She-Hulk: Attorney at Law- The Retreat

 "Spanish is a language, not a nationality, so..."

"You've never heard of Spain?"

In fact, Spanish is a nationality but not a language, which I think you'll find is called Castilian. God, even I know that was bloody pedantic,

Anyway, this episode is enormou fun, with the plot contriving to get Jen to Emil Blponsky's ranch of New Age nonsense, where he and a bunch of hilariously realised crap baddies from the comics (yes, Man-Bull, Porcupine and El Aguila are now in theb MCU...) somehow help Jen get over being dumped.

Yet there's more to it, I think. The script doesn't side with Blonsky and his twaddle, but mocks it. Jen has every right to be angry at the Wrecker, and the others are wrong to de-legitimise the anger of a woman assaulted by a man. 

The early scenes are heartbreaking. Jen and Josh start their relationship with a dating montage, only for Jen to wake up alone and be on tenterhooks for the next text, as we all have been with a new partner. The reveal at the end is shocking- all Josh ever wanted was to steal Jen's secrets, all on behalf of those online haters whom Jen casually dismisses as "losers".

Things are clearly about to go very, very wrong. And this continues to be highly entertaining telly.

She-Hulk: Attorney at Law- The People vs Emil Blonsky

 "I don't know about you, but I'd smash."

This is where She-Hulk really hits it's stride. I love everything about this episode, from Jen's little fourth wall breaking asides to the last minute, unexpected appearance of what is surely the Wrecking Crew. But the best bit is, of course, when Wong gets told he's confessed to unlawfully helping a prisoner escape... and promptly teleports away.

The A plot with Emil Blonsky's parole hearing is fun, with the inevitable comedy with Tim Roth being superb, and Wong's dramatic late entrance. There's also a nice little linked thread of She-Hulk's reputation being generated by the stupidity of the media and online world, with its incels and pathetic little boys. So she submits to an interview, which, er, goes well.

The B plot, with a shape changing Asgardian elf and Jen humiliating Dennis to win his case, is hilarious. But I'm sure Dennis will do somewthing nefarious before the season is over.

She-Hulk: Attorney at Law- Superhuman Law

 "That name better not stick."

After last week's superhero origin story, we now have the introduction of the format. After getting reluctantly fired by the firm and unemployed, Jen is hired by the opposition and given a swanky new office heading up a new Superhuman Law Division. But there's a catch. She has to practise, in the office and in court, as She-Hulk... and, yeah, she, er, loves the name.

And there's another catch: she has to represent Emil Blonsky, the Abomination, at his parole hearing, and Blonsky tried to kill her cousin. Fortunately, Bruce is fine with it, so all is seemingly well.

It's also nice to see Jen's family, including her parents, her cousin Ched and, I think, Bruce's parents. The scene is a joy, especially her close bond with her dad.

So many nice touches, too. I'm an old school fan, I know of Titania. Here, she is... an influencer?! Also, I love her dad asking the very pertinent question of whether Hawkeye retrieves his arrows. I noticed Blonsky's prison was run by Damage Control.

The format looks fun. I'm excited. Also, I presume the fact that Bruce is in that flying saucer from last episode will be followed up out of the confines of this particular serial. And I loved the Shang-Chi bombshell at the end.

The Hateful Eight (2015)

"They shot my nuts off!"

Wow. I know I tend to like Quentin Tarantino's films a lot. \but this, of the ones I've seen, which are most, this is his masterpiece.

Superficially, perhaps, it has many of Tarantino's tropes- his usual cast members; his signature sudden acts of graphic violence punctuating the narrative as if to shift the narrative from slow ad dialogue driven to fast and action-driven; the way he somehow makes everything seem, somehow, both natural and curated.

And yet... fundamentally, this is very different. For a start, the direction, while masterful, is restrained stylistically in a deliberate move to foreground the script an actors. His disinclination to do this in the past has never, of course, been a problem- there's a reason he's a famous director- but here he chooses to foreground the script and the performers.

 This feels, incredibly for a Tarantino film, not so much like the Western that it undoubtedly is but a serious stage play that evokes no less a writer than Arthur Miller. The characters- acted superbly, with Samuel L. Jackson and Jennifer Jason Leigh (weirdly, I'm familiar with her from Atypical) standing out, are well fleshed out, and there's a very prominent theme of race of the original American (and British, and French, and Dutch, and Spanish, and Portuguese) sin of slavery. This film has a lot to say of the difficulties involved in being black and American, in still living in the country in which you (or in the Major's case, you) were enslaved.#

The narrative- in chapters, framed by the music of Ennio Morricone, is masterful, mostly observing the Aristotelian unities but with necessary but restrained flashbacks, is both gripping and beautiful. One of the last films I see during the '10s may well be the best of the decade.

The Incredible Hulk (2008)

"You wouldn't like me when I'm hungry..."

Well, that was a bit disappointing. It wasn't awful, not quite; I'm glad they didn't just do the bloody origin. But, I mean, come on- Edward Norton has no bloody charisma. And, in spite of lots of CGI action, the direction just isn't that exciting.

I mean, it's nice to hear the telly theme tune as incidental music. It's nice to see a CGI Abomination. It's nice to see a sort of origin for Samuel Sterns becoming the Leader but with literally no climax; the actual cinematic equivalent of bad sex.

I suppose the treatment of the origin during the opening titles is neat and, as with Iron Man, it doesn't bother with any of that secret identity nonsense; everyone knows Bruce is the Hulk, so has to wander the western hemisphere like it's the '70s. Plus Liv Tyler, Tim Roth and William Hurt are all ok.

But, CGI spectacle aside, this film is boring. A good Hulk film needs a charismatic lead actor, and Edward Norton is no Mark Ruffalo. And no, a cameo from Lou Ferrigno doesn't make it right.

So the second ever Marvel film is a proper misstep. It's not surprising how little influence this film has had on what came after. Eminently skippable.

Reservoir Dogs (1992)

“Somebody's shoved a red hot poker up our ass, and I want to know whose name is on the handle."

 This is where it all began for Quentin Tarantino, and the first of his films I watched, rented from a video store in Barwell, Leicestershire in about '94ish. I enjoyed it just as much now, but the passing of a couple of decades has added quite a bit of context.

What makes this film stand out from all of Tarantino's other films is the fact that he made it before he had a reputation; it's much cheaper, with an obviously limited number of sets and locations, shorter (definitely a big difference!) and Tarantino himself, while his direction is superb, is not able to show his flashier directorial side with such a low budget film. He excels, much more obviously, with the phenomenal script, filled with all the joyously cool pop culture-related dialogue of his early period, yes, but also masterfully plotted and structured. Famously a heist movie that doesn't show the actual heist, it actually feels an awful lot like a stage play, not something you could often say for a Tarantino film. But there are masterful directorial touches in that we are shown the plot with the minimum of exposition.

The plot is simple, elegant and, while non-linear, has a clarity that belies its complexity- a sign of very good writing. We're left guessing as to the identity of the traitor right up to the unexpected reveal, the violence is cool and stylish, and the cast is perfect. Not even that annoying song from Stealer's Wheel (featuring the late Gerry Rafferty, who would later inflict on us the AOR awfulness of "Baker Street") can spoil it. The first of many Tarantino classics.

Pulp Fiction (1994)

"I'm gonna get mediaeval on your ass!"

This is, quite alarmingly, the 384th film I've done for this blog. Just as alarmingly, it's the first of those 384 films to have been directed by Quentin Tarantino. The odds were against this- I'm quite a fan of his, and this is THE film for those of my generation- but here we are; I've finally got around to blogging the finest film of the '90s.

So what makes Pulp Fiction so superlatively good? Well, part of it is just bloody good directing- take the syringe sequence- but there's more to it than this. Tarantino famously appeals both to the Cannes-attending intellectual crowd and to those who just like to be entertained by a couple of hours of violence and cool, two things which Tarantino is very good at. How does he keep both groups happy?

Well, I tend to say that Tarantino is the Jimi Hendrix of cinema- a true virtuoso, but you could never call him pretentious. Clever though he is, he always retains that lightness of touch. There's a line he doesn't touch. So Pulp Fiction may have a non-linear narrative and a complex ensemble plot with multiple perspectives, but at the same time it manages to be easy to follow, an achievement in both scriptwriting and directing which is not easy. Also, the allusions to cinematic history may be many, but they never overshadow the film itself.

But, I think, what Tarantino does with Pulp Fiction in particular is to use dialogue differently. It's not just that the dialogue is cool and quotable, although it's both of those things, but that it is allowed to breathe. Conversations are allowed to meander and reach a natural end, as per real life, from that first conversation between Jules and Vincent about Amsterdam through the entire film. They are not truncated to fit the narrative and rhythm of the plot; rather, the dialogue sets the rhythm and is used to make sudden moments of action more dramatic.

So many performances deserve praise- Uma Thurman as the tantalising Mia, Samuel L. Jackson as the compelling Jules, comeback kid John Travolta actually being quite good (and getting top billing after all those years of obscurity), Harvey Keitel doing the cool character that probably inspired those recent insurance adverts (something I've only just realised). Not only that, but even Bruce Willis manages to be more-or-less acceptable.

This is one of the greatest films ever, end of. It shouldn't be so long until I blog my next Tarantino film...