America Is “R”-eady!

Deadpool just became the highest grossing R rated film of all time, which is awesome, but I’m not here to discuss Deadpool specifically. Rather, what I’m here to discuss is what that film’s success means for the future of film in a more general sense.

Deadpool (Ryan Reynolds) reacts to Colossus’ (voiced by Stefan Kapicic) threats.

The boxes checked off by Deadpool are comic book adaptation, action movie, and comedy film. It would be faulty logic to try and delineate which of these flavors were the biggest reason for it’s record breaking success, as the combination of all three is clearly what led to it. What I’m more interested in is which of those genres will benefit the most from Deadpool’s big win.

We’ll start with comic book movies, as brand recognition certainly factors into box office success. But you can’t really make any more money bringing DC and Marvel characters to life than they already are. These films have made billions of dollars and will continue to do so for the foreseeable future.

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Also, let’s not fool ourselves into thinking that Deadpool was the first ever successful R-rated comic book adaptation. The three Blade moves were all rated R and – while only the first two were actually good movies – they all turned a profit. Kick-Ass was also received well enough by critics and audiences to warrant an admittedly inferior sequel. The Punisher (2004) and Punisher: War Zone (2008) were not especially profitable, but they were both enjoyable enough to sit down and watch whenever they come on TV some evening or weekend afternoon.

While James Gunn’s Super was very good, it was also an original property, so it may not entirely qualify for this list. But last year’s Kingsman: The Secret Service was a highly entertaining and well-reviewed R-rated comic adaptation. In fact, Kingsman itself did strong enough business to get a sequel greenlit. What I’m ultimately saying is that, even though the money Deadpool made was unprecedented for an R-rated comic book movie, the R rating itself was not.

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Comedies with an R rating never really went away. You can track back even just the past 10 years to the films of Judd Apatow and Paul Feig to see that. The 40 Year Old Virgin, Knocked UpTrainwreck, Bridesmaids, The Heat, and Spy all made money hand over fist and have strong reviews across the board on Rotten Tomatoes. However, those last two movies lead me to what I believe will be the real genre winner here: action movies.

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Yes, The Heat and Spy were billed more as comedies than as action movies. But they are really just a slight shift in ingredient measures away from films like 48 Hrs, Lethal Weapon, and Die Hard.  Action films used to proudly hoist their R rating before theaters began to crack down on underage viewers buying tickets to those movies. This is why memorable and fun 80’s and 90’s vehicles like the ones listed above, along with movies like Cobra, Predator, Bloodsport, Out For Justice, Con Air, and Face/Off (and numerous more that I could fill out a whole other blog post with) were replaced by a bunch of fairly toothless PG-13 movies.

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It doesn’t seem like the general admission crackdown is going away anytime soon (I might write a post about how the overly Puritan mindset of the American public at-large is doing a disservice to entertainers and those they wish to entertain at a later date) but as long as you can make an R-rated action movie that parents and their tween or teen kids are interested in, then we could see a real Renaissance.

There have been some very good non-comic book “restricted” action movies that have come out just in the past year or two. A few that spring immediately to mind are The Guest, Blue Ruin, John Wick, and The Purge: Anarchy. None of these films carried anything approaching even the relatively low $58 million budget of Deadpool, and none of them had anywhere near the full court marketing press as that movie, but I found them all just as enjoyable.

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There is still a market for “adult” oriented action, you can tell just by looking at some of the biggest television hits of the recent past. Game Of Thrones, Breaking Bad, The Walking Dead, Daredevil, and Jessica Jones were/are all excellent shows that bring in millions of viewers each week. Every one of those shows is much closer to an R rating than a PG-13 rating and, in fact, three of them are comic book properties. I can also guarantee that nearly half the viewers for these shows are under the age of 18.

You don’t need to be over 18 to want to see this sort of content but, if you are, then you’re not allowed to go to the movie theater and buy a ticket for it. Odds are that 99.8% of them suffer no mental trauma by watching these shows, this I say from personal experience, but now we’re moving back towards that Puritan values problem I mentioned earlier. My point is that, as long as the product is good, and as long as it is advertised and available enough, films of this nature will be successful.

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My theory will get its first real test at the end of May when The Nice Guys opens. Shane Black’s last movie was Iron Man 3, so I suppose it brings a little secondhand comic book brand recognition. But he’s more well known for directing and co-writing great R-rated action films like the aforementioned Lethal Weapon and, one of my favorite action-comedies of the last 16 years, Kiss Kiss Bang Bang. Yes, there are some big stars in The Nice Guys. But this is not the sort of Oscar bait that most R-rated star vehicles are these days. In fact, it looks a lot more like a fun, old school romp in the spirit of something like Deadpool.

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Obviously, I’m not banking on this as the be-all, end-all, since most of The Nice Guys was filmed before Deadpool was even ramping up its massive marketing campaign. But it bears watching trends over the next few years, and I’m personally hoping we get more of those vintage style action movies that I remember from when I was technically too young to watch them, but watched the hell out of them anyway.

It would be a nice break from the 21st century assembly line of sterile, overly polite versions we’ve been force fed. After all, the famous line does not go “Yippee Ki-yay, Jerkface!”  it goes “Yippee Ki-yay, Motherfucker!”

Fantasy Booking Game Of Throne Season 6

Fantasy booking is a term you read a lot from pro wrestling reporters. It’s essentially when they book the storylines and matches that they would like to see, not necessarily what they expect to see. So this is my fantasy booking for season six of Game Of Thrones.

Keep in mind, this is for the TV show, not the novels. Therefore stories such as the Greyjoy family drama that no one really cares about are not taken into consideration.

Right off the bat we have Jon Snow resurrected by Melisandre. We all know this is what’s going to happen so let’s just bang it out right at the start of the season. Two minutes into the season premiere, here’s some king’s blood (likely Jon’s own blood) magic gets us off and running.

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For his first act, the happy-to-no-longer-be-dead Jon says “fuck ya’ll” to his backstabby Night’s Watch brethren and decides to settle all the Stark family’s debts. His next step is to recruit any of the Free Folk settled south of the Wall, wherein has gathers a nice little army en route to reclaiming Winterfell.

The first stop, geographically-speaking, would be to find Bran. But Bran can keep doing his vision quest/learning magic thing, because he’ll be needed in season seven. You’ll understand why by the end of this post. Meanwhile Rickon & Co can keep laying low wherever they are.

Jon hooks up with Brienne, Pod, Sansa & Theon before they get to Winterfell. There can be a happy reunion between Jon and Sansa, who talks him out of running Theon through since he helped her escape from Ramsey. And then we’re back to business.

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We get our first reckoning, as Jon’s army takes out the Bolton Crew. Jon kills Roose Bolton himself, perhaps by stabbing him repeatedly in the belly and slitting his throat in a combo platter of what Robb, Talisa, their unborn baby, and Catelyn got at the Red Wedding. Sansa and Theon can get their own justice by killing Ramsey in an adequately gruesome fashion.

Then they venture to the Twins, where they give old Walder Frey a bunch of arrows through his chest and other sensitive parts. At this point, they’ve progressed to the Vale, where Littlefinger managed to sweet talk them out of killing him. Perhaps they bring him along, but Sansa knows to keep a watchful eye on him by now.

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That brings them to King’s Landing. While the Stark Family Revenge Tour has been going on, Cersei and her FrankenMountain have been trying to deal with the Sparrow infestation. Let’s say they accomplish mixed result with it, and are still in the middle of the process when they have some uninvited guests knocking at their northern gates.

Where’s Jaime during all this? Probably grieving over his daughter and looking to get some payback of his own on the Dornish. This would involve him turning the boat around and heading back to Dorne where they can milk a substantial season-long subplot.

Meanwhile, down south, Daenerys consolidates some power by hooking up with a new Dothraki horde. She brings them to Mereen, where she apologizes for abandoning Tyrion, Daario, Varys and Jorah to go joyriding on Drogon. She then apologizes even more profusely to Rhaegal and Viserion, finally unleashing their reign of fire on the unworthy citizens of Mereen.

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She takes her buddies, her Dothraki, her Unsullied and her dragon kids as she finally moves towards Westeros. Along the way, they pick up Arya who, throughout the season has pretty much finished her assassin training, and pay an unwelcome visit to the south gate of King’s Landing.

While everyone is converging on King’s Landing, the snowfall hits and winter finally comes. With it, the Night’s King and his undead army of ass-kickery knocks down the Wall via some sort of dark magic, and that’s where the season ends. This, of course, leaves season seven to deal with the real main event of every living person vs every dead person.

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Unfortunately, I don’t actually expect this to be how the season plays out. But, if it were, I suspect it would be the most awesome single season of a TV show in history.

They could absolutely accomplish everything above in 10 hours of television. If you don’t believe so, then you’re most likely an HBO executive looking to milk a great show until it’s running on fumes. Personally, I’d rather to see things go down my way.

A Cannibal’s Last Supper

To kick things off with a bit of a controversial thesis: I believe that NBC’s Hannibal is a show whose quality that I place on par with contemporaries Game of Thrones and The Walking Dead.

It’s a very different kind of show than those others, but I find it equally enjoyable. Its lush and sumptuous art design and direction make it stand out from anything else on television. As does its sometimes meditative pacing, which can be a bit of a double edged sword.

As Hannibal concluded its run this past Saturday (which was on NBC’s accord rather than showrunner Bryan Fuller’s)  I thought it was a good time to view its greatness and frustrations as a whole.

Major spoilers ahead, so consider yourself warned.

Season one revolved around Hannibal Lecter  and Will Graham (fantastically brought to life by Mads Mikkelson & Hugh Dancy) as the co-lead characters, despite only one of them having his name in the title. Graham had been portrayed without much fanfare in the 1986’s Manhunter and 2002’s Red Dragon, so Dancy had significantly less pressure on him. Lecter had been portrayed by Brian Cox, Gaspard Ulliel and (most famously by a wide margin) Anthony Hopkins.

Hopkins won an academy award for playing the role in Silence of the Lambs before revisiting it to diminishing returns in Hannibal (the movie, not to be confused with this TV show) and Red Dragon. SotL made the character an icon, but I will fiercely defend my opinion that Mikkelson plays the character better than he has been in anything other than SotL. That includes Hopkins’ two subsequent portrayals.

But I don’t want to venture too far off course here, and so I’ll bring it back to the show itself. Jack Crawford (a convincingly authoritative Laurence Fishburne) and Alana Bloom (Caroline Dhavernas, given maybe the most active character arc through the series) become more important as the show moves through seasons one. Each episode had a killer of the week that Will is brought in to profile and help the FBI catch, which sounds fairly rote, until you consider exactly how it’s done.

Will steps into the mind of the the killer, which is illustrated in dream-like sequences where the crimes are recreated with Will as the killer. The actual killer is generally revealed halfway through the episodes, so that the show can deal with its true interest: what makes these people do the horrible things they do. It’s this difference that allows Hannibal to surpass anything like the Law & Order or CSI shows.

The real neat trick is how showrunner Bryan Fuller and his team make ghastly things appear beautifully gothic. Dead bodies are positioned like magnificent sculptures, blood flows in a manner that seems to give it a mind of its own.  It’s pretty similar to something you might see from a Guillermo del Toro film, almost like the visions of a dark fairy tale.

Hannibal spends most of this first season assisting the FBI in the cases that they bring Will in on, primarily due to his fascination with the impossibly empathetic Graham. He also serves as Will’s psychiatrist, all the while continuing his killings and cooking as the Chesapeake Ripper. At this point it’s worth noting that they always make the meals prepared from human parts look so delicious that it has been widely considered Food Porn.

The developing bond between Hannibal and Will is really the driving force, as they are two sides of the same coin, and Hannibal believes he can flip Will.As things progress, Hannibal allows Will’s encephalitis (an inflammation of the brain do to infection) to go untreated, which takes a very heavy toll on Will’s mental and physical states.

Eventually, Will works through it enough to realize what Hannibal really is, and he tries to stop him once and for all. However, by that point, Hannibal has already framed Will for his own crimes as The Ripper and, in an ironic twist of fate, Jack Crawford stops Will from killing Hannibal. Season one ends with Will in a very familiar looking cell as Hannibal visits him. A full reversal of how most people were introduced to Lecter in the earlier films.

Season two is broken into two halves. The first half involves Will, fully recovered from his illness and sharp enough to take on Hannibal with equal footing. Unfortunately, he’s stuck in a mental hospital with all his allies thinking he’s a cannibalistic serial killer. This doesn’t stop Will from digging deep into his mental reserves and trying to figure out how best to bring Hannibal down.

Will manages to prove his innocence and, once freed, enlists Jack to help him finally get Hannibal. So the second half of season two has Will trying to beat Hannibal at his own game. He uses Hannibal’s curiosity and twisted affection for him to lure him into a trap. The whole game makes for fantastic television, but the finish is where the show makes its first fumble.

Season two ends with every major character, other than Hannibal, lying in a pool of their own blood from a trap set by Will and Jack gone awry as Lecter strolls out of his home. This was a mistake – not only because they didn’t have a season three renewal at the time, but because they missed out on a great opportunity to finally bring about some catharisis for the viewers after two years of Hannibal putting Will through the ringer.

It should have ended the exact same way, but with one major change. Will should have retrieved his gun, and emptied it into Hannibal as he tried to leave. The last shot of the season could have been Will and Hannibal lying across from each other with their blood mingling between them as they watch one another through dying eyes. It would have been a greatly poetic shot for a show that rarely passed on the chance to break out some gory poetry.

Which brings us to season three, the current and final season. Fuller had said that he wanted to do the Red Dragon story for season three, which was previously adapted to varying degrees of success the the 2002 movie of the same name and the 1986 movie Manhunter. For the second half of the season, which ran its series finale just last night, they did a fantastic job of running with that story. Since they kicked it off, the show has been every bit as good as it was prior to the season two finale gaffe.

The problem was with the first half of season three. The pacing of the first seven episodes were meditative, even by this show’s standards. In fact, the first four episodes were spent catching up with all the primary characters some months after the bloodbath at Hannibal’s home.

This would be perfectly fine for a show on Netflix or Amazon, where all episodes were released at once and you can blow through the first couple episodes to reach the point where things really ramp up. But asking your viewers to spend a full month getting back up to speed is asking a lot. Which is probably why they ended up hemorrhaging viewers, and got the cancellation notice passed down at this point.

The story they were telling was perfectly serviceable. It shows Will, Jack and Alana all tracking down Hannibal to Florence, a chance to roll out some gorgeous scenery, using their own methods. In episode five, they ramp up the momentum again by giving Jack his long awaited rematch with Hannibal, which is actually an joyously one sided beating laid down on Lecter. The next logical step was to have Will finally find what was left of Hannibal after the fight with Jack and lock him into that all-too-familiar cell.

But they didn’t give us that. After three years of build up, they didn’t give us the showdown between Will and Hannibal that many viewers were craving. The most frustrating thing about it was that there were two perfect setups in as many episodes for such a clash: one in Florence, and the other at the estate of Mason Verger (originally introduced in the SotL sequel Hannibal, but brought in earlier for the shows purposes).  Instead, Hannibal carries a wounded Will Graham home, and then turns himself in.

The next episode jumps three years ahead to kick off the Red Dragon story. Running it over the course of six episodes, rather than a two hour movie, gave the story more room to breath than it previously had been given. These episodes got the show back on track, and may have even been better than any previous story arcs. Going with one killer, Francis Dolarhyde A.K.A the Tooth Fairy A.K.A the Red Dragon (played with the conflicted ferocity by Richard Armitage), for the home stretch allowed the show to open up avenues of greater character depth than it had before.

So, the driving narrative of season three was essentially a three way courtship of sorts between Graham, Lecter and Dolarhyde. The season, and series, wrapped up with another of planned trap going sideways, as Dolarhyde helped Hannibal escape during what was meant to be a fake escape that would lure Dolarhyde in with Hannibal as bait. Hannibal and Will ended up at the former’s secret cliffside home as they awaited Dolarhyde’s arrival.

In the end, Will and Hannibal had to team up to kill Dolarhyde – even though they were both motivated to slay the Dragon for different reasons. Hannibal always wanted to share a kill with Will, while Will wanted to stop Dolarhyde before he massacred another family. The two shared a blood soaked embrace – the blood being their own, as well as Dolarhyde’s – on the edge of the cliff before Will tightened his grip on Hannibal and pushed them both off the into the abyss below.

Graham’s reasons for taking this course of action are complex enough to deserve their own post, but part of the motivation was that he knew this might be the best chance he’d have to finally stop Hannibal. He’d unsuccessfully used himself to bait Lecter in season two, but this time Hannibal steps right into the trap. The trap, unfortunately, was Will himself. This is not exactly the direction that I would have gone in but, after painting themselves into the corner with the season two finale and the season three mid-season finale, it was about as fitting an ended as possible.

The biggest overall misstep that I feel they made was making the subtext of the twisted bond between Will and Hannibal into actual text. That ended up driving the show into a place far less accessible for most viewers. It’s  always admirable when creative people do something different, but they still need to leave enough common ground to fit more than a handful of Fannibals.

Don’t get me wrong, I still think this is a great show and I’d highly recommend watching the entire run to anyone and everyone. But the rough patch that ran from the end of season two through the first half of season three has dampened my affection a little bit.

I will no doubt remember the show very fondly, and revisit it again in the future. Mostly, though, I hope to find something to fill this vacancy in my complex, prestigious television viewing slot. Much like Hannibal himself, I’ve developed an appetite for something a bit hard to come by through traditional means. Although, since I’ve never seen anything quite like it on TV before, I’m not sure I’ll see something like it again.

TeeVee Morghulis Or Why Game Of Thrones Must End

Valar Morghulis – All Men Must Die – and the same can be said about every show on TV. Moreover, for a TV show to be considered truly great, I believe that it needs to have a strong beginning, middle and (perhaps most importantly) end.

HBO more or less just announced that Game of Thrones will run at least eight seasons. It had previously been suggested that they would wrap after seven seasons while, at the same time, HBO execs have said they’d like to see the show run ten seasons. I was personally very happy with the idea of seven seasons, that way they could ride out the momentum they’ve built without losing steam in the same manner that George R.R. Martin has several times in his Song of Ice and Fire novels.

A last season needs to be settled on sooner rather than later, so that the showrunners can set the home stretch in motion and deliver a conclusion on the highest level possible. Seven made sense to me, as that would give them twenty more hours after this past season to get to where everyone already knows the story is going. That being an army of nightmare creatures breaking down The Wall and laying siege to Westeros.

Already in this past season’s episode “Hardhome” we got a good look at the terror waiting to be unleashed once winter eventually arrives. After seeing that episode, I know I’m not the only one who cared considerably less about all the other storylines that were still dealing with political positioning, and smaller personal skirmishes. Assuming there were only two seasons left, I was ready for season six to be the last time winter was coming, and season seven being the madness that ensues when winter finally arrives. All-in-all, I’m just not sure how you can wedge another ten episodes in between there.

Game of Thrones shares DNA with something like Breaking Bad in that it is all clearly leading somewhere. There were events set in motion early on that would lead to a inescapable reckoning. In Breaking Bad, Walter White was diagnosed with terminal cancer and then rose to power as Heisenberg . It was therefore inevitable that either the cancer, or the sins he committed as Heisenberg, would kill him. Everyone knew this was coming, which is why everyone was excited when an end game was promised for season five. If they had tried to milk two or three more seasons out of the story, it would have diminished the legacy of the show.

I can also reference Starz’ Spartacus. They did a great job of going full speed ahead through the entire run of the series. That run lasting only three chronological seasons and one prequel season. Spartacus is a well known legend, and you’d have a hard time finding someone who didn’t know how it ends. With that in mind, it was important to make the journey to that ending as effective as possible, without any sort of lag time. Spartacus is one of the very few TV series that I own on blu ray, so you can draw your own conclusion about how I feel they did.

Lost is a cautionary tale on the flip side of this. I loved that show, even though I remember a couple of the middle seasons being a mess. The problem was that they had promised answers, and waited too long to lock down a time of resolution. The same could be said for another show I loved that suffered from stretching itself too thin over too many episodes – Battlestar Galactica. This show was also had what was, essentially, a single large story arc that required an ending. Part of the reason why both of these shows have sat in my Netflix queue for years with the unfulfilled intention of rewatching them is because they are both at least twenty episodes longer than they should have been.

Episodic shows like Mad Men, or The Walking Dead, or The Flash can run as long as they please. This is because they don’t need to worry about momentum building up over multiple seasons. When done well, an episodic series will build up momentum and deliver a measure of resolution at the end of each individual season. Game of Thrones does not have that luxury. Any time spent not leading towards the finale feels extraneous. In fact, you can feel this sort of stalling in many episodes of Game of Thrones that fall in the middle of each season.

Maybe eight seasons of Game of Thrones will be fine. I certainly hope they manage to pull it off, as it’s probably my favorite continuing series on TV (fare thee well to the already canceled Hannibal). That being said, I know that my attention will still waiver during scenes that don’t push the story towards its inevitable climax. I’d like to revisit Game of Thrones again once it ends but, if they keep driving it until it’s running on fumes like Lost or BSG, then it will likely end up sitting on my HBOGO watchlist as unwatched as those other shows in my Netflix queu.