Miniseries Review: Moon Knight (dir by Mohamed Diab and Aaron Moorhead & Justin Benson)


No sooner had Ryan posted his essay about whether or not comic book companies like Marvel or DC actually need readers anymore then I came over here to type up my review of Moon Knight.

Why is that relevant?  Well, Moon Knight is a 6-episode miniseries based on a character who made his debut in the pages of Marvel comics.  The character has a loyal following of readers but the Disney miniseries has introduced him to a whole new group of people, many of whom have never even held a comic book, let alone read one.  I’m one of those people.  If not for the miniseries, I wouldn’t have the slightest idea who Moon Knight is because, for the most part, I’ve never been a comic book reader.  I would have to imagine that if I was a comic book reader, it would bug the Hell out of me that people who have never read a comic book are now suddenly acting as if they’re experts on all of the various costumed characters who have been published by Marvel and DC over the past few decades.  I can remember how upset I was when everyone suddenly decided that they were an expert on Dario Argento and Italian horror just because they had read some lame article on the remake of SuspiriaNo, I wanted to say, you haven’t done the work!

Unfortunately, that’s the way of the world now.  With the current pop cultural dominance of the MCU and the DCEU, everyone’s a super hero fan regardless of whether or not they’ve ever read a comic book.  And, with the explosion of social media over the past decade, everyone is now in a position to present themselves as being an expert regardless of whether they’re tweeting their own thoughts or just plagiarizing what they’ve read on Wikipedia.  It doesn’t matter whether the topic is politics, television, history, science, religion, or comic books.  Everyone now claims to be an expert and, as the old saying goes, when everyone’s an expert, no one’s an expert.  Again, if that annoys the Hell out of you, I sympathize.

Perhaps you can take some consolation in the fact that, even though I watched all six episode of Moon Knight today, I hardly feel like an expert as far as the character is concerned.  For the most part, I enjoyed Moon Knight but I would be lying if I said that I was always able to follow what was going on.  Oscar Isaac plays Marc Spector, a mercenary who is mortally wounded in Egypt but who is revived by Khonshu (voiced by F. Murray Abraham), the Egyptian God of the Moon, who tasks Spector with protecting humanity from evil or something like that.  Sometimes, however, Spector becomes Steven Grant, a mild-mannered and neurotic Brit who works in a museum gift shop and who is haunted by strange dreams.  When Grant discovers that he’s actually Spector, this leads to him meeting Spector’s wife, Layla (May Calamawy) and also having to battle Arthur Harrow (Ethan Hawke), a fanatical cult leader who is trying to get his hands on ancient scarab that will …. let him do stuff, I guess.  Harrow’s evil, Moon Knight’s good, and I guess that’s all we really need to know.  Moon Knight is basically a typical MCU “let’s all fight over the artifact” story, with the main twist being that all of the Gods are Egyptian instead of Norse and the hero has dissociative identity disorder and might actually very well be a patient at psychiatric hospital.  

With all that in mind, Moon Knight is actually pretty entertaining.  It’s biggest strength, not surprisingly, is Oscar Isaac, who appears to be having a ball playing several different versions of the same character.  When he’s Marc Spector, he gets to play at being a grim and serious action hero.  When he’s Steve Grant, he gets to play a comedic bumbler who gets the chance to prove that he’s stronger and more capable than anyone gave him credit for.  Isaac does a good job with both roles and the show is at its best when it’s just Isaac arguing with himself.  Playing a villain in an MCU production is often a thankless task but Hawke’s brings the right edge of fanaticism to Arthur Harrow and F. Murray Abraham voices Khonshu with the just the right combination of righteous indignation and weary frustration.  The show makes good use of its Egyptian setting and the fourth and fifth episodes are enjoyably surreal as they delve into the corners of Spector’s mind.

Unfortunately, the show’s conclusion leaves a bit to be desired.  After all that build-up, it all pretty much leads to a standard MCU street battle and the possibility of more Moon Knight action in the future.  That said, I enjoyed the show for what it was.  Turn off your mind, relax, and float across the Duat, as the old saying goes.

The San Francisco Film Critics Circle Embraces Roma and Orson Welles!


The San Francisco Film Critics Circle announced their pics for the best of 2018 earlier today.  They picked Roma for Best Picture and they also rightfully honored Orson Welles for his work on The Other Side of the Wind.

Check out a list of their nominees here and check out the winners below!

Best Picture: ROMA

Best Director: Spike Lee (BlacKkKlansman)

Best Actor: Ethan Hawke (First Reformed)

Best Actress: Melissa McCarthy (Can You Ever Forgive Me?)

Best Supporting Actor: Michael B. Jordan (Black Panther)

Best Supporting Actress: Regina King (If Beale Street Could Talk)

Best Original Screenplay: Paul Schrader (First Reformed)

Best Adapted Screenplay: Charlie Watchel, David Rabinowitz, Kevin Willmott and Spike Lee (BlacKkKlansman)

Best Film Editing: Bob Murawski and Orson Welles (The Other Side of the Wind)

Best Cinematography: Alfonso Cuarón (ROMA)

Best Production Design: Hannah Bleacher (Black Panther)

Best Foreign Language Film: ROMA

Best Animated Feature: Spider-Man Into the Spider-Verse

Best Documentary: Won’t You Be My Neighbor?

Marlin Riggs Award (for courage & vision in the Bay Area film community): Boots Riley (Sorry to Bother You)

Special Citation Award (for and under-appreciated independent film): The Endless – a genre-bending story of emotionally estranged brothers starring and directed by Justin Benson and Aaron Moorhead

 

Embracing the Melodrama Part II #125: Spring (dir by Justin Benson and Aaron Moorehead)


Spring_(2014_film)_POSTERWhen was the last time that a film truly took your be surprise?

Well, regardless of what you may think of the film overall, Spring will take you by surprise.  The film takes two different genres — talky romance and body horror — and mashes them together.  It’s the sort of thing that shouldn’t work and, yet, it somehow does.  If Richard Linklater and David Cronenberg spliced their DNA, the result would be Spring.

Spring opens in Los Angeles, with Evan (Lou Taylor Pucci) sitting at the bedside of his cancer-stricken mother and watching her die.  After the funeral, Evan is drinking at a bar when a drunk and obnoxious toadsucker picks a fight with him.  Though Evan, at first, tries to avoid the confrontation, he eventually ends up punching the man.  (Evan spends the majority of the film trying to avoid confrontation.  He’s actually a genuinely likable character and when was the last time you saw that in a film?)  With the man now looking to kill him and the police possibly interested in pressing assault charges, the distraught Evan impulsively decides to take a trip to Italy.

He spends a while wandering around Italy.  He hangs out with obnoxious and continually drunk tourists, the type who will be familiar to anyone who has ever spent the summer after high school graduation in Europe.  And, eventually, he ends up in a beautiful Italian village, where he meets the mysterious Louise (Nadia Hilker).

Louise is a researcher and, at first, it would seem like she and Evan have little in common.  (She’s an intellectual.  Evan, cute as he is, most definitely is not.)  But, over the course of a week, they get to know each other and Evan starts to fall in love with Louise.  These scenes are full of nonstop conversation, covering topics of culture, history, and philosophy.  It’s an obvious homage to Richard Linklater’s films with Ethan Hawke and Julie Delpy and it works perfectly.  Both Pucci and Hilker are likable performers and they have a lot of chemistry.

However, there’s another story unfolding.  At night, a strange creature roams the city, eating stray animals and eventually killing one of the most obnoxious American tourists to ever appear in a film.  How do these two stories connect?

Well, I’m not going to tell you.  You need to see the movie for yourself.

To be honest, when I started this review, I thought I was going to be a lot more critical of Spring.  As often happens with ambitious but low-budget indie films, there are a few scenes where the pacing is off and, once the solution to the film’s big mystery has been revealed, the explanation goes on for a bit too long.  I appreciate the filmmakers attempt to make everything plausible but, sometimes, it’s better to just gloss over the exact details.

But you know what?

As I sit here writing this review, I realize that those criticisms may be valid but, in the big picture, they don’t really matter.  So what if the film has flaws?  All films have flaws!  Spring tells a unique and interesting story and it will take you by surprise.  Plus, it captures the romance of Italy!  So, instead of getting all nitpicky, I’m just going to recommend that you see the film.