Captain Marvel (a movie review post)

 

MCU #21

You can see my original review of this movie here. 

For reasons I can't really fathom, Captain Marvel is one of the most disliked of the MCU movies. It has only a 45% audience rating on Rotten Tomatoes and not much better anywhere else. It's not that I don't understand that there are supposed reasons, but I don't get it. Captain Marvel is a wonderful movie, and Larson is excellent in the role.

That said, Captain Marvel is not a character I have much experience with in the comics. My experience of her was her in a coma because Rogue absorbed her powers and memories, and that's the way it was for much of my active comic reading experience. Monica Rambeau, on the other hand, a later Captain Marvel in the comics, I have much more experience with and that character just so happens to be introduced in this movie. Rambeau also appears in WandaVision, and we should be seeing more of her soon. I think it's pretty cool the way she is introduced in this movie.

I have no idea of the origin story for Captain Marvel in the comics, the past or the current origin, and I don't care one way or the other about the relation of this origin to what might or might not be in the comics. I got over clinging to the comic origin a long time ago. As I've said before, the MCU is its own beast and should be judged on its own merits.

And the merits of this movie are good. I love the 90s setting. The crash through the roof of the Blockbuster is classic. I love that the Skrull posing as Colson gets found out because Colson calls Fury while he's with the imposter and that you don't know ahead of time that that has happened. Okay, well, now you do, if you haven't seen it, but that's on you. You've had time. I love the flerken. And the Tesseract, what a little cube of mischief! Always getting around and powering people's weapons and engines and... superpowers. That things gets around! Of course, it is the space gem, so I guess it's appropriate.

There is one argument that could be made against the movie that is valid: It is a touch of retconning to toss Captain Marvel into the mix right in the middle of the whole Infinity saga. BUT! They wanted the cause to seem hopeless. Because it was hopeless. Thanos won. He beat the heroes. Hands down. There were two opportunities to have beaten him, the first ruined by Quill and the second because Thor didn't go for the head. If we had known going into all of that that Captain Marvel was still out there, the situation wouldn't have seemed quite hopeless. I'm reminded of the scene in Empire when ghostBen says, "That boy is our last hope." And we don't have a Yoda to say, "No, there is another." (Okay, there is the post-credit scene with Fury using the call device, but we don't know what that means, yet, right?) So putting us in the situation where there is no hope left and then introducing the character works well, I think. But I can see the argument there; I just don't agree with it.

Marvel is a really solid movie with powerful characters and performances. And, as I said in the previous review, I do think Larson and Law have great chemistry together, which makes their final confrontation very... satisfying. To say the least.
What a condescending ass.
Of course, that is the character that Jude Law plays best.

So let's get this one ranked. I say that knowing that people will disagree with my placement on this one, but, hey, this is my ranking and this how I feel about it.

1. Captain America: Civil War

2. The Avengers
3. Captain America: The First Avenger

4. Avengers: Infinity War

5. Spider-Man: Homecoming
6. Captain America: The Winter Soldier
7. Iron Man

8. Captain Marvel

9. Black Panther

10. Doctor Strange

11. Ant-Man

12. Thor: Ragnarok
13. Thor: The Dark World
14. Thor

15. Guardians of the Galaxy

16. Ant-Man and the Wasp

17. Avengers: Age of Ultron

18. Guardians of the Galaxy Vol. 2
19. Iron Man 3
20. Iron Man 2
21. Incredible Hulk (Edward Norton's ego could never be a shape-shifting Skrull. He's incapable of disguising that thing.)

Mank (a movie review post)

I don't know that I've ever mentioned on here before that I almost went to film school. After The Empire Strikes Back came out, I was intensely interested in special effects and, for many years, that's what I wanted to do. When I say "almost," I mean it. I was accepted to USC but, even after a very sizeable scholorship, it was going to be more expensive than I could afford, especially considering that my parents took on a "no help" stance if I chose to move to California to attend. All of that to say that what was left to me at the college I did go to was one intro to cinema class.

But we did cover Citizen Kane in that class.

Orson Welles was a fucking genius. I wish I had half of the marketing savvy he had. A tenth, even. His genius was not the movie Citizen Kane but that he was able to invent a mythology that said he was soley responsible for that movie, which was a work of genius. And it's true that he had some very important roles in creating the movie, both directing and starring in it. But he would have us believe that the story came from him as well and so devoted himself to creating that mythology that people are still arguing about it today. In fact, when I studied Citizen Kane in college, Herman Mankiewicz wasn't even mentioned.

The fact is, though, that Mankiewicz was the preeminnet screen writer/doctor of the time. He shaped the way the movies of that time period were written and was responsible for creating the dialogue heavy, witty movies of his day, movies that became the stereotype of the "American movie." He was also responsible for the Kansas sequences in The Wizard of Oz being filmed in black and white.

And, most importantly, he was chums with William Randolph Hearst.

I'm not going to explain the importance of the connection. If you don't understand from me saying that, you actually need to know more about the time period than I can tell you in a movie review.

So... the movie.

The movie is excellent. By what I am sure is not an accident, it is remarkably timely, the main conflict dealing with a conservative push, led by Hearst, to keep a progressive candidate (Upton Sinclair) from becoming governor of California. Yes, you will get to see back into the days when California was unenlightened and the "coastal elites" where all Republicans. Republicans bent on protecting their wealth just as they are today. The movie suggests that it was this political race that caused the falling out between Hearst and Mank (easy to believe considering that Hearst caroused with Nazi sympatthizers and Mank was personally responsible for funding the escape from Germany of hundreds of Jews) and became the catalyst for Mank's writing of Kane.

In short, Citizen Kane was a revenge piece.

Gary Oldman is... well, what can you say about Oldman? He was perfect in the role. I have no idea whether or not he was accurately depicting Mank or not, but his performance was amazing.

Having now seen Tom Burke as Orson Welles, I can no longer picture anyone else as Welles. He may be a better Welles than Welles was. So, yeah, I have a Burke bias because of The Musketeers, a series which ended much too soon.

And Amanda Seyfried was endearing as Marion Davies.

It might even be the kind of movie that I would watch again, not that I think I will, because I don't often re-watch, just as I don't often re-read, but I certainly wouldn't plead "I've already seen that" as a reason to get out of a second viewing.

Also, just to say it, this movie has "best picture" written all over it. Not necessarily because it is the best picture of 2020 (how is that even a thing for this year? do "movies" even still exist? what even is a "movie theater"?), but it's about Hollywood, and we all know that the Oscars loves movies about Hollywood.

Rebels: "The Antilles Extraction" (Ep. 3.04)

-- "We are unarmed. You have no right to fire on us!"

One of the things that has become kind of accepted lore about Star Wars is that the rebels have better pilots (and ships) than the Empire, just much fewer of them. What the Empire lacks in skill and shields, they make up for with numbers. Lots and lots of numbers.
The opening of this episode abuses that notion as a handful of TIE fighters lay waste to an entire rebel squadron of a-wings.
It was fairly spectacular.

But, you know, early days of the rebellion and all that.
It was clear the rebellion needed better pilots...

So they sent Sabine in to get some.

And we get to meet Wedge while he's still an Imperial cadet!
Which is pretty fucking cool.

I can't honestly say at what point I became a Wedge fan. I know that it feels to me that it was before Empire came out. I mean, he did fly his x-wing right through a TIE fighter. So cool. Of course, he also abandoned Luke during the trench run, so... there's that. I do know that I was very excited that he was Red Leader in Jedi. I suppose it doesn't really matter when, just that I am. Cool character. Glad to see his origin story, per se.

"We have to make the most of this chance; we might not get another."

"What's your plan?"
"I'll tell you when I figure it out."

"We were coming to rescue you."
"That's cute."

To Infinity (War) and Beyond! (more thoughts)

Okay, actually, not beyond. We're gonna stop right here and talk some more about this movie.

Or, more precisely, we're going to talk about stupid things people keep saying.
And, yes, I'm not going to be wary of spoilers, so you've had all the warning you're going to get.

Look, I understand if you're upset by all the deaths.You should be upset by all the deaths. Death is upsetting. BUT!
1. They're fictional characters.
2. There's another movie coming. Oh, wait, you didn't realize this was just the first part of two movies? Well...

• A. Where have you been?
• B. This is just the first movie of two.
• C. Even if you didn't know that, the end-credit scene should have clued you in that something was going on.
• D. WHERE HAVE YOU BEEN?

In regards to all the death and the general bleakness of the ending, I have seen people protesting that it's a violation of the genre.

Wait... What?

What genre? The super hero genre? Because if that's what you're saying, you're obviously not very familiar with the actual super hero genre and only know about super heroes from movies. Comics have dark endings (and dark stories) all the time. ALL THE TIME! This movie doesn't stand out as an exception in that respect. Now, if you're saying it doesn't have the typical happy Hollywood ending, well, that's true. But, then, Marvel hasn't been doing anything the typical Hollywood way from the beginning. If they had been, we would never have arrived at this movie juncture. In fact, we would never have had Iron Man, either. Or Thor. And certainly not Ant-Man. Hollywood wisdom also said Black Panther was a movie that would never succeed. There's been a push for a Black Panther movie since the 90s and, even now, with all of the other Marvel successes, "Hollywood" believed the movie wouldn't succeed.

But as for genres, make sure you know what you're talking about before you open your mouth.

Speaking of genres, though, can we even call "super heroes" a genre anymore? Like sci-fi, I think it has to be more like a broad category in which you can write other genres of stories. Marvel's movies alone should show that. Hulk is a monster movie. Ant-Man is a heist flick. Captain America is World War II movie. None of them are really what you would call "super hero" films; they just happen to have super heroes in them. It's like Asimov said about sci-fi: It's just a framework to allow you to tell whatever kind of story you want to tell, whatever kind of genre you want to use.

So, no, Infinity War is no violation of genre.

But, yes, it has a sad, even depressing, ending. Heroes die. Because, you know what? The good guys don't always win. Our current political situation, with a wannabe dictator as president, should show you that evil sometimes, even frequently, wins. So, yeah, the bad guy wins. Thanos wins. And the movie ends with him enjoying his victory. You think Trump (#fakepresident) didn't enjoy his victory? You think he didn't go around pissing (figuratively, I hope, though with him it's hard to tell) in every corner of the White House?

I do understand that people are not used to movies where the antagonist wins and we haven't had a movie like this since, probably, The Empire Strikes Back, but people are acting as if this is it. The end of the story. The end of the franchise. No more movies from Marvel. BAM! All your heroes are dead, Suckers! So suck on that! It's the fucking end of the world!

Really?

I mean, really?

Haven't you learned from watching the... how many Marvel movies are there now? 18? Haven't you learned that they're all connected and that there are more movies coming? Wait and see what happens. IT'S NOT THE END OF THE STORY!

geez

And speaking of Thanos, I've heard people complain about the attempt to make Thanos a sympathetic character... What the fuck? What attempt to make Thanos a sympathetic character? Because he cried when he killed Gamora? That makes him sympathetic? Because he cried?

No! It makes him an asshole.

Let's look at this a moment:

Thanos lives on Titan, and Titan is on the verge of environmental collapse. Thanos tries warning everyone and even has a solution: put half of the population to death. Needless to say, the population doesn't like that idea and, evidently, they never figure out anything better. The planet ends up a lifeless husk with Thanos as its only survivor with a, "Well, I told you so," attitude about it. That's as constructive as he gets over the situation.
Except for then deciding that he'll put his "extinguish half the population" plan into effect on the entire universe.
NONE of this makes Thanos a sympathetic character. It makes him a conceited, small-minded asshole who can't think outside of his own box for other, more workable, solutions.

Then!
To get the Soul Gem, he has to sacrifice the thing he loves, which he happened to have with him: Gamora. The one thing Thanos loves. So he has an option, the Soul Gem or Gamora. Let's put this another way:
He can choose the good of himself by throwing Gamora in the pit and taking the Gem, or he can choose the good of Gamora by letting her live. That would be actual love, by the way, choosing the good of someone else over yourself. But what Thanos shows is that what he really loves above all is himself, so he throws Gamora in the pit. Asshole. There's nothing sympathetic in that action, either. And I just have to say, if that scene causes you to feel sympathy for Thanos, you need to do some soul-searching of your own.

There is nothing in this movie to make Thanos any kind of sympathetic character. He shows that he himself has no empathy or sympathy for anyone else, and I'm not really sure how anyone could arrive at the conclusion that anything shown about him was meant to do anything other than show just what a monster he is.

All of that said, I don't care whether you liked the movie or not, just have a valid reason for it, even if that valid reason is your emotional reaction to, say, Spider-Man dying and blowing away in the end (man, that one hurt, especially since there were little piece of Peter-ash all over Tony afterward). What you should not do is try to rationalize your reason by making shit up. It's fine for you to say, "I didn't like it. They killed everyone." And it's also fine for the rest of us to tell you you're crazy.

Rebels: "The Call" (Ep. 2.15)

-- "It's not the strangest thing we've ever done."

"Yeah, that doesn't make me feel better."

So now we know that Jedi can survive and operate in the vacuum of space... unless Kanan and Ezra wear special "pressure clothes" just in case they need to space walk, but I'm going to go with the being functional in a vacuum. We kind of already knew that from an episode of Clone Wars, but, Plo Koon (at least, I think it was him, and I'm not looking back to verify) seemed to imply that was a very limited ability. All of that, or there was some kind of atmosphere around the asteroid they were on providing enough pressure to allow them to function without a suit? But not breathe. The breathing was definitely an issue.

Anyway... Space whales! This isn't the first time we've encountered giant creatures living out in the vacuum of space in Star Wars. Or even the second. The first, of course, being in The Empire Strikes Back and the giant space slug that wanted to eat the Falcon. Not to mention the mynocks.

This episode, the Ghost runs out of fuel. I have to wonder if this is where idiot Rian Johnson got the idea for an entire fleet of ships to all run out of fuel at the same time. Probably not. Anyway, as I said before, I don't have a problem with the fuel idea; it's that ALL OF THE SHIPS ran out of gas AT THE SAME TIME! This was much better. Just one ship running on fumes, not the whole fleet.

And what do rebels do when they're running low on fuel? Steal it from the Empire, of course.

"Sounds like a dangerous plan."

"Don't worry, buddy, you're staying here."

"Sounds like a good plan."

"There's no explosion. Why's there no explosion?"

"Next time we just plan on the plan changing."

The Last Jedi (a movie review?)

Yeah, the question mark up there is legit. I think this is going to be less a review about the movie and more about a review of Rian Johnson, who thinks he is way more clever than he actually is.
But there will still be spoilers.

But let's get the most obvious question out of the way: Did I enjoy the movie?
Well, yes, yes of course, I did. It was, after all, Star Wars, and it did, as Leia would say of Han, have its moments.

But it also had its moments.
Like why are all of the resistance ships running out of fuel at the exact same moment. That this is a question that I was having during my first viewing of the movie is wrong on so many levels. I mean, when did fuel become a thing? Luke hyperspaces all over the galaxy in his x-wing during The Empire Strikes Back, and there's never a mention or need for fuel, which is good since Dagobah would have been a lousy place to find a gas station. And Han flies the Falcon between star systems without a need for fuel. And I'm not even going to touch the idea that the fuel consumption rates on all of the Resistance ships would have had to have been basically the same no matter the size of the ship (WTF!) for them all to be needling empty at the same time.
Clearly this was a plot contrivance by Johnson, who seems to believe that stupid ideas are justified if they provide for "cool" moments. To be fair, this is also a problem Abrams has.

So was all the dumb of this "chase" scene worth the moment when Holdo hyperspaces the Resistance command ship into Snoke's star destroyer? I don't really know. That was a cool moment, but my thoughts leading up to it revolved around: This is so dumb. And it was kind of painful to watch all of that the second time. Not the hyperspace moment -- that was still cool -- but all of the chase leading up to it.

I also think it's a little weird how Poe is kind of constantly running up to people and greeting them with extreme enthusiasm, "Hey, Buddy!"

And I could go on, bit by bit, with the things that poke at me, but let's just not do that. I'll sum it up this way:
There are no moments like that whole fuel thing in the original trilogy. There's no point where I stop and think, "Wait a minute... That's kinda dumb." The thing most like that is the dianoga in the trash compactor, but there are legitimate explanations for that, so I have to shrug it off. You can't shrug off the fuel thing, not after eight other movies have failed to mention a need for fuel and, not just not mentioned it, demonstrated a distinct lack of that need.

That's just an example of the kind of thing Rian Johnson must feel is clever but really just isn't.

However, that's not the thing that bother me most. None of the logic problems that Johnson introduced are the things that bother me most. No, what bothers me most is Johnson's lack of respect for the story. Not the Star Wars story but story in general.
Here's the thing:

In the movie, Kylo "reveals" to Rey that she's a nobody. No one from nowhere. And that would be fine if... It would be fine if it was the truth. It would be fine if it was Kylo lying to Rey to get her to join him. It would be fine if Kylo was just wrong, that he read things the wrong way. It would be fine if there was a story reason for Kylo to tell Rey that. But... there's not.
And Rian Johnson doesn't have any say in the matter.

In a recent interview Johnson revealed that the only reason, the ONLY reason, he had Kylo say that is that he believed it was the thing that would most piss off the audience. He wanted to get a rise out of them. This puts him on par with George RR Martin in my book. "I want to piss off my audience because it's fun so I'm going to kill this character they all love." He further revealed that Abrams is the one who has final say in who Rey really is and nothing he wrote about it actually matters. Sure, maybe Abrams will decide to go with it, but Abrams isn't bound by anything that Johnson did. I suppose that includes the death of Snoke (another stupid moment, cool or not).

Which reveals the further problem of no one being in charge of these things. There's no controlling vision. You can say what you want about Lucas and the prequels or whatever, but, logically and plot-wise, all of his movies work together. He knew what he was doing and had a vision for getting there. The new movies, despite being completely entertaining, are beginning to feel piecemeal... because they are. This is something that Disney needs to get a grip on before the franchise begins to drift apart. They need to actually take a good look at what Marvel has done in keeping all of their movies moving forward within a unified vision.

I suppose I feel about the whole thing the way Mark Hamill put it when he said he didn't agree with any of the choices Johnson had Luke make but, after all, it's just a movie. That and, despite the enjoyment factor of Force Awakens and Last Jedi, I would much rather have seen what Lucas had intended to do with these than watch clashing egos slowly erode the franchise.

Rebels: "Wings of the Master" (Ep. 2.07)

"We lost the transport! We lost the transport!"

When I was a kid, I never had any of the starships from Star Wars. In fact, almost all I had was action figures. My mom didn't believe in supporting my Star Wars obsession, so I had to buy all my toys with my own money, and money isn't the easiest thing to come by when you're eight years old. So I would save up for one of the ships but, any time I had enough money for one, I would compare the one ship to all of the action figures I could get with the same money, and I would buy the action figures, the one exception being the Rebel transport from Empire, because it doubled as a storage case (and it was cheap).

All of that changed when the b-wing fighter was released. I thought b-wings were so cool after Jedi came out, and I loved the way the cockpit turned on its own as you rotated the ship. When that came out, I bought it. It was my first ship. Of course, I was 13 by then and had much better avenues for earning money.

You can imagine, then, my surprise and delight to discover that this episode was about the origin of the b-wing. It was very cool, and that's all I'm going to say about it. If you're curious, you should just watch it.

And, yes, I do still have my b-wing, and I still love it.

"I just hammered it together, young pilot; you made it soar."

Rebels: "The Siege of Lothal -- Part 1" (Ep. 2.01)

"I guess there is no going home."

It's Rebels week here at StrangePegs, which means two thing:

1. There will be an episode of Rebels reviewed each day!

2. No politics this week.

Except that it's Rebels, so there's a good chance there will be politics.

So... Kanan isn't happy. His and Hera's small rebel band of hooked up with the larger Rebel Alliance after the events that ended season one, and Kanan is feeling uncomfortable being a part of a larger organization. And taking orders. He really doesn't like having to take orders and be part of a chain of command.

Probably, he doesn't like having Ahsoka around, either, but that's just me saying that.  It doesn't come up in the episode.

Vader's not happy with the fact that our group has joined the larger organism, either, but that's because they're not on Lothal anymore, and Vader wants them back. Which means a plan...

Remember The Empire Strikes Back and that whole part where Han and Leia go to Bespin and... it's trap! This is kind of like that. Vader knows what's going to happen since, you know, he can see the future and all, which makes it a bit unfair. Evidently, Kanan never progressed in his training enough to be able to get glimpses of the future? I don't know. It's not a thing all Jedi can do, anyway, so maybe he just doesn't have that skill.

But, anyway, part of what happens is that Vader and Kallus order Minister Tua to make things... difficult... for the population of Lothal. This also echoes Empire; however, Tua doesn't have the stomach for it. Although she's a good little Nazi, um, Imperial agent, it seems that there are some things that go beyond even her ability to condone, very unlike our very own Republicans who seem just fine with rape as long as it's a good Republican boy doing the raping. [See, I told you. Politics.]

This episode is a good start to the season, and I didn't want to stop watching to write this.

Clone Wars -- "The Box" (Ep. 4.17)

-- The strong survive; the noble overcome.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

Okay, so, the ship they come in on at the beginning of the episode is pretty sweet. I don't remember seeing it in the last episode -- I don't know if I missed it (I get interrupted a lot by child-things) or if they only talked about it, but it's cool -- but it was a cool ship to open with.

Beyond that, though, I'm ambivalent about this episode. On the one hand, we're introduced to a dozen or so new bounty hunters (and there's a great bit dealing with Cad Bane and his hat fetish), and some of them look really cool. However, they are mostly window dressing, and we don't really get to find out any more about them than how they look. Then, again, I suppose that's how the bounty hunters were introduced in The Empire Strikes Back. Other than Boba Fett, it was years and years before we found out anything else about them.

Oh, and don't worry; I'm not forgetting the other hand.

On the other hand, this is one of those video game-like episodes where the bounty hunters are put in "the box," and they have to survive a series of challenges to earn the privilege of being on the team to capture Palpatine. I'm bored of these kinds of episodes, especially in a twenty minute format. It's just a ridiculous idea that has been perpetuated in popular culture through video games, but it makes no sense as something real. Everyone would die, so you wouldn't have any winners from which to form your team.

But Bane and Hardeen seem to bond, which is an interesting development.

Basically, this episode is just a bridge between parts two and four of this arc, but it would have worked just as well for me (okay, actually better) for them to just have introduced the rest of the team of bounty hunters with a "here's the rest of your team."

Clone Wars -- "Overlords" (Ep. 3.15)

-- Balance is found in the one who faces his guilt.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

Other than that the Force exists, Star Wars doesn't often stray into the realm of metaphysics, even when dealing with Jedi training. There are moments, as with Yoda's speech in The Empire Strikes Back:

For my ally is the Force, and a powerful ally it is. Life creates it, makes it grow. Its energy surrounds us and binds us. Luminous beings are we, not this crude matter. You must feel the Force around you. Here. Between you, me, the tree, the rock, everywhere! Yes, even between the land and the ship.

Then Yoda lifts Luke's x-wing out of the swamp to prove his point. But, on the whole, the show tends to take a much more Han Solo view of the Force.

"Overlords," though, firmly steps into the realm of metaphysics and deals very directly with aspects of the Force that we've never seen before. And, other than this story arc, may never see again. Considering that The Clone Wars is canon, it makes me wonder how the events here relate to what's going on in The Force Awakens, because it almost has to relate. [Except for the fact that Abrams probably didn't see these episodes or do any research into what he was talking about or what he meant when Snoke said, "There has been an awakening in the Force." We just have to hope that other people who know more about what's going on were paying attention and keeping things on track.]

This episode also directly addresses what it means that Anakin is "the chosen one." Hopefully, without giving anything away, or at least too much away, the idea here deals with potential. Not only must Anakin have the potential to be the chosen one, but he has to choose it. So many stories deal with this idea in terms of absolutes. "You are the chosen one, so are the chose one. It is your destiny, your fate, and there is nothing you can do about it." I like very much the idea that Anakin must make a choice to be "the chosen one."

More than any other story arc in The Clone Wars, I think this one is a must see. Whether you enjoy the story or not, if you're a fan of Star Wars, this is essential viewing.
Personally, this is my favorite arc from the whole series. I wish they had delved more into this story and these characters.

Clone Wars -- "Death Trap" (Ep. 2.20)

-- Who my father was matters less than my memory of him.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

I have in my head this picture of the young Boba Fett first going off with Bossk and Aurra Sing, of him climbing the ramp into the ship with them, but I don't remember where that happened. The Clone Wars is not all in chronological order so, maybe, that's an episode later in the series. In this episode, though, the young Fett has already joined the bounty hunters, and he's undercover for them as, you guessed it, a clone trooper cadet.

It's unclear what the actual objective of the mission is, but Fett's objective is to assassinate Mace Windu. And it could be that that is the overall mission objective, but it seemed to me that that aspect of it was not actually what was important to Aurra Sing, she being the one in charge.

In effect, this is another episode about clone differentiation. Boba, going by the name Lucky, of course, blends right in with the other cadets. They look at him as a "brother." But Boba, while a clone, isn't actually like the other clones. He's the same but different, because Boba is actually a true clone of Jango, not a modified one like the other clones. Boba, though, still feels a kinship with the clones, the other cadets and the full troopers. He doesn't want to hurt any of them.

Aurra Sing doesn't care about any of them. Including Boba; he's just a tool to her.

The other thing of interest has to do with origin stories for established characters. It's not like Luke or, say, Spider-Man; we got to watch those origin stories as they happened. But you put in a character like Darth Vader or Wolverine, and everyone wants to know their origins. The problem is that the characters are so cool that no origin story can possibly live up to it, although it's entirely possibly that people would have been pissed if we'd first met Luke as full Jedi only to find out later that he started as a whiny farm boy from Tatooine.

Boba Fett suffers from this problem, probably even more than Darth Vader. When I was a kid, everyone wanted to know who Boba Fett was. It was great speculation. Finding out that he's just a clone of Jango Fett was a great letdown for a lot of people, although I think it works rather will considering the implied relationship between Vader and Boba in The Empire Strikes Back.

Effectively, this is an origin story episode. How did Boba Fett become the hardened bounty hunter that we know in Empire? This episode is how. Or, at least, the beginning of that how. There's a moment... but, well, that would be telling.


"When I show off, it is instructive. And inspiring."

Clone Wars -- "Hostage Crisis" (Ep. 1.22)

-- A secret shared is a trust formed.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

You can blame it on Boba Fett. Or, more specifically, whoever it was who decided that Boba Fett should be released as a secret character action figure ahead of the release of The Empire Strikes Back. Between that and the actual bounty hunters in the movie, bounty hunters became a mythos of the Star Wars universe without doing much more than standing in place and being told, "No disintegrations."

With that in mind, it's somewhat surprising that they waited until the last episode of season one to introduce bounty hunters to The Clone Wars. However, they did it by introducing a whole team of bounty hunters, including Aurra Sing (of The Phantom Menace fame). But it's Cad Bane who runs the show, and a very interesting character he is.

And I'm not really going to talk about that other than to say that he's an ongoing character and, possibly, one acting outside of Palpatine's machinations.

This episode has a hint of Ocean's Eleven flavoring. It's not a heist, per se, but each of the bounty hunters definitely has a specific role in the plan that Bane is hatching.

Still, with all of the bounty hunter action that's happening, the true story revolves around Anakin and Padme and the stupid things that people can do for love. Specifically, you guessed it, Anakin. It's another step on the path of Anakin's downfall for him, though it might not appear that way, but it's an obvious thing that Anakin does not hold his Jedi code in the place that he should.

All in all, this is a pretty good episode. I think it would have been more enjoyable as a two-parter, especially if they had done an end-of-season cliff hanger but, maybe, that's not a thing in shows primarily targeted to younger people do. I don't know. It's a fun episode as it is, but it could have been a bit more. Of course, season one Clone Wars doesn't have any actual multi-part episodes, so that's probably part of why it's contained as a single episode.

Clone Wars -- "Rising Malevolence" (Ep. 1.2)

-- Belief is not a matter of choice, but of conviction.

One of the best things about Clone Wars is that it allows us to find out more about characters we only ever really glance at in the movies. This is especially true of the Jedi Masters. In the movies, the Masters mostly just function as cardboard cutouts to fill the Council Chamber. Sure, a few of them get some lines but, other than during the execution of Order 66, we don't see them doing anything. They're just there to look cool.

Clone Wars finally lets us get to know characters like Plo Koon and see them in action.

It's not the same kind of action as with Yoda in the previous episode, though. There's no plowing through battle droids in this one. It's more a survival tale. However, there is more affirmation that the Jedi view the clones as unique and valuable beings, something the clones don't really accept about themselves. There's a piece of dialogue where one of the clones tells Plo Koon, "No one is coming for us. We're expendable," and Plo replies, "Not to me." It's especially poignant considering Order 66.

The other big thing in this episode is the introduction/origin of the ion cannon. You probably remember it best from The Empire Strikes Back has the huge ball turret the rebels used to disable whole star destroyers so that their ships could escape from Hoth. Here, we see General Grievous out testing the first prototype of the weapon in his flagship, the Malevolence, hence the title of the episode. And, I just have to say, the Malevolence is a pretty awesome ship. The animation on it is incredible. The episode is worth watching just for the ship but, even without it, it's well worth watching. [My kid has the Lego of the Malevolence which is pretty awesome, too.]

"Anakin just redeployed himself. Again." -- Obi-Wan Kenobi

Clone Wars -- "Ambush" (Ep. 1.1)

-- Great leaders inspire greatness in others.

The first episode of The Clone Wars television series starts us off with some good old-fashioned Yoda shenanigans. I'm talking a Yoda that hearkens back to The Empire Strikes Back, mischievous laugh and all. And teaching moments. It's interesting how little teaching we get from the Jedi's greatest teacher in the overall scheme of things in the Star Wars universe, so it's nice to see him sit down with some clones for a nice teaching moment.

For many, this is also the first real introduction to Asajj Ventress, the semi-apprentice of Count Dooku. Ventress is an interesting character and one integral to the Clone Wars story line, but, here, she plays the more passive role of temptress, serving in the background rather than as an opponent to Yoda.

The most important aspect of this episode has to do with the clones and the acknowledgement that, though clones, they are each individuals. Or, at least, have the capacity for individuality. They don't often see it in themselves, but Yoda makes it clear that the force lives in each one of them making them unique beings, one of the same themes the widely popular Orphan Black is currently exploring (but it was done here, first). [This is a theme that will be revisited throughout the series.]

And there are the droids. The droids do get played off for comic relief throughout the series, and I can understand that being upsetting to certain people, the same people who get upset about Ewoks and Jar Jar. All I can say about that is some people project too much seriousness into a story that was always meant to contain humor. So, sure, the battle droids AI is a little faulty. Or just not very bright. Which makes sense, since you want the droids to be just smart enough to follow the order of, "March out there and be killed," but not smart enough to respond with, "No way! I'll get killed!" They allow for a little bit of fun in a show (for kids) that would otherwise be way too serious.

"Ambush" is a good starting place for the series. It's hard to go wrong with Yoda.

"I just got promoted!"

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Into Whatness?

As I mentioned in my last post, I had a very busy weekend. On the tail end of everything that had been going on, Sunday night we went to see Star Trek Into Darkness. That was a drama in-and-of-itself. Initially, we'd planned to go see it on Friday night, but something came up on Friday night that I "needed" to do (there will be a post on that later), so we were going to do it Saturday. Of course, that was the plan before we pushed my daughter's sleepover party to this past weekend rather than the prior weekend, so Saturday got knocked off. That left Sunday, and my wife didn't want to do Sunday after the weekend we were having. She just didn't want to add that to the end of everything.

The suggestion, then, was that I take my oldest son to go see it and that would be that. My younger son has an ingrained opposition to Trek because of his love of Star Wars, so he had stated that he didn't want to go. My daughter wanted to go only because it was "going;" she had no real desire to see the movie. "Going" is always better than "staying" in her book. So the idea was that I would take the oldest to the afternoon matinee.

BUT there were complications. To start, he had gone off to spend the night with someone to avoid my daughter's sleepover, and he neglected to arrange for a ride home. There are two things to that: 1. We told him due to all of the stuff on during the weekend, we would not be available to transport him, so he had to arrange his own transportation. 2. My wife let him know very explicitly that she didn't want him gone all day because of his lack of planning. She wanted him home at a reasonably early hour on Sunday. Well, he failed to take care of that stuff. He called around 2:00 p.m. to let us know that he still had no ride home, a call I had been anticipating. At that point, I told him that we (he and I) were going to Star Trek... unless he didn't make it home, in which case, he would miss out. I figured that would put a fire under his butt. [It did. he dragged himself in the door somewhere around 3:30 (although, technically, he's missed the showtime I'd planned on).] The other complication was that I was just dead tired after all of the girls left and had needed a nap (which I barely got), so I hadn't been ready, yet, for the 3ish showtime, anyway.

Here's where it gets interesting:
So my oldest son walked in the door just as I was getting ready to leave to pick up my younger son from the work party he was at for the musical he's in at school (see why we weren't available to drive the oldest anywhere? Besides, if he wanted to, he could take some steps in getting his driver's license, but he's balking at that). My wife said to me as I was walking out that door, "You should see if he wants to go with y'all."
My response: "But he said he does not want to go."
"Just ask him anyway."
So I did. His response (once I picked him up (covered in paint (including a hand print on the leg of his pants from a girl (which would embarrass him to no end if he knew I was printing this))): "Sure, I have nothing better to do."

Okay, so, now, it was just us guys going to the movie. When it was just the older boy and me, my daughter had decided to stay home because she was have a water balloon fight in the park (this after all the water activities at the end-of-season league party); however, when she found out, upon coming in to refill the water pump, that both boys were going, she immediately changed her mind about the movie. Now, this was a problem. Not that she wanted to go but because now everyone was going but my wife who is the only one in our household that really identifies as a Trek fan. So I had to talk her into it, which wasn't as hard as all that after all; I just said, "Look, everyone else is going, but you're the one that really wants to see this, so you should just come, too." So she did. And she was glad of it.

As for the movie... well, let's start at the title.

What's the deal with meaningless titles? They annoy me. The title has no more to do with the movie than it could have to many movies. Like The Empire Strikes Back could have been called Into Darkness, and it would have held more meaning to the actual movie than this one. I get that it sounds cool, but, seriously, the title (of anything) ought to relate to the thing that's being titled in more than some vague way.

Past that, though, the movie was pretty awesome. Abrams  knows how to bring the action and keep you tense and on the edge of your seat. And, hey, there was no red matter, this time, so double plus good. Without giving anything away, I loved best the role reversal of Spock and Kirk. That was pretty awesome.

I have only two negatives (other than the title) at this point:
1. I do not want to see "old Spock" pop up in every movie as their tiny "god in a box." I get that the fans love seeing Nimoy (I do; I get it), but, from a story perspective, it's gonna get old if they always contact him when they're in trouble.
2. As much as I love Simon Pegg and love Simon Pegg as Scotty, he is the one character that doesn't quite feel right. he has moments where he feels like Scotty but, most of the time, the character seems off target. I don't blame this on Pegg, as he has no control over the writers having him do things that are not "Scottyish."

Speaking of the characters, I still love Karl Urban the most. Man, he could be DeForest Kelley. I swear, I can't tell the difference; he's just like watching the original Bones at work. And they gave him the line! Well, not the line but a the line: "I'm a doctor not a..." It was awesome.

Zachary Quinto comes in a close second to Urban on pulling off the channeling of the original character. Of course, he has had the privilege of actually working with Nimoy, so he wouldn't have an excuse to not be able to pull it off.

And, well, then there's Benedict Cumberbatch who was a perfect match to the rest of the cast. Mostly, it's the voice. But he seems to be able to play any kind of role he wants to play (see War Horse and Tinker Tailor Soldier Spy to understand what I mean by that).

And that's really about all I can say about the movie without giving stuff away, and I don't want to do that. As someone who is not really a Star Trek fan, I loved the movie. I do know that there are Trek fans out there that don't like what Abrams is doing, but, really, I'm not quite sure I get that, because he's really captured the heart of the original series with how closely they've managed to get the characters to their originals. It's actually enough that it makes me want to go back and watch those old episodes, and how much more successful can you be than that?

Tribble!