017”

‘THE FLORIDA PROJECT’ Mr. Baker makes heartbreakers about people usually ignored by movies: a porn actress and the forgotten elderly woman she befriends in “Starlet”; two transgender female prostitutes in “Tangerine.” In “The Florida Project,” he tells a deeply American story of children and adults struggling at the margins of Disney World, creating a 21st-century “Grapes of Wrath” with psychedelic color and gobs of spit.5.
Mr. Peele does much that’s right and it’s worth remembering that what makes his movie memorable isn’t only what he says, but also how he makes meaning cinematically with finely calibrated timing, a sense of alienated space and an indelibly haunted, haunting image of the void.6.
‘WONDER WOMAN’ I love all the movies on my list, but more than any other this year, “Wonder Woman” reminded me that we bring our entire histories when we watch a movie – our childhood reveries, our adolescent yearnings and adult reservations.
That’s what these movies did for me this year.1.
‘GET OUT’.Jordan Peele wrote and directed the inescapable movie of 2017, a work of biting anti-consensus filmmaking that broke box office records.
There are movies that satisfy the hunger for relevance, the need to see the urgent issues of the day reflected on screen.
The kid-goes-to-college movie has emerged as a minor American genre.
His performance as Caesar, spanning three movies, is one of the great feats of acting in modern movies, a breathtaking fusion of technological magic and solid thespian craft.

The orginal article.

Summary of “Marvel Looks Back at Iron Man-the Movie That Started It All”

Nine years and 16 movies since that first Marvel Studios effort, Feige and the rest of the team behind the first Iron Man-director Jon Favreau, star Robert Downey Jr., and the studio’s original head, Avi Arad-couldn’t help but think back on the film that started it all.
Feige: In my seven years, from 2000 to 2007, before we started Marvel Studios, you can see movies that worked and the movies that didn’t work.
I remember thinking, If something’s not going to work, I’d rather it be because we had what we thought was a good idea and it just didn’t work, versus, we were unable to convince the decision-maker to do x, y, or z. Arad: Yeah, we got a piece of the movies, we got revenues from toys and merchandising and so on, but why are we taking, relatively, a small fee off a movie, especially in the good DVD days? We started the process of thinking about.
For as much pressure as that was to say, “Can you go from single-handedly”-I don’t mean me, I mean the studio-“Single-handedly producing zero movies on your own to producing two movies in 2008?” I said yes, because what else am I going to say? No?STARTING WITH IRON MAN. Arad: The first we made was Iron Man…. [New Line] didn’t know what to do with it.
I never really thought that because I knew that Iron Man was really cool and Hulk was, arguably, next to Spider-Man, the biggest character we had. I thought they all had amazing potential, but the goal was deliver these two movies, and make the best Iron Man film we could, and make the best version of Hulk, even coming five years after another version of Hulk.
Feige: We put it at the end of the credits so that it wouldn’t distract from the movie.
THE RELEASE, 2008, AND EVERYTHING AFTER. Feige: It was after the weekend of Iron Man that we said, “Oh, A) we’re going to be able to make more of these movies, and B) we’ll be able to tie them together.”
Feige: When we were in production on the first Thor movie, people would ask me, “So this is in the same world as the grounded Iron Man film? How is that going to work?” I go, “Iron Man’s not that grounded. He built a big metal suit. Shoots fire in a cave and flies around.” It was always about the movie at hand, and everyone within Marvel Studios just knows the individual movie trumps the overall picture.

The orginal article.