Last Week: This Matrix may have a score to settle

matrix1Well, Warners are bringing The Matrix back. Its been rumoured before, but the announcement this week seems more official: Lana Wachowski (one half of the Wachowski, ahem, sisters who brought us the original trilogy) is signed up, as is Keanu Reeves and (somehow) Carrie-Anne Moss. Presumably shooting next year for a 2022 release, who knows, there’s still plenty of time for it to fall apart. Keanu is, as the Hollywood parlance goes,  rather ‘hot’ at the moment, with his John Wick films doing so well, which likely explains why Matrix 4 is finally happening. The Wachowski’s have struggled post-Matrix (although I did really enjoy Cloud Atlas) so in some ways it’s a little surprising that Lana is even attached to the project, but I guess it keeps the fans onboard. Speaking as a fan of all three Matrix movies (I actually have a sneaky adoration of the second one in particular, as freakish as that may seem) I’m intrigued to say the least at seeing what might happen next. At their very worst, the Matrix trilogy is odd and confounding and subversive and full of good (and bad) ideas, and I’ll take that over the generic fodder we seem to get lately. I just hope they bring the Architect back.

It will be in some company, what with future Marvel, DC, Star Wars and Avatar movies in the offing over the next decade- it rather makes me wonder where they’ll all fit in on the release schedules. Where will ‘ordinary’ non-genre movies fit in, I wonder?

Mentioning Star Wars, it has likely not escaped anyones attention that the trailer for The Mandalorian, Disney’s new flagship show headlining its November Disney+ launch, was revealed this week. Of course it’s impossible to judge anything from its trailer, but it at least looks ‘Star Wars’. To be honest, I thought it looked like a neat idea for a proper Star Wars standalone movie, like Rogue One, and that its almost a pity its a mini-series rather than a movie. It could be great, but here in the UK we don’t know when we are getting Disney+ anyway, so it becomes something of a moot point.  Sign o’ the times indeed. People get used to downloading/streaming torrents, they aren’t going to be inclined to subscribe when it eventually arrives, especially if its been seen ‘by other means’, but Disney may have a situation in the UK with Sky having rights to so much Disney content. Actually makes me wonder, if Disney pulls all that content, what on Earth will Sky have to actually air?

Not that Sky are unique in that situation, but they are particularly open to some damage there. Content is king, afterall, and as streaming avenues open up and content becomes tied to particular streaming channels, a whole new world opens up and the old content providers, whether it be Sky or Virgin Media, whoever, could be in trouble.

Funnily enough, I’m reminded of when Battlestar Galactica‘s two-part pilot was edited into a theatrical release over here in the UK,  and wonder if Disney would consider launching The Mandalorian over here in cinemas this Autumn if its first episode/s could work as a standalone item. Afterall, it’s all just digital files on hard drives these days, there’s no expense making prints like back then. Might keep the hype train rolling and divert people from those torrents.

So anyway, this week real-life issues got in the way somewhat regards writing posts here. I did manage to watch some stuff though – other than the execrable mother!, or Hunter Killer and Aquaman (three things that I did manage to post about), I did complete Season Three of Glow (which was fine) and watched a few episodes of The Boys (which is pretty great). Also my copy of the Ghost Story expanded soundtrack from Quartet Records arrived, but I haven’t really had proper opportunity to listen to it yet. Its a big, lush, romantic score, quite complex in orchestration and unlike the scores we get these days (it dates, of course, to 1981).

On the subject of scores, as I didn’t mention it in my Aquaman review, I feel the moment is right to point out that Rupert Gregson-Williams Aquaman score was, like the film itself, all over the place tonally. Sometimes symphonic and grand, sometimes it was all ‘Daft Punk’ channeling Tron Legacy, at others it was all Bear McCreary BSG. I suspect we hear the temp track revealing itself. But the source music used was something else entirely… did I hear the most horrible mutilation of Toto’s Africa that has ever been inflicted upon Western Civilization? I actually looked on Amazon and they even included it on the official soundtrack album. Ye gods. I’ve listened to the track (Oceans to Oceans) on Youtube and still cannot quite believe it exists. Isn’t Donald Trump being President enough of a cross for us to bear?

Aquaman

aqua1Less is  more. Its a lesson that patently escapes most modern filmmakers (and producers/studios) on the evidence of most blockbusters these days. Aquaman is a film that squeezes two or three films into its 2.5-hour running time; when I was watching it I felt oddly divorced from what was going on, almost absently watching it, and it only occured to me afterwards that it was likely because I simply couldn’t keep up with it. Aquaman is really The Aquaman Trilogy in one huge package, and in doing that it repeats the same mistake that blighted Man of Steel, Batman v Superman, and others.

Maybe its my age, and maybe it’s the only way to maintain the ATD-impacted younger generation’s attention and stop them getting bored, but there’s so many relentless plot points and acton scenes it leaves the film all blockbuster without any substance. Case in point: when Aquaman is smuggled into Atlantis and counsellor Vulko (Willem Dafoe?wtf?) issues him with plot exposition triggering another quest the momentary stillness is immediately broken by another attack and another fight sequence incase that three-minute exposition has set the young’uns to sleep.  Indeed, what is the point of Black Mantra in the film? It seems that in any well-conceived project he’d be the nominal ‘bad guy’ for a whole film but here he’s almost an afterthought, appearing and then disappearing until he pops up again for an action sequence and then gone again, resurfacing (sic) for a mid-credits sequence at the end.  I suspect his character could be entirely cut and the film would be largely unaffected.

There’s a good movie in here somewhere, I think, but it’s probably about an hour long, and the other hour could be likely edited into a satisfying Aquaman Pt 2. Chucking it all together just makes it feel insanely aimless and scattershot. Its hardly unusual in this, it just mirrors how so many films are now. Films seem to lack the confidence to take their time, add some weight and space. We used to blame it on the MTV generation, but is that even a thing now? And who watches TV commercials anymore- surely we can’t blame the tight editing of commercials these days now that we skip through them.

It certainly highlights the comparative success (as a movie, if not box office) of Shazam! which I watched a week or so ago and really, really enjoyed. The entire plot of Shazam! would likely have been reduced to 40 minutes in Aquaman. Its a shame, because Aquaman‘s cast is pretty good on the whole, and the production design quite impressive, albeit perhaps mind-bogglingly OTT, but its all for naught, its all overcooked and.. well, you know, if it was a meal you’d be stuffed and chucking it all back up an hour or two later. Pardon the image, but that’s how this film felt. Such a shame. Less is more.