The Writer's Poke

Yep. This movie does briefly reference the first AVP movie, but if you're looking to make sense of how this one continues from the last one, good luck.  And yep. This is supposed to be the second movie in a trilogy, and if you watch the very last scene, we're introduced to a new character at the very last second -- which makes absolutely no sense if there's not going to be another movie to explain who she is...  Unfortunately, this movie killed any future plans for the next movie. Just blew it right up.  The main problems with this movie, really, is how it was shot. It's consistently too dark, and almost all of the shots are extreme close-ups. I'm guessing the budget was on the lower end, and it was simply easier and cheaper to shoot dark and too close. Beyond that, none of the human characters seem to know what's going on, except for the "Colonel." He knows, and just for the sake of adding some clarity to things, I think they really needed to develop ...

 At first, it doesn't seem very "versus," because a team of humans are placed right smack dab in the middle. But later, it becomes clear that the humans are needed just for the Aliens to have something to face jump and chest-burst out of.  Predators are the ultimate hunters. They will hunt humans, yes, but maybe Aliens are more of a sporting challenge. Alexa (Sanaa Lathan) is the smart human of the team. I don't know how much of a spoiler it is to note that she is the one that makes it out alive. None of the other humans are really all that developed as characters, and our focus is always mainly on Alexa... so I don't think it's a real spoiler.  What might be more of a spoiler is to note what kind of relationship she develops with the lead Predator. Alexa understands that the humans need to pick a side, and the side they need to be on is the Predators.  If you've seen a lot of Predator and Alien movies, you know this is the right move to make. Predators ha...

Why is this movie shot in black and white? I might Google it, but after watching it and spending a night to sleep on it, I don't have a clue.  Danny Rose (Woody Allen) is an agent, and all of his acts are pathetic. Anytime he represents an act that has any sort of potential, they immediately leave him at the earliest opportunity. And for the most part. Rose has come to terms with that.  Then he's representing Lou Canova (Nick Apollo Forte). What is he? A Lounge singer? But Canova's career has floundered, and he's thinking about seeking new representation. At the same time, he wants Rose to be his "beard" for his girl, Tina (Mia Farrow). Why? The Mafia, I guess. So Rose does that, ends up having the Mafia come after him, ends up falling in love with Tina, and so on.  This is all being told, by the way, by a group of guys, OG comedians, I guess, who are trying to tell their best Danny Rose stories? I'm not sure I get the framing technique here, or why it...

Zelig starts with a cute idea. Imagine a guy, Zelig (Woody Allen), who was famous in his time, but who is now almost completely forgotten. What made Zelig so popular? He was a human "chameleon." Just put him next to anyone else -- black, Chinese, Orthodox Jew, Native American, and he would start to take on their look, physical traits, dress.  Interestingly, I guess, he didn't have the ability to change gender. That would be a bridge too far.  But put him in a cockpit, and he could become a very bad pilot. Or, put him in a hospital, and he could become a very bad surgeon.  Anyway, the movie uses a documentary form, and the way that it captures the real look of 1920s-1940s footage is very well done. I never question if it's "real footage." I'm sure a lot is, but anything altered or created new for the film is seamlessly done. Bravo. The problem is: The human chameleon gimmick isn't enough, really, to sustain a complete film. If you think of other mocku...

Miles (Woody Allen) went to sleep in 1973 and woke up in 2173.  Until you start watching (or re-watching) the entire Woody Allen canon of films, you don't stop to think about how many of his movies have a fantasy element. Even the more "serious" of his films usually include some sort of "discussion" between science, religion, philosophy, and pseudo-science.  Sometimes the Allen "fantasy" element works for me, and sometimes it doesn't. I do, however, almost always enjoy the "discussion" element. I'm writing this down here because I'm about 16 films into my Allen re-watch, and I'm still debating if I like his work as a whole, or if I just like his "best stuff" -- his best stuff generally being "discussion" not "fantasy" (the one exception being Midnight in Paris).  Sleeper, to me, isn't one of his better films, but at least it's a film that I can watch without finding myself zoning out. I ha...

Knull is played by Andy Serkis, the director of the previous Venom movie. I like that. My problem with Knull is that I wish he had been introduced as a character in the earlier Venom movies. He just sort of appears out nowhere, as does the plot point for the third movie. We always kind of knew a lot more of Venom and his kind were out there, ready to invade Earth. But you think that over the year Venom and Eddie (Tom Hardy) have been partners, Venom would have told Eddie what was out there.  The second problem with Knull is: All he needs is the Codex, and the Codex -- the key -- is too simple -- it's just the full-bond of man and symbiote. When Knull has that, he can send a tracker to retrieve the Codex, which then ends the universe. Big threat, too simple.  Even if you can overlook the simplicity of the plot, the writing is pretty lazy in parts -- just telling us what we need to know rather than taking the time to let it develop more naturally. This movie treats its viewers l...