Monthly Archive: November 2014

Marc Alan Fishman: Big Hero 6, Style and Substance

So the wife and I celebrated our five years doin’ it legal style with an Iron Chef dinner followed by Big Hero 6. If you don’t get how awesome that is, then you don’t understand why I married my wife. Our meal was fantastic. The movie? Dare I say it… just as good.

Big Hero 6 is a big, wide-eyed action-adventure that skews towards the young at heart. Born by way of a not-really-well-known Marvel series (c. 1998, and then again in 2008) turned inside-out into a brand new property for the House of Mouse. The team behind Frozen – that flick about the Nordic chic who opted to not live at Professor X’s house – and Wreck-It Ralph, provided the visuals. Joe Kelly, Steven T. Seagle, and Duncan Rouleau provided the script.

The flick itself is power-struggle between slick and polished style, and throaty topics that are typical to Disney kids fare. One minute, the camera swoops and pans over a computer-processed mashup of San Francisco and Tokyo. Our hero’s brother is tragically killed while trying to be a hero. And forgive me for not yelling “Spoiler Alert.” As I said: this is a Disney movie. For every action sequence that litters the screen in jaw-dropping coolness, there’s an equally potent plot point revolving around the acceptance of death in life. When you really consider that, it’s a hard mix to make, and BH6 pulls it off in spades.

I realize now that this is quickly becoming a second class Snarky Synopsis. But it needn’t be. The movie is great. Go see it.

The real meat I want to sink my teeth into here is in the balance of the presentation. Too often I’ve heard complaints that all ages properties are limited by the constraints of the social contract. Take away the blood, guts, swears, and boobs and you’re swimming with cement shoes. Movies like BH6 prove that’s the kind of excuse someone hides behind. Here’s a movie that presents us with death, revenge, vengeance, and justice and doesn’t dumb it down or shy away from uncomfortable feelings. Better than that, the script doesn’t feel the need to yell these motifs at us; instead, it presents them fairly matter-of-factly, before reverting back into explosions, lasers, and visual cacophony.

If there’s beef to have (because pobody’s nerfect) it only comes when BH6 follows to closely to the paint-by-numbers plotting. There’s little stretch to be had with the story beats hit across the 90 or so minutes. Essentially our Hiro (that’s funny cause the hero’s name is… well…) suffers a big loss, tries to bury his feelings, before being forced to confront them literally in the form of his arch nemesis. And in between he learns what it means to be a good friend, a good leader, and a great nephew to his aunt (his caretaker). Who knew all it could take was his genius invention being stolen, used for nefarious purposes, and an amazingly heart-jerking sacrifice to reach catharsis!

As stated above, Big Hero 6 is a battle of style versus substance. Because the CGI created universe is well-formed, highly detailed, and full of personality, it’s easy to overlook some of the more predictable beats. And if there’s ever a case to defend an all ages property to sticking towards tropes that work, this would be a fine example. Here’s a tip of the cap to those screenplays that come straight off the shelf, made better through the sum of all the parts the film makers build over the basic skeleton. The style begets the substance. Under a lesser lens, this movie would be written off as just another romp around CGI-land (See Madagascar, and several other wastes of celluloid). Instead, the witty script, memorable characterization, and truly sharp design (the city, Baymax, and the villain being the largest standouts) elevate the story to be enjoyed across all ages.

If more material could be produced with the same verve, we’d be living in a golden era. While Marvel and DC salt their Earths with their overblown comic continuity on a week to week basis, here in the movies we’re getting fully realized properties seemingly unafraid of shying away from the grim and gritty. In the case of Big Hero 6, when the grim and gritty need to come out there’s enough cushion of well-thought out and earned bravado to allow for shades of grey. Here’s to a bit more of that in the coming times for we, the content creators and, more important, the content consumers.

 

The Law Is A Ass

BOB INGERSOLL: The Law is A Ass #334: THE FALL OF THE FANTASTIC FOUR; THE WINTER OF MY DISCONTENT

tumblr_n6q6zjyY4D1rwso0yo1_500I have no idea what happened in this comic.

The trial shown in Fantastic Four v 5 # 5 started because some creatures escaped from the pocket universe created by Franklin Richards and wreaked havoc on Manhattan. A bunch of citizens upon whom havoc had been wreaked sued the Fantastic Four in a class-action suit. Had that been the extent of the trial, I would have had no problems. But somehow the trial morphed into something so unrecognizable that I became gobsmacked and I found myself spouting British slang instead of simple American words like nonplussed or flabbergasted.

And I found myself unable to understand what happened in the comic.

What I do know – what I was able to understand – was that what had been a simple class-action suit for damages had become a “hastily formed” “special judicial inquiry.” What kind of “special judicial inquiry?” I don’t know. It can’t be a civil case, because opposing counsel was prosecutor Aiden Toliver and prosecutors appear in criminal trials.

In civil trials you have plaintiffs and defendants v. In criminal trials you have prosecutors and defendants. If prosecutor Toliver is the FF’s opposing counsel, it would appear that the civil class-action case had become a criminal case.

How? A civil case can’t just become a criminal case, they’re entirely different types of cases with entirely different burdens of proof. Remember O.J. was tried in a criminal case for murder and found not guilty because the prosecution couldn’t prove his guilt beyond a reasonable doubt? Remember how he was then sued in a civil court for wrongful death where the jury found, by a preponderance of the evidence, that he had committed the murders? His criminal case didn’t suddenly become a civil case. He had two trials. Trials in the plural.

I suppose that while the class-action lawsuit against the FF was being prepared, some party became alerted to the FF’s history and brought criminal charges against them. But that would have been a separate case and a separate trial, like O.J.’s trials – trials plural – were. So what happened to the civil case? It didn’t just become the criminal case, as the story implies.

Also the FF’s trial can’t be a criminal case. In the United States, the Fifth Amendment absolutely forbids the prosecution from calling the defendants as witnesses in its case in chief. Yet Prosecutor Toliver called Reed Richards, Ben Grimm, Sue Richards, Johnny Storm, Reed Richards again, and then Sue Richards again as prosecution witnesses. He called more defendants than a bailiff in the arraignment room. So it must be a civil case for damages not a criminal case.

Except, in the end the judges presiding over the trial – yes, judges, there were clearly three of them sitting at the bench – didn’t award any civil damages that I saw. Instead, the judges evicted the FF from the Baxter Building and took custody of the Richards’ children and the other children of the Future Foundation and put them in the care of S.H.I.E.L.D.

Only I don’t see how that could have happened. If the case was a civil damages suit, the trial court wouldn’t have had jurisdiction over the question child custody. That would have been the purview of Family Court, and that court wasn’t involved in the case at all, that I could see.

Now, I suppose forfeiture of the FF’s custodial rights and eviction from their home could have been conditions of probation http://legal-dictionary.thefreedictionary.com/probation. But that would mean that the case was a criminal case, that the FF was convicted, and that they were put on probation. That might work. (Are you starting to feel like you’re watching a Tennis match here?)

Yes, a criminal case. The case couldn’t have been a civil case, because there were three judges. In the United States, when a civil trial waives a jury and tries the case to the judge, the judge who hears the case is the judge presiding over the trial. That’s judge in the singular. Civil trials don’t normally have three-judge panels.

Of course, criminal trials don’t even have three-judge panels for the most part either, unless it’s a death penalty case. This wasn’t a death penalty case. At the end of the day, the FF was evicted from the Baxter Building, but they weren’t relocated to Death Row. Or even to Def Jam.

Wait, a criminal case with a three-judge panel. And the cover copy said “Accused: Crimes Against Humanity!” Was the FF being tried in the International Criminal Court, or as it’s more commonly called the World Court? Maybe. The World Court does conduct its criminal trials before a three-judge panel with a prosecutor representing the plaintiffs.

But, if it was the World Court, then why was the trial being held in “Manhattan’s central courthouse,” and not the World Court building in The Hague? Possibly, because Article 3 v of the Rome Statute, the multi-national treaty which created the World Court, says that, “The Court may sit elsewhere, whenever it considers it desirable, as provided in this Statute.” Most of the witnesses – which mostly seemed to be the FF itself – lived in New York. I could see the World Court relocating this trial to New York as being more convenient to the participants.

That’s it then, the FF was being tried for crimes against humanity in the World Court. Crimes such as, oh what heinous acts did Prosecutor Toliver ask them about? Minor physical damage caused by the Invisible Woman. Property damage caused by The Thing. Property damage caused by the Torch. Property damage caused by fighting the Hulk  in Manhattan. Not helping S.H.I.E.L.D. or some other agency trap Namor so he could be tried for war crimes. Not sharing what they knew about the Inhumans with any branch of national security. Letting Reed and Sue’s daughter Valeria live with that known terrorist Dr. Doom. Misplacing the Ultimate Nullifier. Letting Annihilus and Blastaar and other such nasties come out of the Negative Zone portal to attack New York City. Sue causing a riot and destruction in New York after she had been brainwashed by the Hate-Monger and adopted the name Malice. Oh yes, and Ben Grimm, in a fit of pique, destroying the taxi cab of one Mr. Dupois and the FF’s lawyers failed to make reparations in a timely manner.

So that, property damage and negligence is how prosecutor Toliver defines crimes against humanity. Know how Rome Statute defines it? “[P]articularly odious offenses in that they constitute a serious attack on human dignity or grave humiliation or a degradation of human beings.” Crimes against humanity are also the acts of government, not men. Okay, men do the acts, but do so either as part of a government policy or with the approval of the government. Crimes against humanity include such things as murder, massacres, extermination, human experimentation, slavery, cannibalism, torture, rape, persecution and other inhuman acts. They don’t include forgetting to throw the dead bolt on the Negative Zone hatch.

That being the case, the case wasn’t a trial in the World Court for crimes against humanity, either.

So what was it?

I’d like to say, “Ah’m so corn-fused.” But I’m not Li’l Abner. If I can’t go with the Al Capp ending, I’ll go with an aria da capo ending.

I have no idea what happened in this comic.

The Point Radio: James Wolk – Yeah THAT Guy

We all loved actor James Wolk as the slightly creepy Bob Benson in MADMEN, plus his run with Robin Williams on THE CRAZY ONES. Now he’s part of CBS’ next big summer event,  ZOO,  and the star of a new quirky indy film with the folks from SONS OF ANARCHY. He covers it all with us. Plus the new sitcom, THE McCARTHYS is really a family affair especially for third generation talent Tyler Ritter who explains what finally brought him into show biz.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

Ed Summer’s Comics and Movies

Ed Summerby Mike Gold and Martha Thomases

Ed Summer, the man who opened one of America’s first comic book stores and went on to a varied and significant media career, died Thursday from cancer.

A graduate of the New York University School of the Arts (his classmates included Oliver Stone, Jonathan Kaplan and Alan Arkush), Summer opened the Supersnipe Comic Book Emporium on Manhattan’s upper east side in 1971. The store was named after the Street and Smith comic book character who owned more comic books than anybody else in the world. In the late 1970s he opened a comic art gallery, also one of the first, near his store. His friend George Lucas was an investor.

Moving on to motion pictures, Ed wrote or co-wrote Conan the Barbarian (and also was associate producer), Mickey Mouse and Donald Duck cartoons for Disney, and Shinsha (a anime take on Little Nemo). He  was marketing and script consultant for Star Wars: A New Hope and advised Lucasfilm Ltd on numerous projects over the years.

Summer also wrote comics for Gold Key, DC and Marvel and he wrote numerous articles for a wide variety of magazines, including Time, Skeptical Inquirer (a science magazine) and Video Watchdog. He also edited and published Walt Disney’s Uncle $crooge McDuck: His Life and Times, one of the first detailed retrospectives on the work of master storyteller Carl Barks, and was an adjunct professor at New York’s School of Visual Arts.

And that just scratches the surface of Ed’s vast media career.

A native of Buffalo New York, In 2005 Ed started the Buffalo International Film Festival, one of his proudest achievements. He told ComicMix’s Martha Thomases he did it not only to bring some tourism to his hometown, but also because there were so many fabulous old movie palaces there. The Festival continues to this day.

Ed truly loved the movies.

 

Martha Thomases: Free Comics, Convergence And More!

This is going to be a slap-dash column, full of random thoughts (and, I hope, insights) because I’m having a slap-dash episode. The plumber is supposed to be here fixing my kitchen sink at some time in a four-hour period. I don’t know when he will arrive, but I’m pretty sure it will be when I’m in the middle of something really complicated.

The super in my building is supposed to come by to hang a picture for me that is too heavy for me to hang by myself. Again, that time thing makes it difficult to plan properly, or to think and act in an orderly manner.

My son and his girlfriend are coming to visit (hence the increased urgency for a working kitchen sink) and I have to make up the guest room, make sure there are snacks in the fridge, and explain to Salina the cat that she can’t sleep there at night.

So yes, I’m not thinking a lot about comic books, nor their spin-offs into other media. Except that super-speed and super-strength would be especially useful right now. Together, they would put my plumber and super out of business. Working people will have enough problems from Congress over the next two years without me wishing for extra abilities that make their lives more difficult.

Anyway, here are my random thoughts.

  • Convergence, the DC event that lets the corporate staff move to Burbank and get settled, sounds great to geek me. No, it won’t draw in new readers. No, I won’t like everything. But I’m psyched for Tom Peyer on The Atom, Larry Hama on Wonder Woman, Gail Simone on Nightwing/Oracle, Alisa Kwitney on Batgirl and Greg Rucka on Question.
  • That said, it seems that event-driven comics are not the guaranteed sales they once were and this is only good for comics. I mean, I’m fine with Spider-Man showing up in the third issue of every new Marvel series (god, I’m old), or a new DC character finding herself in Gotham, because that’s a way to introduce new readers to the book. Universe-spanning crossovers are the antithesis of this. Instead of using something familiar to make a new reader comfortable with taking a chance on a new title, crossovers tend to be so complicated (especially if one reads only a few titles consistently, not all of them) that it’s easier to skip the whole thing.
  • You know what would bring in new readers? Free comics. And, yes, Free Comic Book Day is a wonderful thing. So wonderful that I think we can take its success and use it to try to reach more targeted audiences. For example, if I, as a single woman living in Manhattan, could get a Groupon for a free first issue (or trade paperback) of Saga, redeemable at my local comic book shop, I might try it.

Yeah, it’s not cheap. Image would have to support the plan with co-op dollars. Still, I think it would draw in a bunch of people that comic book marketing doesn’t normally reach.

  • I’m liking Matt Ryan as the title character on Constantine. He seems to enjoy the hell out of all the snark he’s supposed to convey. The scripts aren’t terrible – a bit heavy on the exposition, but that’s what happens when there is a new universe to introduce to viewers. I like the way they use comic book art as Easter eggs.

However…

His tie is always askew in exactly the same way. I just know there is someone on set whose job it is to wrangle the tie. It doesn’t look casual. It doesn’t look reckless. It doesn’t look like John Constantine, man of mystery, is caught in a world beyond his control.

It looks affected. More than anything, it reminds me of Miami Vice.

It’s a tie, John Constantine. If you don’t want to wear it, don’t wear it. If you put it on in a half-assed way, day after day, every day, I will think (and I’ll try to use words you’ll understand) you are a wanker.

  • Like a good geek, I get my comic books on Wednesday, usually in the morning because that’s how it fits into my round of errands. Often, I don’t actually sit down to read them until the weekend.

For the last few weeks, I have left-overs on Tuesday.

Are comics worse? Am I outgrowing them, finally, fifty years after all my childhood friends? Is it just a fluke of chance, that storylines aren’t appealing to me?

I take my own advice and try to pick up something new, from an independent publisher, on a regular basis. Lots of these comics (see Saga, above) become part of my regular list. So I don’t think it’s happening because I’m a slave to super-heroes. I still like them.

Any suggestions?

  • There is a new Stephen King book out this week. It’s titled Revival and I know almost nothing about it. I love Stephen King books. Reading one feels like getting into a warm bath, because I know that he can tell a story, and create characters I’ll care about. He cares about them, too.

And I’m probably not going to have the time to read it until the kids go home. And I like having them here and don’t look forward to their leaving.

Maybe I can stay up all night reading. When I finish reading my comics.

 

Tweeks: Big Hero 6 Review

Baymaxwith2SoccerBallsThis week we review Disney’s Big Hero 6!  Of course, we rushed out opening weekend to see it and of course, it’s Tweeks Approved.  It was a winner on Baymax alone, but watch our video to see what else we loved about this Marvel comic turned tear-jerker Disney animated movie.

Dennis O’Neil: Beautiful Gotham City

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BAW WAW WAW WAW snurfle WAW WAW WAW WAW WAW WAW WAW WAW WAW

But enough about the election. Let’s go to Gotham City.

Some 25 years ago there was this big hit movie, Batman, directed by Tim Burton and starring Michael Keaton, set in the fictitious Gotham City. You knew that, right? What you maybe didn’t know, unless you’re the kind of kid whose mother is forever telling him to go outdoors and get some fresh air, for pity sake, is that we who were charged with producing the comic book versions of Batman very much admired the set design of Anton Furst. Yes – this was Gotham! Ugly and foreboding, its walls high, windows few, designed to keep nature outside, out there, because nature was the enemy, and instead became a maze, a place of gloom, miles of squalor sprawled along the Jersey shoreline, and who knew what kinds of dread lurked in all those shadows?

Maybe we should go to Disneyland instead.

We liked Mr. Furst’s work so much that we asked him to design some Gotham for us, for use in the comics. We couldn’t steal directly from the film, for reasons I’ll probably never understand, but we could put Anton Furst’s sensibility on the page, and so Publisher Jenette Kahn and I asked him to make us some drawings. In time, he did. They still exist. Last time I saw them they were decorating the wall of a DC Comics reception area. Like the movie sets and other renderings of Gotham, the Furst drawings didn’t really show much of the city but they did suggest, or maybe imply, what it would be in its entirety.

In the years that followed, other creators, in both comics and movies, have given us their interpretations of Gotham and it is right and proper that they didn’t remain where we were when we left. What lives, evolves. And I’ve enjoyed my successors’ work; this is not me complaining. But whatever the virtues of these later Gothams, I still preferred Anton Furst’s.

Until the new Gotham came to a television screen near me. This is not the movie city, but our teevee brethren understand that sometimes locations can have the psychological weight of a character – see Holmes’s London, or Philip Marlowe’s Los Angeles, and let’s not forget Middle Earth – and, properly executed, such locations lend not only ambience, but also mood and even a weird kind of credibility to the story; they provide a setting where we can believe that the hero does what he does. They help with that old English class favorite “willing suspension of disbelief.”

Almost certainly video’s Gotham is not produced, as was Mr. Furst’s, on a lot about 30 miles outside London. Actually, I don’t know where it’s done, or how. I’m guessing that what we see is an amalgam of sets and street locations and maybe some of that voodoo hoodoo those folks do with computers and green screens. Whatever they do, those folks, it works.

You want bleak. Check your local Fox channel on Monday nights.

We might not know the meaning of life, but a group of scientists working for NASA came up with a definition for it that’s just seven words long: “Self-sustaining chemical system capable of Darwinian evolution.”

 

Mike Gold: They Aren’t So Fantastic…

There has been a debate amongst comics wags that the rumor about Marvel cancelling their flagship title, Fantastic Four, during their 75th anniversary celebration was just that – a rumor. Marvel/Disney couldn’t possibly be that petty. Bleeding Cool.com‘s Rich Johnson, who carried the story, steadfastly stood behind his sources. Good for him.

Evidently, Marvel wasn’t happy with how 20th Century Fox was treating the property in the forthcoming movie reboot, they didn’t want to support it and so were cancelling the comic book. OK, but would they cancel all those X-Men titles if they didn’t like the way Fox handled their latest X-movie? Of course not. Nor did Marvel cancel the Spider-Man titles despite the atrocious way Columbia handled the Spidey flicks of late – and they’ve got release dates for three or four more.

To be fair, compared to the profits of the X-Men comics or even the (fewer in number) Spider-Man comics, the revenues racked in off of The World’s Greatest Comic Magazine are a fart in a blizzard. Even so, it just seemed real petty.

As it turns out, Rich was right. Kudos, pal. But it’s a damn shame anyway. Historical affinity aside, James Robinson was settling in nicely on the series and he’s one of our medium’s best writers.

Prior to this brouhaha, some cast members of this forthcoming FF flick were saying it wasn’t really based on the comics, it was an “expansion” of the concept, it wasn’t comic book shit, it’s goddamned art and they wouldn’t be associated with lesser trash. Yes, I’m wildly paraphrasing, but not out of my long-acknowledged love of the Stan Lee – Jack Kirby creation. No, I’m crabby about this because it’s a stupid business decision. Haven’t they seen any of the Marvel Studios movies? The recently concluded Batman trilogy? Any of those Marvel and DC shows on television right now?

All of these shows have one thing in common: they treated their source material with respect; Marvel Studios more than DC/Warner Bros., but at their worst neither ever distanced themselves from the comics.

Heaven forbid 20th Century Fox should have a movie as entertaining and as profitable as Guardians of the Galaxy – and that movie wasn’t based upon a comic book series that has been published since 1961. In fact, few civilians ever heard of the Guardians.

Now we have what, for me, may very well be the final nail in the new Fantastic Four movie coffin. Over at Collider, actor Toby Kebbell gave us the bird’s eye lowdown on the character he portrays in the film, somebody called “Doctor Doom.”

“I’ll tell you this because of our history.” Kebbell confided to Collider. “He’s Victor Domashev, not Victor Von Doom in our story. And I’m sure I’ll be sent to jail for telling you that. The Doom in ours – I’m (Doom) a programmer. Very anti-social programmer. And on blogging sites I’m Doom… The low-fi way he did it, the whole ultra-real, it was just nice to be doing that, it was nice to be feeling we had come to terms with what we had been given.”

Hey, what were you given, Toby, other than characters and a concept that had been around for 53 years and raised three generations of followers in comics and on radio, television and movies?

By the way, as of this writing IMDB is wrong. They still list the character as Victor Von Doom.

So… maybe Marvel/Disney’s reaction was not so petty. Maybe it was more fanboy, and I mean that in the most positive sense of the term.

Fine. One less movie to see and, sadly, one less favored comic book to read.

 

Box Office Democracy: “Interstellar”

Interstellar is a movie that in the hands of most directors would be a failure. It’s a movie about space and time that assumes an awful lot of knowledge on both subjects from the audience. It’s a movie with a moral compass that swings so wildly that at the end I can only point to three characters and say I absolutely know how the film wants us to feel about them. There’s a healthy dose of paradox and deus ex machina flowing through the third act of the movie. Even good directors would mess this up; this script could have been Neill Blomkamp’s Waterloo. Christopher Nolan turned it in to one of the best science fiction movies in years. I was delighted to watch this movie and hope that every bit of Nolan’s post-Batman career can be this enjoyable.

It must be quite hard to make a movie about space travel. No one in the audience has ever been in space and I have no reason to believe that any of the depictions we’ve seen in movies over the years have been particularly accurate. Instead of trying to one-up Gravity or anything Nolan seems content to draw upon the history of the depictions of space in film. Scenes in Interstellar felt like they could have been in Alien, or 2001: A Space Odyssey. Nolan decides to use our shared visual vocabulary to tell quick, expressive stories out of fleeting shots. I don’t mean to suggest that he sits back and only uses images from other directors, far from it; the wormhole and black hole sequences are mind-bendingly wonderful images. Nolan puts more on the table than any director in the genre since Kubrick. It’s the most I’ve been impressed with just sheer directorial force of will in recent memory. Nolan elevates this move more than any acting performance could ever hope to.

It’s a good think Nolan is here because the acting is not the strength I thought it would be. We may be waist deep in the ongoing flood of latter-day Matthew McConaughey’s talent but he feels like he does little except not mess up this movie. He’s not bad or anything but he doesn’t bring anything to this part that any equivalent leading man couldn’t have brought unless Nolan thinks that halfway drawl was essential to portraying this engineer/rocket pilot. Unfortunately this kind of stretches across the cast; I only thought Anne Hathaway, Jessica Chastain, and John Lithgow did work that was above replacement level in their roles. The cast is an embarrassment of riches and has the kind of cast that defies belief. I have a strong feeling this cast will one day be looked at like The Godfather or Murder on the Orient Express as one of those films where it’s just unbelievable the top to bottom talent they got. I wish I could come away raving about more of the performances unfortunately they’re all just really good and not spectacular.

It’s hard to walk out of a movie that’s almost three hours and not think it’s a little bloated and Interstellar is no exception. There’s a subplot that slowly worms its way in to the main plot that is just not as clever as either of the Nolan brothers think it is. It leaves us with a very long scene where the characters figure something out that was pretty obvious two hours ago. The script is just a bit shy of being as clever as it thinks it does and those moments become a little more obvious when you’ve been sitting for over two hours.

These are little, meaningless, complaints. Performances that are very good but not great, 15 minutes that could be easily trimmed from a 169 minute movie, trifling little nothings. This is a masterpiece of filmmaking and the bar that I will be measuring science fiction against for years to come. It’s a spellbinding, emotionally gripping, visually arresting piece of filmmaking that is, as of now, the best film Christopher Nolan has ever produced.

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