Talib Kweli’s Twitter Fingers

As a child, most of the music I listened to was whatever my parents were listening to. I heard the pop and rap on the radio, but also older R&B and reggae. When I was thirteen, I started listening to music independently, getting into the alternative rock that was popular in England (my home at the time). As I grow older, I continuously seek out older music of many genres, wanting to diversify my tastes.

I first heard about Talib Kweli Greene (known professionally as Talib Kweli) when I was doing my undergraduate degree at the University of Ottawa. I forget the context for his name being brought up, but I believe he may have been doing a show somewhere in the city. Years later, when I joined Twitter, I was randomly motivated to find his account. To this day, I have not listened to his music. I will, but this post isn’t about his artistry. Anyone who follows Kweli knows he isn’t afraid to engage anyone who tweets to him or about him. Some of these tweets come from people criticizing his career or music for one reason or another, but a lot of the ones I’ve seen are people who accuse him of being racist.

As I’ve discussed before, “colour-blind racism” is the modern racism. It is a naive mindset that racism, both instutional and individual, is dead now except for those pesky people wearing white hoods. It treats any mention of race as being racist, while also defending comments, mindsets and behaviours that rely on racist assumptions. People will say they don’t see colour, and then argue that black people would get killed by cops less if they just obeyed the law. People will say they don’t see colour, but then refuse to date anyone whose skin doesn’t match their own. People will say they don’t see colour, but then assume a black person with a good job isn’t qualified for it.

Racists are drawn to Kweli like moths to the flame. There is a sort of vicious cycle at work, where someone attempts to call Talib out for perceived racism, e.g. Talib’s declarations of being proudly black or his previous responses to another racist. Then once Talib dismantles this racist’s arguments, another jumps in to attack him because he dared to discuss race. Such is the hypocrisy of the colour-blind racist. While they have their own racist assumptions and beliefs, they are quick to throw out the word racist for those who call them out on it. “I’m not racist, you politically correct social justice warriors, (other right wing buzzwords) race-baiters are the real racists. I just think I should be able to say I don’t want more black people in my neighborhood without libtards attacking me. Black people are violent after all! That’s not racist, I have black friends.”

I have sometimes wondered why Kweli bothers to respond to these people, and some tweets from fans have also expressed the same question. Some of the haters accused Kweli of doing nothing but tweeting all day, but a look at his touring and musical output shows he is a productive artist. He handles time well, but I guess I still wondered why he bothers. Then I read Kweli’s own answer to the question, and it all made sense.

People are always quick to label racist online comments as the work of “trolls”, people who write inflammatory comments and derive enjoyment from the uproar they produce. The word “troll” implies that the poster doesn’t actually believe what they wrote, they are just saying it to see how people react. This kind of mindset, where we just ignore online racists, is downright irresponsible in this day and age. As Kweli points out, the alt-right is an entity that was birthed online. Real people reside behind the alt-right sites and comments that have proliferated online. These people have jobs, families and the ability to vote. They got Trump elected, with their own votes and their ability to spread misinformation that reinvigorated the resentment of minorities that many people in America harbour. Kweli combats racism through campaigns and events and he knows “twitter fingers” may not be for everyone, but it is one of the tools he employs to combat the ignorance that is stoked by this new climate of right wing backlash.

The people who decide to accuse Kweli of racism demonstrate one racist assumption after another, and a straw-man understanding of concepts like white privilege. User @adamant919 had the audacity to use the term “black privilege” to describe black people’s supposed natural gifts and our “handouts” with programs like affirmative action, which actually benefit white women more and don’t lead to unqualified applicants getting selected for jobs. Funny enough, the user appears to have deleted his account since. This isn’t the first user that has deleted his account following an encounter with Kweli and it gives me some hope that some people might realize the error of their ways. However, someone can delete their account out of a sense of embarrassment, without actually reflecting on their views.

This Slate article offers an interesting case study of the infamous Hunger Games (2012) racist backlash, where supposed fans were upset that the character Rue was played by a black girl, even though Rue is described as having dark brown skin in the book. One fan began collecting these racist tweets, such as “Rue being black ruined the movie” and created a tumblr account to showcase them. This article follows up on this tumblr account, reaching out to some of the twitter users to get their thoughts.

The user who wrote this tweet argued that she didn’t mean to be racist. She was just surprised that Rue was black since Rue was supposed to remind Katniss (the white, main character) of her sister. Firstly, “remind her of” doesn’t always mean “look like”. If she was truly “colour-blind” then Rue’s skin colour shouldn’t have even registered with her. Aside from the terrible excuse offered by the twitter user, the author brings up a point that a lot of people like to use for defending racists online: “This kind of drive-by scapegoating does not seem conducive to genuine reflection (and it definitely doesn’t encourage reflection in the individuals it scapegoats).  It allows us to point the finger at other, younger, relatively powerless people, rather than consider the ways in which we’re implicated in a problem that is much, much larger than a few misguided teenagers on Twitter.”

I have heard people say the same thing to Kweli about his Twitter comments, and it usually comes across as very disengenious. Some of the users from the Hunger Games example may be teenagers, but some of them are grown men and women. The same goes for the alt-right. People who throw out the “don’t shame people” argument out act as if there are no attempts made to examine racism on a much larger scale. There is plenty of information online, in classes, on tv that sheds light on the much larger problem of institutional racism. People choose to ignore these sources. People choose ignorance. They reject enlightenment as left wing propaganda, the work of libtards or social justice warriors. People surround themselves with friends and sources who share the same views and refuse to challenge any of their assumptions about the world. How exactly should their racist comments be dealt with?  Conservatives love to throw out the argument of free speech to defend bigotry and no one is saying they don’t have the right to make such comments. My question is: If someone is willing to go online and criticize someone’s skin colour or attack a rapper for his liberal beliefs, why are we discouraged from exercising our free speech and shining the spotlight back on them?

As Kweli says, if someone is already racist “when I respond to them, it doesn’t matter what facts I give or how much sense I make. They’re going to be who they are.” Being kinder to the racists won’t make them more prone to ‘reflection.” The real purpose behind responding is to avoid having your message become silenced. There were probably millions of people, viewing one racist comment after another from the alt-right and thinking that all those comments wouldn’t have any impact on their lives. They stayed silent, and let misinformation and racist rhetoric fill the void. They may as well have packed Trump’s things and moved them into the White House for him.

Get Out

Note: Spoilers Ahead

After much delay, I finally got around to seeing a film I’ve heard nothing but good things about. I must say, the film lives up to the hype for the most part. Since the film was released a while ago I didn’t really feel like doing a review of it, which is why I want to sum up my thoughts on the film itself and move on to the interesting questions/issues it raised.

Firstly, the performances are all amazing. The only other film I have seen Daniel Kaluuya in in Sicario, and he was alright in that. The role was smaller and didn’t allow him to demonstrate the range we see in Get Out. It looks like things are looking up for Kaluuya since he also has a role in 2018’s Black Panther.

The Armitages, the family that Chris is expecting to join, are all outstanding. Caleb Landry Jones was particularly interesting as Jeremy, Chris’s prospective brother-in law. Keith Stanfield, probably best known as Darius on Atlanta, isn’t in the film that much but stole the spotlight when he was present.

Get Out works well as a comedy when it is intended to be comedic, as expected from Jordan Peele. However, it is also masterful as a horror film. The horror isn’t the type you would expect from a franchise like The Conjuring. There are no jump scares to be found. Instead, Peele forces an air of unease upon us that permeates most of the film. I was reminded of an episode of The Twilight Zone, where its strength lies in its ability to unsettle you and get your mind and heart racing. More importantly, it also gets you thinking.

Peele has described Get Out as a “very personal” story“. A friend at work pointed out that Peele has a white wife, and it is very easy to see Get Out as a satirical, cathartic reenactment of encounters with his wife’s own family. I forget the exact wording, but I remember a tweet that said Get Out isn’t about ‘hang that nigger’ racism, it’s about ‘I’m not racist because I have black friends and voted for Obama’ racism. I think that tweet is a perfect distillation of what Get Out offers.

The Armitages’ are a rich, white family who are openly welcoming to Chris when they meet him. The dad is quick to mention he voted for Obama and that Obama was the best president in his time. With this statement, the film starts to delve more into the issue of the fetishization of the black body. Jeremy is the one to bring up the idea that black people’s genetics make them superior athletes, expressing his own quiet disdain and envy at this fact. This stereotype is also brought up by the extended family, and the comments all bring back memories of comments I’ve head all through my life as well. I was recently involved in a Twitter conversation where @adamant919 had the audacity to call our supposed natural gifts “black privilege”. Funny enough, it looks like the user has since deleted his account.

This fetishization reduces the black body to something that is either a threat, a conquest or a toy. Get Out is one of the first films in a while that generally surprised me with a third act reveal. Initially I thought that Chris would simply be brainwashed into submission, becoming another Andre Hayworth via Missy Armitage’s hypnosis. It was genuinely chilling to hear the breakdown of the surgery that would be performed to turn the black body into a vehicle for someone else, reducing Chris to a passenger within his own body. The Armitages’s could easily do the same process with white bodies, but it is clear that they are appealing to a desire specifically for black ones. In Chris’s case, Jim Hudson only wants his eyes so that he can capture the kinds of pictures he envies Chris for. However, the groundskeeper (Walter), is being controlled by Rose’s grandfather. Walter’s role on the estate becomes more chilling when we realize it is an old white man reveling in what his new body can do. The infamous Walter sprint, which grandpa calls his “exercise”, becomes a man testing out stereotypes for himself.

Peele is currently being considered to direct The DC Extended Universe’s Flash film and I was hesitant when I heard this, since the role seems far removed from his skillset. After seeing Get Out and how it manages to combine satire, horror and comedy, I am sure Peele can find a way to handle any project that comes his way.

The Defenders Trailer Review

Potential spoilers ahead for all Marvel Neflix shows: Daredevil (1 and 2), Luke Cage, Jessica Jones and Iron Fist

The Avengers of netflix are arriving later this year, and Marvel recently released the first trailer for the team up series.

Firstly, I have to say that my excitement for the series was somewhat dimmed after watching Iron Fist. Although the show wasn’t as bad as critics made it out to be, it still fell short of the other series’ in my opinion. The acting ranged from great to hammy, with some actors struggling with some scenes more than others. Since Iron Fist is supposed to be one of the best fighters in the Marvel universe, the fight scenes were also a huge disappointment, with the best one trumped by almost any fight from Daredevil. The writing could also have been greatly improved to provide better villains and better plotting. Next to Mike Colter, Finn Jones is definitely the weakest actor out of the defenders. At least with The Defenders, Jones and Colter won’t be carrying the show. They’ll be supported by Charlie Cox and Krysten Ritter.

When the series was scheduled to arrive before another season of Luke Cage I assumed that Cage would be broken out of prison. From this trailer it appears like that isn’t the case. We see Cage in public, riding a bus and still being referred to as Harlem’s hero. Perhaps he received some legal assistance from Matt too.

The first scene in the trailer remains my favourite. It isn’t action packed, but it is the perfect introduction for Matt Murdock’s character. It is also the first shot we get of two defenders together. Like the after-credits scene in Iron Man, where we first see Nick Fury, this shot of Matt and Jessica could be the start of an era.

The other character meetings appear to happen by chance, such as Rand and Cage. Since the characters all live in the same city, this bothers me less than it normally would but hopefully they’re not just bumping into each other on the street. One thing (among many) that bothered me about Iron Fist, was that Claire just happened to train at the dojo where Colleen worked, leading to her meeting Rand. Yes, same city, but Manhattan is a pretty big place and the characters don’t all live in the same area of Manhattan. It would make more sense for them to meet as they pursue leads on a new threat, such as Sigourney Weaver’s character, Alexandra.

Not much has been revealed about Alexandra yet, but she is likely involved with The Hand. Elektra died at the end of Daredevil’s second season, but her body was retrieved by The Hand afterwards. Now we know that Elektra will return, serving as The Black Sky, The Hand’s weapon. Unless the show will have two different villains, it looks like The Hand will be the main one for The Defenders.

We don’t see too much of the fight scenes so far, which is fine by me. Hopefully the fights are better than the ones we got in Iron Fist. While Jessica Jones and Luke Cage aren’t great martial artists, DD and IF are supposed to be some of the world’s best. I want to see that portrayed convincingly. If the actors get more than fifteen minutes to practice choreography, we should be good to go.

I was happy to see the interaction between Cage and Rand, since they have their own Heroes for Hires series in the comics. The moment Rand punches Cage is also a throwback to Cage’s own series, where a thug punches him and breaks his hand. It looks like Rand’s punch affects him a lot more than the thug’s did.

Many cast members from previous shows are confirmed to return for this series as well. We know Misty Knight is back, but Colleen Wing, Karen Page, Jerri Hogarth, Foggy Nelson, Trish Walker and of course, Stick are all returning. Even if their roles are relatively small, it does bring up the question of pacing. The previous Netflix shows were all thirteen episodes, but could have been shortened. Luke Cage in particular felt like it was dragged out via legal wrangling. We already know the main characters, so maybe The Defenders doesn’t need to be as long. However, we still have to deal with introducing the characters to one another and setting up their villain. I am hoping that the show doesn’t feel rushed or bloated between the team introductions, the conflict itself, plus appearances from other characters.

With all that said, I am excited for the show. I am hoping that it represents all the best things about the Marvel netflix shows. The great acting and action from DD and JJ. The great villains, with the exception of Diamondback any villain introduced in Iron Fist. The great supporting characters and the writing that isn’t afraid to eschew mindless “fun” in order to tell a good story.

Extremity

Note: For anyone that didn’t know, I have become an avid comic book reader over the past two years. This adds to my list of traits that make me ridiculously desirable to women. This short piece on Extremity was intended for comicommand, since the site is not being updated for the moment (but will return) I am posting it here.

Image Comic’s first new comic of the year proves to be another promising addition to Image’s stable and comic book offerings as a whole. Writer and artist Daniel Warren Johnson (Space Mullet) brings a fictional world replete with warring clans. The main character, Thea, is a human female whose mother was killed by a clan known as the Paznina. In addition to killing her mother, they also cut off Thea’s right hand. Along with her hand, Thea loses her skills as an artist and a cornerstone of her identity. Johnson intended Thea’s dilemma to mirror his own fears of losing the extremity that makes him who he is.

The first issue introduces us to Thea, as well has her brother, Rollo and her father Jerome, the leader of their clan. While Jerome expects his son to be his successor, the first issue makes it clear that Thea is more likely to do so. In relatable fashion, Rollo is hesitant to engage in the violence that is needed to survive in their world. While he struggles to kill one man, his father wears a mask embedded with the teeth of fallen foes. Thea shows signs of struggling with violence as well, but is a much more capable warrior than her brother. Since her father acknowledges her skill, but is still insistent on Rollo becoming the next clan leader, it is likely that sexism plays a role in their clan’s hierarchy.

The final issue ends with Thea getting revenge on the man who cut off her hand, one of the first acts in an all out-war with the Paznina. Johnson made it clear he wants to explore how a family will develop under such circumstances, and it is clear that the members involved can’t get through one violent act after another without changing fundamentally. In this sense, the comic reminds me slightly of The Walking Dead, which consistently focuses on how people adapt to a new and harsher world. Of course, this isn’t unique to The Walking Dead. This question is central to most post-apocalyptic tales and/or tales of revenge. However, it is interesting to see it focus on a female character.

The artwork is aided greatly by the shading and colouring bestowed by Mike Spicer. The artwork itself is the weakest part of the comic in my opinion, but like any series, I want to read more issues before I pass a more definitive judgment on it. The dialogue can also be clichéd at times, and overly expository at others. The characters didn’t need to call each other “brother” or “sister” for us to know they’re related, more subtle cues were present in the comic’s pages. However, there were only a few lines that I had gripes with and they didn’t dissuade me from reading the next issue when it is available.

The Dark Knight III: The Master Race

Note: The below article is one that I intended to upload to comicommand back in March. Since comicommand is not being updated for the moment (but will be soon), I have decided to post this article on my site instead.

I heard mixed things about The Dark Knight: Master Race but my love of Batman eventually persuaded me to check out Frank Miller’s latest foray into the character’s mythos. This series is also co-written by Brian Azzarello (100 Bullets) and follows three years after The Dark Knight Strikes Again.

In this continuity, Ray Palmer (The Atom) is successfully able to free the inhabitants of the miniaturized, bottled Kryptonian city Kandor. Not only does he free them, but he also returns them to full size. Once free, these new inhabitants set out to create a society where the strongest, their own people, rule.

Although I also have mixed thoughts about this series, which shifts from amazing to mediocre within one issue, its exploration of Superman and his people is enough to keep me reading.

One of my biggest issues with the new 52, at least as portrayed in animated films like Justice League: War, was the relationship between Superman and Wonder Woman. When together, they are like the captain of the football team and the head cheerleader. Lois Lane wasn’t just a love interest to me. She was one of the key figures, along with Superman’s adoptive parents, that literally and figuratively kept Superman grounded. While Superman was more physically separated from his parents, Lois was a constant thread that enabled him to value human life. Growing up among humans also developed Superman’s respect for them.

In contrast, the daughter that he had with Wonder Woman grew up among Amazons and sees humans as “ants”. When the inhabitants of Kandor make their intentions clear, Lara is eager to follow them and shun her father, who she sees as a traitor to his people. She has grown up with the power granted by two of the world’s greatest heroes, along with the isolationist mindset of the Amazons.

The Kandorian leader, Quar, is a twisted version of what Superman could have been. While enemies like Zod desired the annihilation of humans, Quar expresses a paternalistic mindset that undermines human agency. In his own view, humans need to be ruled. They are the savage slaves that he wishes to civilize. Superman recognizes his power, and the advantages it gives him over the people of Earth, but he also recognizes the strength and free will of its people. Although he is better than Quar in many ways, he is not far removed from him.

 

Teen Titans: The Judas Contract Review

It is an understatement of epic proportions to say that the post-Flashpoint DC Animated Films have not lived up to their predecessors. Flashpoint, my favourite DC Animated film, was followed by Warwhich had very little going for it. Weak voice acting from a lot of the cast, weak dialogue, terrible characterizations for some characters (Wonder Woman especially) etc. The list of negatives goes on and the subsequent films did little to raise my hopes. Batman v Robin and Gods and Monsters were bright spots, which gave me hope that DC were climbing the ladder back to greatness. Then Justice League vs. Teen Titans came along, and sent my hopes spiralling into the abyss. The Killing Joke was a little disappointing, and could have cut the batgirl prelude, but was a pretty good film overall. Then we got a pretty forgettable Justice League Dark, not terrible, but nothing special earlier compared to works like Under The Red HoodSuperman vs The Elite, First Flight or even Assault on Arkham.

All of that to say, I made sure not to get my hopes up about this film.The Judas Contract (TJC) is an adaptation of the comic storyline of the same name, which I have not read. I can’t judge the film based on it’s accuracy to the comic since I have not read the comic yet and don’t want to simply Google comparisons since they’ll contain spoilers for the comics.

Overall, the film is a definite improvement over JL vs Teen Titans and War. Since the latter two films are my most hated DC animated films to date, that compliment isn’t saying much.

The most notable improvement in this film was the handling of Damian Wayne’s character. Since his introduction in Son of Batman Damian Wayne has been abrasive, stubborn, arrogant…in short, bratty. In Son of Batman, Batman vs. Robin and Bad Blood his more undesirable characteristics were also balanced out to create an anti-hero that was annoying at times, but not insufferable. Then JL vs Teen Titans undid any development the character previously received and pretty much made him Bart Simpson in a Robin suit. All improvements in terms of social skills, self-awareness, respect etc. were gone.

Spoiler: I was happy when Blue Beetle nearly killed him.

In TJC Damian is still a loner who is adjusting to working well with a team, just like his dad. He still has an attitude problem but he also looks out for his team and isn’t the petulant child we last saw in JL vs Teen Titans.

Damian, along with Beast Boy are the highlights among the Titans, with their dialogue and voice actors bringing the most life to their roles. Nightwing, one of my favourite characters, also gets to shine. We get to learn more about Starfire’s background, although she still just comes across as a two-dimension princess kindness for the most part.

The newest member, Terra, plays a pivotal role in the story and her story arc demonstrates how seemingly unsympathetic characters can still gain our sympathy. However, there is a birthday scene that was truly cringeworthy and reminded me of the DDR scene in JL vs Teen Titans.

I have to say that Deathstroke was the biggest highlight of the film. Aside from being one of my favourite DC villains, Miguel Ferrer does an amazing job as the villain. Deathstroke doesn’t have that many lines compared to some of the other characters, and his character mainly relies on charisma for the role. Ferrer brings that in spades and makes me overlook some of the weaker dialogue and relatively little screen time.

The other villians were somewhat forgettable in my opinion, and the final fight actually proves to be one of the duller ones. Bigger is not always better.

Overall, The Judas Contract was a decent way to pass the time, but still makes me miss the older DC films even more.

Thor: Ragnarok Thoughts

I have previously discussed my refusal to see Thor: Ragnarok due to Marvel’s insistence on bringing a comedy writer onboard to rework the film only because they worried the film was too dark.

Of course, I wouldn’t want a film to be dark if the tone doesn’t fit the characters or story. This argument can be a can of worms since many characters have stories that are uncharacteristically dark or light (e.g. The Flash with Flashpoint Paradox). The Barry Allen version of The Flash isn’t all sunshine and rainbows, but Flashpoint Paradox still took the darkness to a whole other level.

But I digress.

The previous Thor films had plenty of comic relief, or attempts at it. These included one painful line after another from the likes of Kat Dennings and Natalie Portman. One of the few good things to come out of the Thor series has been Loki. Ragnarok refers to Asgardian doomsday, so a dark tone seemed appropriate. Even if the film wasn’t going to adapt the mythical Ragnarok events, a title referencing doomsday still implies some level of darkness. Darkness would fit the story, and it could therefore fit the character. If a film is overhauled only to lighten the tone, regardless of whether the tone fits the character or story, that is a travesty. People complain about film’s being “dark” for no reason, but very few people have a problem with more “fun”.

What bothers me the most about the decision to change the film is that this demonstrates how the need for “fun” overrides other artistic considerations. The previous Thor films have other issues, such as a love story lacking chemistry,  and some weak villains (looking at you dark elves). All those issues were overlooked previously, but bring on some darkness, and it’s all hands on deck to make another film.

I still refuse to see the film in theatres but I must say that this first trailer has some great moments. More Loki is always a good thing, and I love the new look, which is partially inspired by his look in the Young Avengers.

Hela looks like she might give us another good villain. Her helmet has drawn a lot of comparisons to Aku, but since the helmet originates from the older comics, seems like Aku was inspired by Hela.

 

 

 

 

 

 

 

 

 

The Hulk doesn’t look as convincing (CGI wise) as he did in The Avengers film but the film still has more post-production to go. I actually didn’t mind the “he’s a friend from work” line since it actually seems in character for Thor. However, it still sucks that just about every epic moment is likely to be undercut by a one-liner that the fun-addled masses will eat up.

I’ve been told my writing is quite depressing, so perhaps I hate the Marvel “fun mania” since it clashes with my own creative proclivities. As Jeremy Jahns said sometimes I would prefer an epic moment, to a funny one. Likewise, sometimes I would prefer an epic movie to a “fun” one.

Superman and The Old School

As I was scrolling through Twitter this morning and came across this gem:

I knew I had to talk about it, even if only briefly, because it captures an argument I have made time and time again. So @CaptainMarvelTalk hates the art on the right (which is just fan art if I’m not mistaken) because it makes Superman too “dark”, “gritty”, “intimidating”.

I have previously noticed that people tend to have very static fews of certain characters. Superman does typically have a boy scout persona, the typical nice guy. Does that mean every single piece of art has to depict him smiling and happy? He can’t look intimidating in a single art piece?

When I raised this point to @CaptainMarvelTalk he said that intimidation is out of character for Superman.

I then responded with this:

An iconic scene from Mark Waid’s Kingdom Come where Superman angrily bursts into a political meeting. Of course, he doesn’t kill anyone, but he is undoubtedly intimidating here. Then @CaptainMarvelTalk argues that Superman is “angry” here, not intimidating. The two can obviously overlap, and are clearly affected by audience interpretation. In the original fan art, and in Kingdom Come, Superman is floating with his eyes glowing red. If the fan art counts as intimidating, the Kingdom Come piece undoubtedly does too.

Clearly, @CaptainMarvelTalk just hates newer artistic interpretations of Superman, in favour of the old school. Instead of saying that, he nitpicks and shuts out common sense and reasoning, contradicting himself time after time during our debate. I think this is a solid example of the bias that also fuels the Marvel v DC debate and the never-ending debate about how DC is “too dark” and doesn’t have enough “fun”.

 

Spider-Man Homecoming Trailer Thoughts

I initially avoided watching this trailer because I was worried it would give too much away. Overall, my wariness appears to be justified.

Tom Holland was a highlight of Captain America: Civil War, even though the character was clearly rushed into the film after Marvel obtained the rights (or technically leased them from Sony). Although I have previously ranted about the MCU obsession with light-heartedness and fun, I wasn’t as worried about that obsession ruining a Spider-Man film. Peter Parker’s wisecracking is a key part of the character and Holland mastered that element, as well as capturing a more serious moment when he referenced Uncle Ben’s death with Tony Stark.

Although plenty of people saw The Amazing Spider-Man series as being too dark, the tone wasn’t an issue for me. With that said, the second film was bogged down with too many villains and some pretty hammy performances from the likes of Paul Giamatti and Dane Dehaan.

Since Spider-Man is one of my favourite comic book characters, probably just behind Batman, Wolverine and The Punisher, I was excited for Homecoming.

Now…this trailer. The YouTube comments make it clear a lot of people disagree, but I think I have Tony Stark fatigue.  However, there is a silver lining. It looks like Stark steps back from supporting Peter after the incident on the ship, leaving the film to hopefully focus on our favourite wall crawler.

I am just worried the film might reach this point halfway through, which is too late in my opinion. The character of Peter Parker got anchored to Stark due to his rushed introduction in Civil War, and now the writers are doing their best to keep that thread alive and also find a coherent reason to cut it. Meanwhile, marketers are also pimping Tony Stark out to the audience.

The high school setting for Spider-Man worked surprisingly well in The Spectacular Spider-Man, since the show avoided becoming 90210 featuring Spider-Man. I am hoping this film has a good balance as well. Zendaya’s one line in this trailer already leaves me worried about her acting skills. She says “my friends are up there” with the same enthusiasm she would say “I broke a nail”.

On a positive note, the trailer doesn’t spoil too much of Michael Keaton as The Vulture. So far, he seems the best kept secret and also seems like he may be a highlight of the film. The new costume is awesome and I have renewed faith in Keaton after watching Birdman and Spotlight.

Additionally, a lot of the humour in this trailer was actually good. My favourite parts were the interactions between Peter and his friend. My least favourite ones, you guessed it, anything with Tony Stark.

What are your thoughts on the new Spider-Man Homecoming trailer?

Justice League Trailer Thoughts

Geoff Johns was kind enough to share the new Justice League trailer with twitter this morning.

So let’s get this out of the way. I am not a Marvel v DC person. Obviously I realize there is competition between the two brand and their related movie studios. However,  I do not condone the childish mindset that I can only like the movies from one group. My favourite comic book films include DC and Marvel properties, ranging from The Dark Knight, X:Men DOFP to Captain America: The Winter Soldier.

With that said, I am cautiously optimistic about Justice League. I love the characters, especially Batman, but BatmanvSuperman and Suicide Squad have left a bad taste in my mouth. Don’t get me wrong, both films had great pieces and great moments. Overall. they felt short. Both had weak villians and weak third acts, along with some other issues.

As I watched this trailer I forgot about that for a moment. There is still no sign of Superman but I’m sure we’ll see him in the film. I am glad this film didn’t reveal too much about the plot or reveal the villain yet. We know it will be Darkseid’s uncle, Steppenwolf, and we get some glimpses of parademons (presumably) in this trailer.

From what I understand, Cyborg’s armour is derived from alien technology in the newer comics. It looks like his armour comes from a motherbox, a teleportation device Darkseid’s forces use. This motherbox appears to be the gateway that allows the parademons to reach earth. If this is the case, Cyborg could have a central role in the film and I am hoping the script and the actor can deliver.

To start, there is a lot of CGI in this trailer. Obviously that has to be the case for the visuals this story needs. The Flash looks amazing so far and his scenes are some of my favourites from the trailer. However, this trailer reminds me of 300 with the amount of computer generated backgrounds and surroundings. The scene with Batman fighting a parademon sticks out in my mind as one of the worst offenders. Maybe I wouldn’t notice as much if some of the effects looked better. Hopefully the effects are cleaned up by the time the film begins. Cyborg looks better than he did in the comic-con footage so I am hoping there is still time to improve the visuals.

With that being said, the visuals weren’t my greatest concern going into the film. Steppenwolf will hopefully provide a better villain than Doomsday, Luthor or Enchantress. This should help to strengthen the third act but won’t necessarily be enough. If the third act is just a fight filled with poor special effects, that can also cause the audience to lose interest, like I did with the last fight in BvS.

I am also hoping the desire to add more “fun” doesn’t ruin the script entirely. Obviously some characters are more light-hearted than others. However, Barry Allen has pretty much been turned into Wally West in terms of their personalities. Meanwhile it looks like they are trying to turn Bruce Wayne into Tony Stark. Obviously Bruce Wayne has the carefree, obnoxious playboy persona but the real Bruce Wayne has a drier sense of humour than the one we’ve seen so far.

Okay, time to be more positive.

Aquaman is one of my favourite superheroes, and is severely underrated by the general audience and even some comic book readers. Jason Momoa, as well as the writers, look like they’ll remedy that. I am sure that Aquaman or Flash will end up being the breakout stars of this film and possibly even the franchise. My only worry is Momoa’s acting skill, which isn’t that great from what I have seen so far. That doesn’t detract from my man crush, but it does bring up a possible issue with the film. We’ll see how he does.

In general, the action looks pretty awesome. Looking past the issue of the CGI, it looks like we’ll see some creative and memorable action sequences. It was great to see our first glimpse of J.K Simmons as Commissioner Gordon, and hear a reference to Robin since Batman is “playing well with others” again.

I can’t deny my excitement at seeing my favourite superheroes on screen together and I hope Zack Snyder delivers a film that lives up to the hype.