The Mezzotint

"By virtue of all that is reasonable, Nisbet, this is a rank impossibility." 

I somehow missed this last year, so I'm watching and blogging it when it's still the season, sort of. This is, of course, magnificent. Horror via existential dread. The pacing is magnificent and Rory Kinnear, as ever, gives a superb performance.

I've yet to read any M.R.James, I've just seen the adaptations. But there's so much going on here, beyond the idea of a picture changing whenever it's observed which may have influenced one Steven Moffat. But it's far more existential and far more gothic than that: this is M.R. James. Williams is a man of his time, yes, but he's nice enough- friendly, amiable to his housekeeper, harmless. Alas, as he discovers, he is the last of his line and thus inexorably doomed. There's nothing he can do. The moving figure in the mezzotint exists to doom him and him alone.

This is creepy, gothic, existentially dreadful. In short, full of Christmas cheer.What's not to love? Happy New Year, all. Now we are back to normal it's back to The Day of the Triffids and Better Call Saul, plus films, and I'll be starting She-Hulk: Attorney at Law.

Venom: Let There Be Carnage (2021)

 "You said I could eat bad guys!"

I only watched this film as an easy watch after a knackering day, expecting a non-demanding bit of third rate superhero fluff- much like this film's predecessor, enjoy it though I did.

Instead, directed by Andy Serkis- he of the recent extraordinary performance in Andor- we have a taut, entertaioning action film that doesn't outstay its welcome and develops its characters superbly. I know not of Carnage and Shriek- they are after my time as far as the comics are concerned- but I really loved them as characters, well written and acted. Woody Harrelson in particular is superb as a serial killer who, we learn only at the last minute, was made that was by child abuse. It just goes to show that those who participate in judicial killing, whether signing death warrants or administering a lethal injection, are as evil as their victims and deserve no less.

Not only the villains are well-characterised, of course. Ediie and Venom's bromance gets a nice little arc, and both of them come to accept that Anne is lost to them, and to wish her well.

The plot is simple yet effective, with the King Kong conclusion an oldie but goodie. This is a film about love, however twisted; about the lingering effects of child abuse; about the evils of judicial killing- those who take part in this vice all die- but, most of all, it's a rollicking ride.

And that mid-credits, echoing Spider-Man: No Way Home: the fugitive Eddie/Venom are in the MCU...?

Spider-Man: No Way Home (2021)

 "Gods don't have to choose. We take."

SPOILERS.

I've been waiting to see this film for a while, and it's a relief to have finally seen it. It is, after all, clearly quite big in being the first film (although Loki got there first, I believe) to establish ther multiverse. And it's bloody good.

For a film that literally links all the Sony Spider-Men and baddies to the MCU, quite an undertaking, this is a deeply witty and enjoyable film, chock full of actors, although they may have aged a bit. Alfred Molina has aged somewhat, but that's mitigated by the reaction of Peter, MJ and Ned to the name "Otto Octavius". Yet Jamie Foxx and Willem Defoe are awesome in their own right.

Tobey Maguire, though, and Andrew Garfield, deserve as much praise as Tom Holland and- indeed- Benedict Cumberbatch, who has conceded the title of Sorcerer Supreme to Wong by means of being dead for five years. That'll do it.

Despite the multiversal shenanigans, though, this is all about the characters. Spidey's reaction to May's death is heartbreaking, but not as heartbreaking as the fact that the conclusion has to revolve around everyone- including MJ- forgetting Peter. Ouch.

Yet, alongside the tragedy, and the blealk ending of everyone forgetting who Peter ids, threre's humour, which is very Spider-Man. And, while the late Aunt May is much nicer and much more relatable than in the comics, there's also J. Jonah Jameson, played superbly by J.K. Simmons, being a total ***. He's the real villain.

Yes, this probably won't stand up well to repeated viewings. But I love it.

All this and Matt Murdoch. So all them series are canon?

Eternals (2021)

 "I thought we were heroes. Turns out we're the bad guys."

This is, I can't deny, the worst MCU film up until this point, and quite a disappointment. One may be tempted to blame it on the great Jack Kirby. Genius though he was, his genius had left the building, and the concept of the Eternals and Deviants was developed by him in a limited series at a point when his mojo was a thing of the past.

Other creators integrated this cuckoo into the Marvel Universe in creative ways, but a cuckoo it remains. So there we have the original sin of the concept, cool thouth the Celestials are- and the realisation of Erishem.

The effects and visuals are cool. So is the direction, in a scene to scene sense. The film looks good. It's also an intriguing and respectful treatment of the mythos, with deviants, the Uni-Mind, and characters like Sersi, Ikaris, Sprite, Makkari and Gilgamesh all well treated.The Mahd Wiri (from Bob Harras' run on Avengers?) is well handled with Thena. And the bid reveal about the Celestials' plot- to destroy all life on Earth but to do so in the aid of seeding life elsewhere- is presumsbly nicked off of a comic after my time, butb is cool.

But... it doesn't flow. Perhaps it's because the main stars are character actors who don't suit such big roles. Perhaps the script underwhelms. Perhaps it's because the second post-credits sequence has some pop star playing Starfox, although Pip the Troll is cool.

But it's probably Kirby. And this is the least good MCU film.

Shang-Chi and the Legend of the Ten Rings (2021)

 "What is your name change logic...?"

Shang-Chi, particularly the Doug Moench incarnation, is a distint and fond memory I have from the '80s reprinting, here in the UK, in the pages of Action Force, the tales of the '70s... from which creator Steve Englehart had ejected himself in protest of the racism.

And here we have the problem. Because the '70s comics were based quite heavily and unironically on the works of Sax Rohmer (look him up), with its heavily racist tropes of the "yellow peril" and Fu Manchu, a characte whom... well, if you know the character, and don't cringe, you're being racist, however much you might try not to be.

I must admit, if anything has happened in the comics with Shang-Chi since 1983, this middle aged man knows nothing of it, except to hope it's not bloody racist shite.

Fortunately, this rather entertaining blockbuster film ignores all that. Shang-Chi's father is not Fu Machu(!) but, er, the Mandarin, complete with rings, and Shang-Chi himself has a rather awesome love interest in intelligent waster Katy, not to mention a rather awesome sister.

Disregarding cameos from Wong, the Abomination(!), Captain Marvel and Bruce Banner, and of course the ever- steady post-snap reality, this rather enjoyable film feels, at the momentt, as semi-detached from the wider Marvel universe as one could imagine right now. Yet it's excellent, essentially a Marvel-approved, strictly non-racist,  highly enjoyable Hollywood version of Crouching Tiger, Hidden Dragon and films of that ilk. Not massively deep, but superior blockbuster fodder.

Black Widow (2021)

 “Such a poser…”

It’s a little weird seeing Black Widow get her own flashback movie at a point after she’s been seen to die on screen, but in the end this is a highly enjoyable film. It won’t be quite up there with Marvel’s best, but their movies never fall below a certain standard, and this is no exception.

This is a film all about Natasha’s complex origins as the “daughter” of Russian sleeper agents in Ohio, and about a secret Russian troupe of mind controlled female assassins scattered worldwide. It is, essentially, a Bond film. There are many glamorous international locations; Ray Winstone is a suitable over-the-top villain; there are cool car chases and other action set pieces. Even better, there’s a denouement that is at once devilishly clever and easy to follow, a sign of good writing and direction.

Yet this is also a film about families, by blood or not. Natasha’s “parents” Rachel Weisz and the superb David Harbour as the hilarious Red Guardian (love the customs…) have nuanced and interesting roles with a lot of heart, but Florence Pugh really steals the show as Natasha’s “sister”, Yelena. The CGI may have been a little rubbish at times, but I really enjoyed this film- and the post-credit sequence was at once heartbreaking and intriguing in how it ties into TV rather than film.

Encanto (2021)

 “You can’t hurry the future!”

This film, the latest Disney behemoth, has become ubiquitous over the last few months. Little Miss Llamastrangler is watching little else right now, and nor are any of her friends. There is, I suppose, a wider worry about Disney’s increasing cultural domination, but in itself and in the fact that it tends to spread the rather conservative social mores of a modern America where one of the two main political parties, the Republicans, is openly fascist.

Thing is, though, none of that stuff can stop me admitting that this film is bloody good. Exceptionally so, in fact. It’s a splendid thing that Disney is doing a magic realist film for kids in the Latin American tradition, and setting it in Colombia, a country that deserves to be known more for Gabriel Garcia Marquez than for cocaine.

This is a wonderful little tale of a magical house that gives “gifts” to its family such as healing with a meal or talking to animals, but also of the need to be kind to one another and not forget to make sure everyone is ok and happy with their lives. The songs are wonderful, and the best of them is a superb yet catchy warning about the great dangers of stress and overwork.

Kids love it; the characters are great and the film is magical in more ways than one. And it’s great to get a light shone on to magic realism by popular culture. This film is quite, quite brilliant.

Free Guy (2021)

 "IP's and sequels. That is what people want."

See the quote, in which the film's villain summarises Holluwood This is a deceptively clever film. It's full of CGI,which works in the context. It's certainly very funny. Yet behind the well-executesd humour in this deceptively extraordinary film, a philosophical treatise hiding behind a blockbuster, is a bloody bit of brilliance.

Guy- a clever name for an NP-is a piece if sentient code devised by Keys and Millie. Yet he is also a genuine incidence of AI, a phemomenon that will, barring my outrageously premature death, be made manifest within my lifetime.

This is a film full of of humour amd witticisms.The tone is light. Yet, at its core, it is very philosophical indeed, being focused on a character (Ryan Reynolds) who is a sentient AI. And the film, with a real lightness of touch, really explores the idea of artificial sentience.

Look, I realise the '20s (yes, i know, none of us can quite believe it;'s the 2020s.), and we can quite be legitimately raise an eyebrow at how the film at the end uses such properies as lightsabres (in a scene where it could, of corse, symbolise,,, ahem) and Captain America's shield. Also, I appreciate the metatextual fun in characers such as Buddy and Dude. but, ultimately, this is a film which cheerdfully disregards and, indeed, freely attacks the fourth wall throughout, right until the romantic ending.

A rather good first film of 2021.