Posted on Saturday, March 25th, 2017 by Karen Han
There’s a scene in the new Power Rangers movie in which Jason, the Red Ranger (Dacre Montgomery), tells one of his fellow Rangers that what matters isn’t the past, but what one works to make the future. It’s a perfectly admirable, earnest sort of sentiment — it’s just one that feels a little off, too, given that the past he’s referring to involves semi-revenge porn. The same goes for the movie as a whole: it comes close to being great but stumbles before getting to the finish line. That said, the beats it does manage to hit are truly wonderful.
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Posted on Wednesday, March 22nd, 2017 by Karen Han
(In our Spoiler Reviews, we take a deep dive into a new release and get to the heart of what makes it tick…and every story point is up for discussion. In this entry: Marvel’s new Netflix series, Iron Fist.)
For the most part, Marvel’s latest Netflix foray, Iron Fist, has been critically panned. The issues are plenty, and the resulting conversation has only served to underline exactly how the series falls short. There’s the story, the characterizations, the casting, the editing, and – this is a criticism that’s been leveled against all of Marvel’s Netflix series — it’s just too long. Daredevil, Jessica Jones, Luke Cage could all have done with a little trimming.
In the case of Iron Fist, an altered cut could result in a drastically different and better show. It just requires a little bit of Garfield Minus Garfield. There’s an interesting show lurking somewhere within Iron Fist…as long as you remove Iron Fist himself.
Spoilers lie ahead, of course.
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Posted on Friday, March 17th, 2017 by Karen Han
Whenever there’s news of a remake or reboot of an old and beloved movie, the reactions usually range from cautious optimism to some variation on “only when you pry it from my cold, dead hands.” In the case of Disney’s live action Beauty and the Beast, it’s the movie itself to which those latter adjectives apply.
This isn’t to say that the movie’s got nothing going on; if anything, it has too much going on. Padded out with 45 extra minutes, the movie’s M.O. is to take everything in the original and crank it up from ten to twenty. There’s more magic, more backstory, more cutlery, more dance breaks, more everything. It feels like love up to a point, the way the best stories get embellished with time, but when the new songs come clunking to remind you of exactly what it takes to get a Best Original Song nomination (and how good the old songs are), the proceedings start to feel a little less genuine.
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