If I should die in a wombat zone

Dec 16, 2017 Star Wars: The Last Jedi – Review (I sense a great disturbance, as if a thousand spoilers were about to be revealed below…just so you know…) After “The Force Awakens” and “Rogue One” set such a high standard, I was expecting greatness from “The Last Jedi.” Fortunately, I was not disappointed. If anything, the film has taken its place as my second favorite of the series, next to “Empire Strikes Back,” to which “The Last Jedi” is spiritual successor. Much like in “Empire,” much of the film is spent with the heroes on the run from overwhelming odds, not only in physical combat but also in the struggle over who they are and who they want to be. It was a bold move to have most all the characters spend the movie in flight from an inevitably advancing foe, slowly getting worn down and killed off bit by bit. Much like “The Force Awakens,” it called on all manner of Star Wars tropes…and subverted them, in very clever (and often depressing) ways. Finn and Rose’s last

In 1982, Blade Runner gave us dystopian future long before dystopian future scifi became commonplace, used as backdrop to make us ponder what it means to be human. It was a bold, arthouse style film with a questionably sympathetic protagonist and a surprisingly sympathetic villain, sporting a slow moving plot that wasn't really the point, dressed in amazing special effects that still hold up surprisingly well today. It's one of my favorite films of all time and I always shudder in our present era of re-treads when Hollywood revisits and revises the worlds of these classics. I am pleased to say that my worries in this case were unfounded. Blade Runner 2049 does an excellent (and highly disturbing, which is part of what makes it so excellent) job of continuing the "what does it mean to be human" theme, updated for our present era.  I loved the "retro-futurism" ... this 2049 clearly grew out of a 2019 that was envisioned in the 1980s. No internet, no cell ph

So…Wonder Woman, 2017. I am impressed. Let’s get the obvious out of the way first, Gal Gadot is unspeakably gorgeous, yet plays Diana with such confidence and poise that indeed, as Sammy says, “you don’t know whether to be terrified or aroused.”   (And doesn’t that summarize the Israeli female soldier stereotype? Could a non-Israeli actress have pulled this off?) Yet at no time does Diana fall into the trap Heather MacDougal describes in her famous essay, “  I hate strong female characters ” – in other words, a woman who is ass-kicking but that’s all she is, the one-dimensional figure epitomized by Scarlet Johannsen’s Black Widow. Instead we see Diana through a wide range of states of being – confident, confused, curious, despairing – we see how her naïve honesty is precious, but also fuels a certain hubris, and isn’t that the quintessential Greek mythic flaw? Her romance with Steve begins as curiosity, cracks when she realizes that, gasp, he has flaws (as first loves tend t