Sunday, 16 July 2017

"Hybrid Puppies" — Spider-Man: Homecoming

The most recent movie about Spider-Man (one simply must include that hyphen) was the truly dreadful Amazing Spider-Man 2 back in 2014. I wrote about it here and, trust me, I wasn't happy.  

So my guard was well and truly up when the new Spidey franchise came scuttling into cinemas everywhere. 

But a friend told me the movie was good — great, actually — so I decided to give it a chance and see it that very day.    

I recently discussed, in connection with Wonder Woman, how comic book film are best made as period pieces. Well, Spider-Man: Homecoming (unwieldy title, but I guess they had to call it something) blithely ignores that dictum.   

It's set in modern day New York city, and indeed that's one of its strengths. The movie draws on a realistic — but very funny — view of urban high-school life.  

And it is great.  

Besides the period piece thing, the other really useful piece of advice if you ever find yourself making a comic book film is do not do an origin story. And, blissfully, Spider-Man: Homecoming does follow this path.  

It plunges us straight into the teenage world of Peter Parker, coping with adolescence and mutant spider powers.

Parker is played by British actor Tom Holland (he was one of the voices on the phone in the magnificent Locke). Holland is splendid, just perfect.  

However, he's not alone. Let me pass quickly over Robert Downey Jr. (Iron Man — no hyphen for him), Jon Favreau (Happy Hogan) and even Marisa Tomei, as Peter's aunt May. They're all fine...  

But more impressive is the teen cast: Laura Harrier as Peter's love interest Liz (actually 26, not a teen at all, but perfect casting) and Zendaya — with great hair — as class rebel Michelle (she has a wonderful line about the Washington monument being built by slaves).

Then there's Jacob Batalon as Ned, Peter's chubby nerd best friend, who becomes Spider-Man's assistant with a computer, or 'the guy in the chair' as Ned calls it.     

Yet we still haven't got to the finest performer in the film. It's Michael Keaton as the bad guy. Yes, I know. Michael Keaton has been through the movie mill for so long that it didn't seem he had any surprises left.   

But this is his best role ever, and he's wonderful. And that isn't the only surprise in this film...   

Because Spider-Man: Homecoming features a brilliant twist, something which I really didn't see coming, and which remains an enduring joy whenever I think of it.  

What a dazzling movie. It is directed by Jon Watts, who also gets a screenplay credit.     

And that list of screenplay credits is extensive: six writers, consisting of three pairs of teams — each with an ampersand.         

The top credit is given to Jonathan Goldstein & John Francis Daley, who interestingly specialise in comedies (e.g. Horrible Bosses). 

Chris McKenna & Erik Sommers also have a strong comedy pedigree (The Lego Batman Movie and the TV show American Dad). 

Whereas Jon Watts & Christopher Ford have written some comedies but have a stronger track record in horror and crime thrillers (Clown, Cop Car, both of which were directed by Watts).       

The comedy influence is strong, and Spider-Man: Homecoming (I'm getting so tired of typing that dumb title) is outstanding fun. 

But it also really delivers the thrills — there's a devastating scene featuring the Staten Island ferry — and it has suspense and, as I said, surprises.  

Not quite up to the standards of the peerless Wonder Woman, but this is an exceptional comic book movie and one of the most agreeable summer block busters. Give it a spin.

(Image credits: posters, including a rather clever triptych, are from Imp Awards.)

Sunday, 9 July 2017

Wonder Woman by Allan Heinberg

DC Comics haven't had a lot of luck in terms of their movie adaptations. Certainly Christopher Nolan's Batman franchise has been a hit, but elsewhere the results have been somewhat dire. 

Zack Snyder's recent Superman (and now Batman) movies are, I think, numbingly poor. As was Suicide Squad from the normally excellent David Ayer. And then there's Green Lantern...

So my hopes were low for the new Wonder Woman movie. How wrong I was. It's an absolutely delightful popcorn picture, and also one of the best films of the year.

It gets off to a rocky start with a long, long, long prologue on Paradise Island, the enclave of Amazons where Diana (Gal Gadot) grows up. We ploddingly establish the set up for the film — basically that there's a bad guy called Ares, who will turn up later in a rather obvious twist.

But as soon as plucky pilot Steve Trevor (Chris Pine) turns up, and Wonder Woman is precipitated into the real world, the movie hits its stride and never puts a foot wrong.

The smartest decision by the writers was making Wonder Woman a period piece. Perhaps because of their inherent silliness, comic book stories work vastly better at a remove from the modern day world.

Crucially, though, unlike the World War Two setting of, say Captain America — which presented a ludicrous fantasy of a racially integrated US Army — Wonder Woman takes pains to actually try and depict the real horror and suffer of its own period — World War One.

When Diana sees the casualties of the mass slaughter she registers horror, and so does the audience. 

Gal Gadot is absolutely radiant in the lead role, playing the part with real heart and humour — "A baby!" she exclaims in London (you don't have such things back on the island) and has to be dissuaded from racing over to inspect the kid.

But that heart and humour were put there in the script. The screenplay is by Allan Heinberg (who has a distinguished track record in television, including Scandal) developed from earlier drafts by Jason Fuchs and, of all people, Zack Snyder. 

(One doesn't expect heart or humour from Zack Snyder.) The movie is splendidly directed by Patty Jenkins, best known for Monster (2003).

Wonder Woman has some terrific actions sequences (and a rather dull final battle). But for me the real pleasures were the small moments of fun, and some surprising character development. 

Among the ragtag band of good guys who join Diana on her quest is an American Indian, called simply the Chief (played by Canadian actor Eugene Brave Rock).

Diana, who of course knows nothing of our world, has a late night camp fire chat with the Chief about his history, and he tells how his ancestors lost everything. "Who took that from your people?" she asks.

"His people," says the Chief tersely, nodding at the sleeping Chris Pine.

Wonder Woman is a fun movie, a classic, a wonderful blend of reality and fantasy and better than it has any right to be. If you only see one summer blockbuster, I urge you to make it this one. 

(Image credits: Plenty of posters at Imp Awards.)

Sunday, 2 July 2017

Border Town Girl by John D. MacDonald

Before John D. MacDonald embarked on his distinguished career as a novelist he learned his trade writing short fiction for magazines, both pulp magazines and slicks. Most of these shorter efforts have been consigned to oblivion, but Border Town Girl is fascinating because it preserves two of the longer examples — what we'd call novellas.

The pair of stories are of roughly equal length and are called Border Town Girl (great title) and Linda (dull title). They were published in 1950 and 1956, the title story originally appearing in Dime Detective Magazine as 'Five Star Fugitive' (lame title), a pulp if there ever was one, and Linda making its debut in this book, although it would later be reprinted in a magazine hilariously entitled Climax.

The long gap between the writing of the stories shows. Border Town Girl is about a disillusioned writer and war vet (a classic MacDonald protagonist) called Lane Sanson who gets caught up in drug smuggling from Mexico to Texas. 

It's an efficient and vivid tale, but it is chiefly notable for its villain, Christy, a great name — deceptively innocent sounding — for a memorable bad guy with frightening strength and "zany little blue eyes." 

There is a hellish, nightmarish sequence when the wounded, fever-ridden Christy stumbles towards his revenge — and his demise.

The story features some dud dialogue like "You're a strange man, Lane Sanson", but on the other hand there are some fine descriptions — "He drifted, soundless as smoke, across the room..." "The sun was a hot weight behind him, pushing him along." 

And this wonderful evocation of an airliner, a "tired old plane" which "had sagged and blundered its way through storm and hail." The plane itself is virtually irrelevant to the story, but MacDonald just can't help being an outstanding writer.

Despite it's anodyne title Linda, written six years later, is a masterpiece. It tells of a dull little man, a "desperado of the cellar workshop," who has somehow managed to marry a gorgeous siren. "Linda was flamboyantly noticeable." Whereas their friend Stella's appeal is "subtle in the way that a Japanese print is subtle."

Poor Stella is going to be murdered by Linda and her own husband, and they are going to frame Linda's husband, the dull little man, for the killing. I could hardly bear to go on reading as the jaws of fate closed savagely on our hero...

The carefully planned murder takes place when the two couples go on holiday to Florida in rented cabins beside the beach. As usual, MacDonald brings the setting wonderfully to life: "Small sandpipers ran in flocks, pecking and then trotting up and away from the lap of waves, like groups of spry, stooped little men in tailcoats with their hands locked behind them."

The killing of Stella is horrific, as is the apparently full-proof framing of our hero. But, incredibly and satisfyingly, the tables are turned and Linda becomes "a shrewd animal fighting for its life."

This is an explosive, harrowing and unforgettable tale. No wonder it was twice filmed for television.

(Image credits: The covers are from Good Reads, except for the garter-and-typewriter  which is from Pinterest. The magazine illustration for Linda is from the superb and informative MacDonald blog The Trap of Solid Gold. The original McGinnis illustrations — including the rather more cheeky one — are from Elisa Rolle's McGinnis blog. )