Comics Creators

What Are You Watching? Infinite Season


True, but I think it dipped into the referential well (not humor based however) a bit too much to cover some rough patches in War.

I’d place War and Rise as equals.


I’ve only seen the first Planet of the Apes movie out of the original series, and I barely remember that at all, so any self-referential stuff in War went over my head.

I didn’t really notice any rough patches in the story, though. Some of Harrelson’s ideas were wonky but I think he knew they were doomed, the wall wasn’t going to do shit, but he needed something for his men to do and abusing apes was an easy way to organize them.


War I think faltered in rushing a lot of things. Such as setting up things in one scene, only to pounce on it in the next. Leaving little to no room for actual impact.

I felt the climax exacerbated that problem within scenes too. By a large factor, it was almost comedic.
And I doubt it was trying to be comedic.

There’s a huge ton of references though, which are neat but not enough.


I didn’t get that at all. I was on the edge of my seat for most of the runtime, and moved by all the scenes that were supposed to move me–especially the last.


Caesar’s character arc is still solid, just like Rise. But he’s the only thing carrying it as most else just felt like they were there to move the story along.

Like Luca’s death scene. He just got the flower a minute before. How moved do they expect me to be after a minute? Would have been better to not include that element. Or the climax which is almost like slapstick where Caesar is slipping and falling and people are exploding and the one ape is slow motion shot in the head…it was all so rapid and overwrought by the music…it was kinda funny.

Stuff like that and the fact that Woody was a very weakly written villain.


I saw War last night and loved it. It’s probably my favourite of the three. The score was fantastic.


Saw Dunkirk today. I’m a Nolan devotee at this point, having at least liked all of his films, with Interstellar at the top of my list, followed by The Prestige - this might top them both.

What a ride; there’s a minute of quietness to begin with and then it doesn’t let up; super-tense throughout, beautifully shot, well-acted. A few really touching moments and a massive technical achievement. Rylance may well get a second supporting actor Oscar. Nolan deserves a director nom at least.

I can’t recommend it enough; I would and surely will watch it again.


Atomic Blonde is the coolest movie I’ve seen in a while.


Is it really basically a female John Wick? or is there more to it?


The action and look are similar to John Wick, but the plot, themes, and central character aren’t very similar, imo. They’re both badasses but Theron’s character has more going on internally.

It also heavily relies on its 80s setting for the music, which is nearly as central to the style of the film as the music is in Baby Driver.


The kids have just got into Teen Titans Go! in the last few weeks - I had seen bits of it before but I’m only just now realising how much fun it is.

Marvel are missing a trick by not having an X-Men cartoon like this.


Eye in the Sky

Alas, Alan Rickman’s final film, but he chose a good one to go out on.

What makes this film work is the care it takes to both set up its principal plot and then, inexorably, follow through on it all the way to the end without shirking from it. What it sets up is this: You have absolute proof by on-site surveillance that a group of suicide bombers are preparing a set of attacks, but if you do a drone strike on the house, you risk collateral damage, including killing a young girl selling bread in the street outside. So do you prioritise saving the girt but risk the attacks taking place, so trading many lives for one or the reverse? The film does make its choice and, by the time it gets to that point, the sense of weight to the decision has been expertly conveyed - you might not agree with it, but you are clear as to the reasons for it.

The cast is quite superb from Mirren as the Colonel running the op, to Paul as the drone pilot, to Rickman, who plays Mirren’s superior, dealing with a bunch of politicians who were just fine with the idea of them calling the shots instead of the military, until one of them had to do so. Yet the film doesn’t cross into the trap of arguing that the military should have carte blanche, on the contrary. Rickman’s character is firmly of the view a decision is needed, he is certain of what it is but cannot make it - it has to be from the politicians.

Talking of whom, I don’t think anyone else could have done the role he plays in the way he does here. That slow, measured tone gives exactly the right sense of authority and seniority - he has a set of excellent lines, with the best set towards the end.

And at the end, the film maintains the conflicted, ambivalence it had throughout - what is the right answer. The film isn’t sure, neither is the viewer.


Waiting on a video about SDCC’s Young Justice panel for Season 3. Apparently it’s a big deal and tied in with the CW shows.

(Since the first seasons are trapped behind a paywall, I haven’t seen them.)


Watched the Ben Wheatley film Free Fire. I wasn’t a fan of High Rise so I was hoping this would fare better…It dosent.

The whole things just a bit boring. A bunch or criminals having a shootout could make a fun 15-20 minute short, but stretching it out to 90 minutes is really pushing it.


Making my way through Sex and the City.
People always compare it and Entourage, with Entourage being on the more deprecating side of the stick…so wanted to fully round out my perspective here.

Midway through Season 2. It’s alright trashy fun.
But I’ll say one thing…at least Entourage didn’t have Vince narrate with a whole lot of navel gazing.
Although the drug season came close.


I remember liking Sex and the City for a year or two, but it disappeared up it’s own ass in the same way so many US sitcoms do.


Good to know.

I wonder how far it’ll get up there, because even now Carrie is leading with such groaners like “Are relationships the religion of the 90’s”…and that’s not a metaphor - that’s a literal question about religions and relationships.

Still, light fun so far.


I choose to believe that the girls, and Carrie especially are not being held up as role models in the show. Or at least not at the start.


For me it’s a film that sells itself as one thing, but is actually something entirely different - so the sell is a big, mental gunfight, but what the film delivers is this weird set of mini exchanges of people not very good at shooting guns.

The funniest thing for me was that Vern sounded exactly like a South African colleague at work, who I get on with well. I haven’t yet found the right way to tell him that Free Fire has this complete arsehole that sounds like him!


Yeah, that much is clear I think, as well.

But I wonder if Carrie is meant to be a good writer. Cause if her narrations are meant to be her articles…there’s so many examples of the contrary.