If you want the gravy…

…You've got to get the biscuits!


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My Six-Month Film Awards: 2017

2017 Six Month Best Picture

Time flies when you’re having fun, and even if I haven’t been having as much fun as I’d hoped – I’ve only seen 19 films for this year so far, compared with 35 this time last year – it’s still hard to believe it’s already time for this year’s Six-Month Awards.

Because I’ve seen so few films, I considered not doing them, but was persuaded to otherwise; partially for consistency’s sake (thank you, Maggie!), and partially because I love doing these posts. So let’s see what we’ve got!

Picture:

  1. A Quiet Passion
  2. Kedi
  3. Wonder Woman
  4. Baby Driver
  5. Guardians of the Galaxy Vol. 2

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ANT-MAN (***½) and FANTASTIC FOUR (***): A Tale of Two Shadows in One Review

"It will have mediocrity, they say. Mediocrity will have mediocrity."

“It will have mediocrity, they say. Mediocrity will have mediocrity.”

Studio interference has plagued the cinema since its earliest days. From MGM chopping Greed down to a fraction of its original length, to RKO mutilating The Magnificent Ambersons, to Harvey Weinstein’s re-editing antics (which Snowpiercer avoided at the cost of anything like a proper release), many films have been tweaked, meddled, and monkeyed with. Such is the case with Fantastic Four, whose own director bitterly claimed that the film being shown in theaters was a different–and inferior–film than the one he made.

But that’s when damage is done to a finished film. Other times, a film is compromised before it’s even shot–like Ant-Man, which lost its original director just before it was to begin filming. When the finished film managed not to be a disaster, it got surprisingly solid reviews and made decent (if not impressive) money. Fantastic Four, however, was shredded by critics and made less money than almost any superhero film since Iron Man kicked off the current wave of comic-book cinema.

For me, if Ant-Man isn’t quite as good as many have made it out to be, then Fantastic Four isn’t quite as bad. The former is far from a bad film and the latter far from a good one, but I’m most interested in examining them through the prism of the compromises made to get them onto the screen.

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