Enemy is a psychosexual thriller about a man who discovers his double. Much like French erotica thrillers from the 60’s, this movie is also about someone dealing with their own awakening sexuality and conflicting natures. The director, Denis Velleneuve, will once again cover the theme of personal duality and how it leads to self destructing natures in 2013’s Prisoners. The Enemy was originally adapted from a book by Jose Saramago called The Double. Saramago’s popular works often deal with devotion, faith, or absolute truths of characters, despite the consequences. All these themes could perhaps unravel the mystery of the Enemy. Surface level it could be another doppelganger thriller and there are simply two unique characters both played by Jake Gyllenhaal where one of the characters inevitably meet their untimely end. However, it seems more satisfying to believe this about a man whose double lives eventually over take the other. On one end we have a married teacher who is always making sure to call his mother. On the other hand, we have a man who lives out of boxes, frequents swinger parties, and is having an affair. Then there are the spiders. Their symbolism is to show that either the path to domestication or swinger parties will inevitably lead to being caught in the spider’s web. No matter his choice he will become prey to external forces.
This week, we talk about Grayson, Batman & Robin, Amazing Spider-man, Wicked & Divine, Madden 15, Sin City, Boyhood, Diablo 3, PT, New Avengers, WiiU, Oculus, and more!
On May 23rd, Marvel studios and Edgar Wright made an announcement they were parting ways on Ant Man due to differences in their vision of the film. Because Edgar Wright who is known for Scott Pilgrim and Shaun of the Dead, many believed he was going to offer a very unique and fun twist to the Marvel movie roster; therefore, controversy ensued after this press release.
“Ant-Man is still going to come out on 17 July , we start filming this August. Edgar Wright, who I’ve known for many years, who wrote the draft with Joe Cornish – much of the movie will still be based very much on that draft and the DNA of what Edgar has created up to this point, but Peyton Reed has stepped in [to direct]. Adam McKay, a very good writer is reworking parts of the script – not the entirety of the script, but some of it – and it’s going to, we believe, come to life in the best version of Ant-Man that we could possibly make”
Of course, they are going to reassure the share holders and anyone else invested in this film that everything is still going ahead as plan. Don’t worry your money and contracts are in safe hands. However, when Feige starts dipping into the part about how the, “movie will still be based very much on… the DNA of what Edgar has created”, or, “Adam McKay… is reworking parts of the script – not the entirety of the script”. It makes one wonder what exactly the, “differences in their vision of the film”, are. Was there another reason why they parted ways such as deadlines or money? Were there some darlings Wright absolutely refused to kill off, so Marvel pulled a power play? Or, maybe they are just jerking off and pacifying the fan outcry. Either way, out of all my years of being a Marvel fan not once did I believe that Ant Man of all Avengers would be the most controversial when it came to big screen adaptation.
According to Deadline’s press release, Rian Johnson will be taking over creative duties for Star Wars VIII and IX. Johnson is known for his critically acclaimed independent movies such as Brick and Brothers Bloom as well as his most recent film, Looper. Currently, this makes three indie directors who’ve been tapped to fill in the mighty big shoes of George Lucas. There’s Josh Trank who directed the 2012’s criminally overlooked superhero movie Chronicle. Meanwhile, Garth Edwards previously captured the colossal scale of Godzilla and Monsters.
Now, before thinking our beloved franchise is being handed off to a bunch of kids with delusions of grandeur, there are some things to consider. First of all, George Lucas took in indie directors for V and VI. Also, Much like what George Lucas pulled off with THX 1138, Monsters, Looper and Chronicle showcase how to capture big ideas with a shoestring budget. This practical approach from independent directors has a history of paying off big for fans. For example, look at Star Wars and Lord of the Rings. Although JJ Abrams gave the audience memorable, albeit superfluous, special effects in Star Trek, it’d be nicer for Star Wars sequels to pull us in with character drama rather than rely upon expensive CGI like the prequels.
In addition, Rian Johnson response to the press release conjures up the spirit of young George Lucas. The man who was sweating away in the desert moping to Stephen Spielberg about how Star Wars is sure to be the lowest point in his career. Granted, because Star Wars was a nightmare from it’s conception to it’s post production, Lucas had every right to think he hit bottom, yet Star Wars somehow marked a new age of cinema.
Maybe it’s a tad sadistic, but it’s refreshing Disney is willing to let these directors take the reigns. Sure, they’re cheaper than say JJ Abrams or Joss Whedon, but it also benefits the fans because smaller name directors who work under larger amounts of pressure have often produced great pieces of cinema. Maybe this perspective is a tad optimistic, but who are we kidding? Anything tagged with the Star Wars brand will dominate the box office, but that sadly includes Phantom Menace. However, maybe a fresh vision will bring Star Wars back to its former glory.
This week, we talk about I Zombie, Agents of Shield, Arrow, Once Upon a Time, Future’s End, Original Sin, Batman, Gambit, and more!
What we have here is an over the top story ripped from the golden age of pulp serials. There are brutally sadistic villains, such as a dominatrix, telekinetic, and a strong man, who are trying to steal the world’s most powerful laser gun. They kidnap Fantomex’s love interest to blackmail him into doing the heist. Mixed in is a love story, which focuses on his virtual side-kick EVA. Instead of some cheeky fun, what we get is a bland and predictable story.
Although this is Fantomex’s solo adventure, he seems to play a passive role in a bulk of the story. In fact, the plot twists and reveals focus primarily on the cartoony villains. Even so, because there’s little character interaction, the reasoning behind everyone’s motivations is unclear. Without the needed tension, scenes like the rape sequences come off as forced or contrived. In fact, rape itself is an odd inclusion because the Character’s creator, Grant Morrison, condemns the use of rape as a plot device.
It’s puzzling why Andrew Hope came back to write this Fantomex solo adventure when he rarely uses Fantomex for more than a way to progress the plot. Fantomex’s creator, Grant Morrison, had created Fantomex as a spiritual successor to Morrison’s King Mob. Both were hyper-violent, sleazy, and would knock against the fourth wall to make sure the readers are listening. This is the main reason why Fantomex’s lack of engagement is puzzling. Furthermore, although the story’s plot could have easily been ripped from the story of the French Pulp serials about the master thief Fantomas, this Fantomex lacks any similarity to the evil French thief. Because this is a Max title and this story wouldn’t affect Marvel’s current continuity, it would have been interesting to see the darker side of Fantomex explored a little more.
Hope’s incarnation also lacks consistency, and it’s only been five issues. Fantomex shows a clear devotion and adoration for his Virtual sidekick EVA. This relationship is odd because EVA is his out of body nervous system; however, in the next scene Fantomex is pining after the love of Agent Flemying. We don’t even see jealousy. Another inconsistency is he donates millions to charities before he takes on the mission to steal the most powerful weapon for some terrorists. The generosity seems counterproductive and less altruistic when he takes on a heist that could potentially destroy the world in order to selfishly save his other love interest.
On the other hand, Francesco Francavilla and Shawn Crystal have done a great job on the cover’s and interiors. Francavilla’s covers call back the sexy psychedelic and exploitation movies of the sixties. Crystal’s character design is a fresh take on some of the archetypes found in noir and pulp stories, and none of the panels or characters became repetitive or boring. For instance, Crystal pulls this off by mixing longshots, close ups, landscapes, vertical tiles and so on in one scene, or he will have EVA’s pose and outfits change from panel to panel.
Andrew Hope’s return to comics was perhaps premature, or Axle Alonso may have gutted the missing parts. Instead, fans of Fantomex should maybe go seek him out in Grant Morrison’s other metafiction reincarnations. If you’re looking for another Max title which is hyper violent and scantily clad, or another hardboiled story, this isn’t it. In fact, it’s confusing why this is a Max title. Regardless, this comic is not completely without merit. Shawn Crystal is definitely a new artist worth paying attention to, and Francesco Francavilla art is always a treat for the eyes.