Spider-Man: Into the Spider-Verse” (2018) is a typical, solid animated kids’ movie about teenager Miles Morales (Shameik Moore) learning how to be Spider-Man, but on my home viewing I got the sense that it’s mostly supposed to be a visual spectacle. Many action sequences are tailored to theatrical 3D, and some frames look like when you remove your 3D glasses and peek at the screen. My Cold Bananas colleague Shaune tells me this isn’t lazy 2D conversion, but rather a mimicking of old-school comic-book printing, with colors bleeding together. I might’ve enjoyed the visuals more with that perspective.
Igenerally reject reboots of my favorite franchises, but I flat-out love “Roswell, New Mexico,” The CW’s reboot of my beloved “Roswell” (1999-2002). So I should explain why this is. First of all, it’s really well made, with creator Carina Adly MacKenzie and her team showing respect and knowledge of the original material. Secondly, it doesn’t remake the original story; it plays with the same game pieces but has plenty of reasons to exist on its own. Third, it has a distinct title, making it easier to avoid confusion. And fourth, it didn’t cancel an ongoing story in order to start this new one; the original story was wrapped up in books in 2003.
The Matrix” was a cultural phenomenon when it was released on March 31, 1999. It elevated Keanu Reeves from movie star to superstar and introduced the world to “bullet time” (the slow-motion portion of an action scene). It was a critical and commercial success, spawning two sequels and a series of animated shorts. Does it hold up 20 years later? Let’s take a look:
Believe it or not, there was a time when there were zero superhero shows on TV. Now there are so many that they don’t all fit on TV. Even though most of The CW’s lineup is DC Comics adaptations, there isn’t room for all of them. “Titans,” which premiered last fall, and “Doom Patrol,” which launched last month, are both on the DC Universe streaming channel. The pilot episodes are available for free through March 29.
It’s been a cliché for more than four decades now that spectacle can’t overcome a bad screenplay, but it’s still remarkable how many films can nail everything except communicating to a viewer what the heck is going on. With “Captain Marvel,” the fun and technically amazing 21st Marvel Cinematic Universe movie, I can’t discount that I may have spaced out on important details, but I do suspect I was spending too much time trying to figure out the nature of Carol Danvers’ (Brie Larson) superpowers rather than kicking back for the ride.
With “Gotham” returning for its final season this month, I’m looking back at past “Batman” projects from the perspective of someone who enjoyed “The Animated Series” as a kid and now enjoys “Gotham.” Next up is “The Dark Knight Rises” (2012).
In 2017, HarperCollins published a Michael Crichton novel with a dinosaur skull on the cover. The bad news is it’s not the unearthing of the late author’s third “Jurassic Park” novel. The good news is “Dragon Teeth” is pretty good. It was written in 1974, and apparently Crichton – who died in 2008 – didn’t feel it was suitable for publication, but with all due respect, I disagree.
With “Gotham” returning for its final season this month, I’m looking back at past “Batman” projects from the perspective of someone who enjoyed “The Animated Series” as a kid and now enjoys “Gotham.” Next up is “The Dark Knight” (2008).
Glass,” the trilogy topper we didn’t know we needed, is a unique animal. It’s hard for me to put a finger on how I feel about it, as it is a very unconventional superhero film, choosing to focus on narrative rather than CGI battles. Today’s cinema is dominated by Marvel and DC blockbusters (most recently the CGI fest “Aquaman”), but writer-director M. Night Shyamalan grounds us in reality by keeping everything just believable enough.
The latest event series that will likely end up going nowhere – either by treading familiar ground or by being canceled – “The Passage” (9 p.m. Eastern Mondays on Fox) is at least driven by a nice relationship at its core. Mark-Paul Gosselaar plays special operative Brad Wolgast and Saniyya Sydney plays recently orphaned 10-year-old Amy. Initially, Wolgast is part of the duo that kidnaps the kid for a secret government project, then he thinks better of it and goes on the run with her.