Spider-Man: Into the Spider-Verse (2018)

 "I do like his cereal, though. I'll give him that,"

This film is delightfully metatextual throughout, as only an animated film can be. I stopped reading comics circa 1993, despite being a Marvel fanatic for the preceding decades: I have no idea who Miles Morales is. Yet I thoroughly enjoyed his starring role here as a fresher alternative to Peter Parker who shows that Spider-Man doesn't have to be white, but can absolutely fulfil the spirit of Stan Lee and Steve Ditko, much as the latter of those two late geniuses had some very dodgy politics. 

We have an ingenious plot, with an interdimesional thingummy allowing for lots of alternative Spider-Men, inclusing a future Peter Parker to replace the blond, dead one of Miles Motrales' world. But we also have an anime girl with a robot; a noir Spider-Man straight from the '30s pulps played by Nicolas Cage; Spider-Gwen, a character I've heard of but have no idea whether this represents her; and.. Spider-Ham. Forbush Man, eat your heart out. We Marvel geeks have the mother of all Easter Eggs.

Ok, this isn't the greatest Marvel film. It's a bit of metatextual fun, despite the perfect balance between pathos and humour. It has a female Doc Ock. It has, deliberately and perfectly, a grossly oversized Green Goblin and Kingpin. It has a killer revelation involving the Prowler, played by the exemplary Mahershala Ali, whose performance in Luke Cage I have recently been marvelling at, no pun intended.

This is a bit of fun. But it's a very clever bit of fun, with much metatextual glory. I loved it.

Ghost Rider: Spirit of Vengeance (2011)

 "What if you have to pee when you're on fire?"

Yes, I know: this film is notoriously not very good. And on the strength of tonight's viewing I'm not going to quibble with the consensus. Yet I've seen worse films- annoying directoral style aside, this is a pedestrian but mildly entertaining watch, if disappointing. But it could have been more.

I don't mean to suggest, of course, that this film is big or clever, or should aspire to be anything more than a good B movie. But there's nothing wrong with a good B movie. And I think we have here a decent if corny action plot, with  decent if corny characters, by decent if corny actors, with Nicolas Cage fitting the description exactly, Idris Elba stealing the show as a kind of religious French James Bond, and Ciaran Hinds chewing the scenery in the best possible way. There's lots of Da Vinci Code-style religious conspiracy hijinks, there's Blackout, there's Danny Ketch from the comic as the boy the Devil/Mephisto is after- interesting. Allthis is promising. The script could perhaps do with a polish, but I think the same script directed better would have garnered a much more favourable reaction.

Because the direction is bloody awful- music video lighting and music video camerawork throughout. Cool camera tricks have their place, but there's too much of it here and, fatally, although the camera trick culd have been gloriously silly, they give the impression of trying to be cool. The same goes with the dizzying camera movements throughoit. There's lots of action but very little mood or atmosphere. And the direction is utterly humourous, which works very much against the grain of a silly B movie script.

It's a shame. This is a bad film, but could easily have been a rather fun one.

Wild at Heart (1990)

“Too bad he couldn't visit that old Wizard of Oz and get some good advice."

This is a David Lynch film, so you just know there's going to be weirdness, symbolism and ambiguous subtext. We get all this in Wild at Heart, yet it simultaneously is and isn't what one might expect from Lynch.

Interestingly, despite the arty directorial flashes, dreamy atmosphere, eschewal of nturalism in both directorial and acting styles and Lynchian blurring of what is and is not real, on the surface this is quite a straightforward film, to the extent of being cheesy. After all, it's a road movie, a romance with a happy ending, and interestingly the kind of action movie based on American  grotesques that looks ahead to Tarantino.

And yet there's so much going on beneath the surface- playful irony, yes, but much more. There's a loving relationship between two flawed but decent people, lots and lots of good sex, and the soppiest ending ever- but there's also a lot of darkness, particularly sexual darkness. We learn of Lula being sexually abused as a teenager, and Bobby sexually assaults her in a very uncomfortable scene. Yet, although this film doesn't flinch from the fact that this is a sometimes dark world, where good people suffer and die needlessly, it's also a film that holds out the hope of eventual happiness.

It's also, interestingly, a film full of characters reminiscing to one another, but these memories are unclear, frangmentary and inconsistent: all the characters, and indeed the narrative itself, are unreliable narrators. Memory, and thus the past, is a fragile, vague thing. There is only now. There's a melancholy to this, but also hope: we don't have to be prisoners of our past, as Sailor ultimately learns from the Good Witch.

And no, I've no idea what those Wizard of Oz references are all about, beyond the obvious rarallel of a journey. But this is a film that can be enjoued at a much deeper level while also being a weirdly straightforward melodrama. Fascinating.

Ghost Rider (2007)

"Mooooo!"

I hadn't seen this film until last night hit my expectations we’re not high. The film doesn’t seem to be well-regraded, Nicolas Cage is certainly a very Marmite actor, and Mark Steven Johnson was personally responsible for the crime against cinema that was Daredevil. Having seen it, though, I can’t see much wrong with it and enjoyed it a lot. It’s not up there with the very best but is a perfectly good film.

I suppose the DVD cover didn’t help matters- the quote used praised the film for its special effects, which usually indicates a well-polished turd. Yet the effects are indeed superb here- Ghost Rider looks amazing and the transformation scenes are extraordinary- but the stench of faecal matter is very much absent. There’s a solid script, for a start, making Johnny a sympathetic and well-rounded character and achieving that surprisingly rare trick of making an origin story entertaining. It’s broadly faithful to the comic books, although there’s no mention of Zarathos.

One place they can’t, and shouldn’t be faithful, of course, is with the character of Mephisto, a strange Marvel sort-of-the-Devil-but-not-quite character. For cinematic purposes he has to be treated as a more traditional devil type, and Peter Fonda is magnificent. It’s also a good idea to use Blackheart as the main villain, plot-wise at least. But perhaps stealing the limelight is the splendid Sam Elliott as Carter Oage, the Ghost Rider of the old West who gets one last ride.

This is a satisfying way to spend 100 minutes, a hugely entertaining film. I genuinely don’t understand the hate. Yes, Nic Cage is, er, Nic Cage, And his acting style is certainly unorthodox. But surely he’s perfectly appropriate here...? Received wisdom can be weird.

Kick-Ass (2010)

"How do I get hold of you?"

"You just contact the mayor's office. He has a special signal he shines in the sky; it's in the shape of a giant cock."

This is a brilliant, quotable, comics-literate film, adapted by Jane Goldman from the graphic novel by Mark Millar and, er, I like to think of myself as comics-literate- I mean, I've read most things by Alan Moore, Neil Gaiman, Frank Miller when we all thought he was good, Garth Ennis etc, but I haven't read much by Mark Millar. I'm impressed, though.

It's a witty and knowing look at the super hero trope from a writer who knows these tropes. It's also highly metatextual and you know how I love that sort of thing; I particularly adored the bit where Dave points out that we shouldn't assume he survived just because he's the narrator. And Mindy. Mindy is the coolest thing ever, and possibly the finest exponent of extreme swearing in cinematic history. Yes, we could finally have the first genuinely brilliant film since Leaving Las Vegas that Nicolas Cage (brilliantly cast) has appeared in.

The concept is brilliant: what if someone in the real world tried to be a superhero, without powers and where punches do actual damage and stabs mean extensive hospital treatment? This is done with wit and charismatic performances, making a film that whizzes by most enjoyably. And a bloke even explodes in a microwave at one point.