Tag Archives: Opinion piece

A Brief Word About Netflix Original Comedies

01 Wednesday Aug 2018

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Does anyone still remember the bright, heady days of the earliest Netflix originals? When the streaming giant released movies such as Beasts of No Nation (2015) and er, er, probably some other good stuff (emphasis on probably). No? It’s not surprising, as in reality, the ratio of good Netflix originals to bad is embarrassingly low. Take the deal agreed with Adam Sandler for six movies to be made exclusively for Netflix. So far we’ve had The Ridiculous 6 (2015), The Do-Over (2016), Sandy Wexler (2017), and The Week Of (2018). How many of those movies is anyone likely to have in their All-Time Top 10 list (even of Adam Sandler flicks)? It’s not happening, not even as guilty pleasures. And comedy is where Netflix has a real problem. They just can’t seem to attract movie makers who can make decent comedies, or projects that might just be truly “original” enough to make us laugh out loud.

2018 has been a bumper year so far for Netflix original comedies, with twenty movies released, and all of them – no, really, all of them – proving as bad and as lazy and as dreadful as each other. There’s no getting away from it: Netflix and comedy are about as compatible as long road trips and explosive diarrhoea. Just this past month, we’ve had The Legacy of a Whitetail Deer Hunter, and Father of the Year, two movies that haven’t been so much released as allowed to escape, and which are as misguided and wretchedly assembled as any other Netflix original comedy. By now, regular Netflix viewers must be clawing at their eyeballs and yelling at their TV’s, “Make it stop! Make it stop!” But the streaming giant keeps trotting them out with scary regularity and an indecent sense of purpose. Just once it would be great to hear the words “Netflix original comedy” and not have to hide behind the sofa. So, over to you, Netflix. Who you gonna call?

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A Brief Word About Cineworld Unlimited

22 Sunday Apr 2018

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Here in the UK, we have a cinema chain called Cineworld. They were the first to introduce a monthly subscription – called Unlimited – and the main attraction is that for a set price each month (currently from £17.90), you can see as many movies as you want and as many times as you want. This sounds like a great deal – and it is – but beneath the surface glamour of such an offer, there are a couple of restrictions that don’t seem to add up.

First, if you’re an Unlimited member, you can only make up to three online bookings at any one time. This seems counter-intuitive to what Unlimited is supposed to mean. Say you’re looking at the current listings. It’s a surprisingly good week at the cinema in the UK and there’s a bunch of movies you want to see. Being a major movie buff, you naturally want to see as many as possible, and using the kind of judicious organising that only the truly obsessive would spend time working out, you realise you can see four movies all on the same day (sure, you might end up going from one movie straight into the next with only a few minutes to spare but, hey, that’s all part of the fun). But thanks to the cap Cineworld have placed on online orders, you can only book three of them. To see the remaining movie, you’ll have to visit the cinema on the day and hope that a) the screening you need isn’t sold out, and b) if it isn’t, that you can get the seat that you want.

It doesn’t get any better at the cinema, either. Say you pick your day’s worth of movie watching and decide to just head on down to your local Cineworld, card in hand and with a serious desire to put a dent in their hot dog (or popcorn) and Pepsi Max supplies. You get to the counter and try to get tickets for each movie on your list there and then. Except you can’t. You can’t “buy” tickets in advance at the cinema, you have to “buy” each one before each separate screening. And nobody tells you why. Not even Cineworld on their website. The only way you can book in advance – drum roll, please – is online. And we know where that gets us. Now is that crazy, or is that crazy?

Membership or no membership, this is pretty poor in terms of customer service. And by extolling the virtues of a subscription deal that says as many movies as you want and as many times as you want, it seems that at the same time, Cineworld are content to put unnecessary obstacles in the way of their members actually getting to see the movies they want to see. And again, that’s just crazy.

A Brief Word About Cannes 2018 and Netflix

09 Monday Apr 2018

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In what sounds like the reaction of a spoilt child when told by its parents that it can only have one slice of birthday cake and not the whole thing, Netflix is threatening to pull five of its movies from this year’s Cannes Film Festival. Cannes has decided that only movies that receive a theatrical release in France will be eligible for entry to the prestigious Official Competition. The five movies are: Alfonso Cuarón’s Roma, Jeremy Saulnier’s Hold the Dark, Paul Greengrass’s Norway, and two Orson Welles related features, Morgan Neville’s documentary, They’ll Love Me When I’m Dead, and The Other Side of the Wind, Welles’s own movie that has recently been completed after being believed lost.

Cannes have apparently changed the rules in relation to the Official Competition, and it’s this that Netflix are protesting against. While many see it as a snub by the Old Guard – Cannes is seventy-one this year – against the new kids on the block, this is actually a clash of “business models”. Cannes believes it’s important that movies be seen on a big screen, in cinemas, as part of a shared cultural experience. The festival also highlights the range and diversity of cinema from around the world, and despite its elitist standing, always seeks to present what would be regarded as more mainstream movies throughout its yearly run. Already confirmed this year is the latest Star Wars offshoot, Solo, and when the full line up is revealed on 12 April, there’s little doubt that other more mainstream movies will be present.

Netflix, however, have no interest in releasing its movies in cinemas. It’s not their distribution model, and they’re just as inflexible in their approach as Cannes is. Some people are saying that Netflix and their streaming services are the future of movies, that home viewing, whether on sixty-inch plus TV screens, or computer monitors, or tablets, will see an end to theatrical distribution. Perhaps. But if television, once heralded as the inevitable cause of the demise of movie-going, hasn’t done the job after all this time, then Netflix isn’t going to make a difference either. And while it’s true that people want a wider choice of access based on their own terms and needs, the shared experience of a visit to the cinema is still the way to see a movie. As the makers of Godzilla (1998) put it, Size Does Matter.

But should this divide between Cannes and Netflix be considered as anything more than a falling out amongst uneasy friends? Possibly, but in the end it’s unlikely to affect the potential success or failure of any of the movies being withheld, and Cannes and Netflix will continue to prosper in their own unique ways. And as long as that continues, then we, the audience, will continue to be well served by both organisations.

X-Men: Apocalypse and Cinema’s Dependency on Superheroes

10 Tuesday Dec 2013

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The announcement a couple of days ago that Bryan Singer would be directing another X-Men movie, due to be released in 2016, seemed equally exciting and dispiriting at the same time.  When I first heard the news, my reaction was mixed: if the forthcoming Days of Future Past is as good as it looks then another X-Men movie, especially if it involves Apocalypse (a fan favourite), will be worth looking forward to.  But then I also thought, they’re talking about a movie that won’t be here for another three years.  Three years!  Can anyone really be that excited by the prospect?  And then I realised that yes, there probably was: that rare breed of upright ape, studio executives.

Apocalypse

Ever since Marvel went all Phase One on us and released Iron Man (2008), the big studios have lagged behind in their efforts to match the  returns that Marvel have made at the box office (at time of writing, the eight Marvel movies that have made it out of the gate so far – Iron Man, The Incredible Hulk (2008), Iron Man 2 (2010), Thor (2011), Captain America: The First Avenger (2011), Marvel’s The Avengers (2012), Iron Man 3 (2013), and Thor: The Dark World (2013), have amassed over five and a half billion dollars).  That level of success has definitely got the suits at Warner Bros., Sony and Fox practically scrambling to catch up.  So now, in various stages of development we have the follow-up to Man of Steel (2013) which we now know will also feature Batman and Wonder Woman as well as Superman, reboots of Fantastic Four, Daredevil, and the upcoming X-Men movies, as well as the Spider-Man franchise which is going to run to at least four movies and may even spawn some off-shoot movies featuring characters from that particular strand of the Marvel Cinematic Universe.

With Marvel committed to a Phase Three that will begin in 2015 with Ant Man, and continue with two movies in 2016 and one in 2017, it seems that we’ll be wading through big-budget superhero movies for some time to come.  And while it’s true Marvel has been canny enough to attract the right talent both behind and in front of the camera – Kenneth Branagh? Did anyone see that coming? – and as a result have garnered a degree of critical acclaim, the fact is that the movies that the majority of people on the planet want to go and see at the moment involve weird men and women in weirder costumes.  Now, I’m not some cineaste who thinks the only good movie is one that examines the plight of the dispossessed or that one ten minute static shot of an actor’s face eclipses any CGI-fuelled spectacle hands down, but I do have to question whether or not we’re losing some kind of perspective here.  Don’t get me wrong, I look forward to seeing a Marvel movie as much as the next person (providing they’re not still living with their mum at the age of forty), but what are we missing when the adventures of a man in a high-tech tin suit, or an ex-wimp with a shiny shield command so much of our attention and excite us so much?

Is it the grand scale on which this particular brand of escapism is served up?  Is it a combination of seeing characters previously only seen to good effect in comic books, now looking incredibly real on the big screen, and having them do all the things we’ve had to settle for seeing in flat old 2D?  Perhaps.  Or is it because the rest of the movies out there are pale and uninteresting in comparison, the skinny kid on the beach to Marvel’s Charles Atlas?  I think it’s all these things, plus one more, one very important part of the whole package that Marvel have done, and continue to do, since Tony Stark first stomped out of that cave in 2008: tell the audience what they can expect next time…and then the time after that.  Not in detail, but just enough to keep their attention from waning, and carefully spaced out between movies so that it’s always there, that knowledge that, like the legendary bus of English urban mythology, there’ll be another one along soon.

Which brings us back to the announcement that in 2016 we can all head down to our local multiplex and revel in the antics of a wheelchair-bound mind reader, a psychotic spoon bender, and their merry bands of malcontents.  If I’m being a bit facetious with my descriptions of Professor Xavier and Magneto, it’s because I can’t help but think it comes back to perspective.  The best film I’ve seen so far this year – by a nautical mile – is Captain Phillips.  It is one of the most gripping, emotional, tension-filled dramas you’re ever likely to see, and despite the high drama depicted, it’s a relatively small-scale movie (until the US Navy arrives).  It’s filmed with an emphasis on tight close-ups and even tighter locations: the bridge of the ship and its confines, and most of all, the lifeboat that houses Phillips and the four Somali pirates for about an hour.  It’s tour-de-force filmmaking, bravura in its style and scope, and an emotional rollercoaster ride to boot; it’s quite simply, breathtaking.  And yet, despite glowing reviews, an Oscar-worthy performance from Tom Hanks, and the exceptional directing talents of Paul Greengrass, more attention will have been paid to some blond bloke with a hammer and his sneaky adopted brother than to the real life story of a captain forced to engage tactically with Somali pirates.

Captain Phillips

Yes, but Marvel are making “entertainment”, I hear you say, their movies don’t have be deep and/or meaningful.  And I would agree with you, except that Marvel themselves are trying their best to make sure their movies have some depth and/or meaning to them.  These are largely tragic heroes, each trapped by fate or destiny into being the heroes that they are, and yet longing for peace, and mostly for themselves.  But ultimately, and in spite of Marvel’s good intentions, the focus will always remain on blowing things up, or knocking things down, or fighting.  The spectacle is what matters most.  Imagine turning up to see the next Thor movie, only to find it’s two hours of Thor and Jane Foster discussing their relationship à la Before Midnight (2013).  The fans would stay away in their millions. Ultimately, Marvel are giving people what they want, and the other studios will follow suit until the sight of yet another superhero crashing unscathed through yet another building is considered passé, and we all move on to the next big genre, whether it’s Westerns, or musicals, or play-doh animation.

For me, the news that Bryan Singer will be directing X-Men: Apocalypse for release in 2016 is neither good nor bad.  At this stage it’s very much an unknown quantity; it may not even happen.  What frightens me most, I guess, is that, already, too many people care about the announcement and the proposed movie for it to be a truly good thing.  Call me an old curmudgeon but if you’re excited by a movie that you won’t see for three years, and you can’t wait for it to get here, then the marketers and the sales guys and the executives and the CEOs have all won the jackpot in advance… only you’ll be providing the winnings.  Opt for a kind of studied indifference instead.  Damn it, make them work really hard for your attention!

Agree?  Disagree?  Feel free to let me know.