Going to the movies in 2016 can be a frustrating situation. People texting on their phones. Exorbitant ticket prices. People talking on their phones. Sound that’s either way too loud or way too soft. People taking pictures of the screen with their phones and then posting them to Facebook in the middle of the movie. For a lot of these problems, there’s no easy solution. An experience designed to take us away from our everyday troubles is now fraught with them.
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Marvel prides itself on the deep interconnectedness of its cinematic universe. Events in one movie continue to the next, and plot threads from years earlier continue to resonates in the lives of the company’s characters. Captain America: Civil War incorporated elements of almost every single Marvel movie that preceded it. Even relatively forgotten MCU movies, like The Incredible Hulk, were rendered important in its massive comic-book tapestry. (Hulk nemesis General Ross, played by William Hurt, made his first Marvel appearance since Incredible Hulk in Civil War, as the current Secretary of State who tries to get the Avengers to agree to the U.S. government’s demands for more accountability.) In Marvel, everything counts and everything connects.
ScreenCrush’s Matt Singer and Erin Whitney are back from the 2016 Toronto International Film Festival. You can read all of their coverage so far here, but if you want the digest version, they compiled this list of some of the fest’s highlights: the best performances, the biggest surprises, and the worst disappointments. What are the movies people are going to be talking about this fall? These. (Except the ones they didn’t like, of course.)
Star Trek’s first appearance in The New York Times’ TV listings is inauspicious. “William Shatner as the captain of a space ship.”
Austin Powers in Goldmember is not a very good movie. Most of the jokes, when there are jokes at all, are callbacks to the previous two Austin Powers. Whole scenes consist entirely of co-writer/star Mike Myers riffing, usually with himself, about random subjects like moles or poop. The plot barely exists; its time-travel component makes absolutely no sense whatsoever. Goldmember is the cinematic equivalent of a cubic zirconia. It bears all the superficial features of a movie. But something, something crucial yet invisible, is missing. There’s basically no reason to watch it — except one, and that’s the movie’s big plot twist which, 13 years later, became the big plot twist in Spectre.
Y’know those back to school ads for Staples? The ones that repurpose the Christmas standard “It’s the Most Wonderful Time of the Year” to celebrate children going back class? I always hated those ads as a kid. Going back to school was not a time to celebrate. It was a time for grief and mourning.
What’s up with the Demogorgon’s egg? What’s that mysterious ash raining over Upside Down? How much worse could Barb’s death have been? All these questions and more get answers, as we talk to the concept artists behind Netflix’s ‘Stranger Things’ and debut exclusive photos.
Here’s a sample of the angry comments I’ve read in the last 24 hours about the rumor that Zendaya will be playing Spider-Man’s long-time love interest, Mary Jane Watson, in Jon Watts’ Spider-Man: Homecoming.
Okay, so it was one of the worst summer movie seasons in recent memory. Trying to find the good blockbusters amongst the last four months releases sometimes felt like trying to find a needle in a stack of s---. But even this year there were diamonds in the rough. Today we’re celebrating the ten best, the summer movies of 2016 that didn’t make us weep for the future of cinema — and note that this list is just movies that got wide releases in at least 500 theaters. We’ll have a separate piece on under-the-radar summer films you might have missed next week on ScreenCrush. In the meantime, let’s celebrate the highlights from a depressing summer before we clear the decks and get ready for the fall.
Suicide Squad has only been in theaters for a week, but it’s already become a flashpoint for fan discussion. (And yes, that was a DC pun, thank you very much.) Does the movie’s plot make sense? Does it matter? How much of David Ayer’s original vision wound up in the theatrical cut? And maybe the most contentious debate of all: Is the movie better than Warner Bros.’ previous entry in the DC Extended Universe, Batman v Superman: Dawn of Justice?