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bobbimorses · 4 years

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I saw you mentioning that Clint's personality/portrayal in more recent works has been done poorly. What sort of things do you want to see acknowledged/come back in the modern Hawkeye portrayal?

ok, i’m gonna refrain from embedding panels since this will be so long. skip to the bold for what i’d like acknowledged again because i first try to analyze what recent misinterpretations stem from before getting to your point. whoops!

currently, people seem to overwhelmingly portray clint in only these terms: coffee, catchphrases, and clueless. now that’s not to say that the man doesn’t drink coffee, or that he’s an omniscient super-genius, but that people have taken traits from one portrayal they recognize and run so far with it that it seems like that’s all he is.

i think this is because a lot of people have either misinterpreted the circumstances at play in fraction’s hawkeye, or only know of clint from fanon or decontextualized panels from that run and subsequent appearances

here’s what was happening in fraction’s hawkeye: clint was in a state of depression. fraction’s run took a lot of inspiration from hawkeye’s first solo series (v1), by gruenwald, where clint’s also shown in a rut. in both runs, his depression partially stemmed from his lack of belief/confidence in himself. in v1, it’s a betrayal that makes him doubt he’s worthy of being loved. in fraction’s hawkeye (v4), it’s the amalgamation of all the beatings he’s recently taken in the avengers that makes him doubt he’s worthy of being an avenger.

v4 immediately follows from clint being burned to an absolute crisp (then healed...but not instantly) in a big event, avengers vs. x-men, while facing the phoenix-possessed x-men, aka god-like powered beings. issue 1 of v4 opens with clint being completely wrecked in a fall while avengering. he’d also been killed and thrown around a lot of other major marvel events in a short time prior to all this. basically, he’s been painfully reminded of just how human he is among a bunch of gods and super soldiers. he can handle the pain, but he can’t handle that all the breaks and burns are reminders of his fragility, his humanness; how was he unable to stop them from happening? he starts to question his place in the avengers.

so what you see in fraction’s hawkeye? the moping, the mess of an apartment, the subsistence on pizza, coffee, beer and cereal, long periods of just being on the couch and wanting to nap, the occasional apathy and bewilderment at things happening around him? that’s depression. clint’s not on his A-game, he’s at a low point. unfortunately, a side-effect of v4′s popularity (it’s a well-made comic!) is a lot of people only know this side of clint; they don’t have the image of clint on a good day to “compare” against, and think “this is it.” but that’s not it; i think v4 is meant to show that even the most heroic can slip into apathy when sinking into depression. v4 is about clint finally accepting help from his friends, his neighbors, overcoming his indifference, and believing that not only is he the one that has to stop the villains, but that he can and will. because he’s hawkeye.

now onto what’s lacking in portrayals that misinterpret/represent clint:

jumping off from that doubt in his capabilities, clint has previously been shown to suffer from insecurities. his outwardly overconfident attitude was, in his beginnings, a mask for his low self-esteem and total self-reliance. of course he knew he was the earth’s greatest marksman, but was this enough to take on all these world-ending threats? eventually, after proving himself time and time again, he shed a lot of these insecurities. his confidence was more than earned. his cockiness also threw enemies for a loop: “look at this dude with a bow saying he’s gonna annihilate us. as if he-OH NO.”

now, he’s being portrayed in an inversion of that same strategy: he’s written as getting enemies to underestimate him by acting dumb, bumbling, a klutz. the problem with writing this as clint’s consistent strategy instead of an occasional usage is uninformed readers, or decontextualization, will have people thinking he’s actually like that. that’s why i miss clint being brash and overly-boastful to throw enemies off. he’s already “just a guy with a bow,” why does he need an extra layer of feigned incompetence if everyone already sees him as that guy?

he does have that lingering thought of “am i really good enough to be an avenger?” but he responds to it by trying to be even better, and that drive is what makes him excel, one of the best, worthy of the rank. that drive should always be present. it also makes him kind of competitive (though that’s also just for fun)

snark & attitude: clint’s also always been snarky. i wouldn’t say he’s at the level of spider-man in terms of constant quipping, but when clint and pete have fought together, they’ve given each other a run for their money. clint’s humor also has a sort of lovable jerk quality to it at times, because he’s very light-hearted about it. he’s got a certain levity about him, because you have to when you’re aiming an arrow at a dude made of steel. i’ve seen this quality slowly return to the comics, i think. on that same note, his belligerence with authority, though obviously now more mellowed, can come in little doses like questioning aspects of a plan/order. clint is a confrontation magnet and can be a real loudmouth, even if he’s fiercely loyal to his team.

street smarts! clint has always been clever and had out-of-the-box thinking because he had to scrap by in an orphanage, then a travelling circus (and have you ever played a carnival game?). he’s used his smarts to gather intel, infiltrate (break into) places, trick people, and defeat many a villain. and he’s not above cheating to do it. he literally defeated an elder of the universe, saving the entire defeated roster of the avengers and the universe, by pulling an old carny trick.

trickshots: the first elder of the universe he defeated was with a combination of his cleverness and a trickshot. i want more trickshots again! ricocheting shots, shots where he’s had to determine all the involved angles almost instantaneously in his head, just ridiculously pulled off shots from a distance or at difficult targets all really demonstrate clint’s skill. he didn’t and doesn’t do all that training to not be the best archer. speaking of...

training: clint regularly trains to maintain and hone his skills daily. this isn’t really an issue with current comics writing per se but some people seem to think he just sits around all day (and not just for a vacation). literally his whole shtick is training a skill so much that he’s on par with superhumans. c’mon, guys. relatedly, he’s also skilled in combat because he trained with cap (ronin skills!)

acrobatics: clint spent his adolescence in a circus and was always trying to get in the show, so you know he brushed up on acrobatics. clint and cap even did some gymnastics training in the early days. i want more flips that clint didn’t necessarily have any business doing when he could’ve just leapt around with much less flare, like the typical showman he is (tales of suspense did have this)

accent: this one’s more nitpicky, but i’d maybe like a return of a little bit of a lilt on his dialogue again. i know marvel phased out overly-phoneticized accents, but clint, orphaned carny that he is, always had a casual way of speaking, and i enjoyed how that was reflected in his written dialogue. dropped g’s in gerunds, d’s in and, shortened word combos, etc. it doesn’t have to be over the top, just touches where needed. this is a thing that was kind of present in fraction’s hawkeye, actually.

leadership: though it’s not like marvel denies clint ever led multiple teams (editorial wouldn’t let that happen), lately he’s sometimes written as if he doesn’t have this experience to draw from, and sometimes not. it’s a bit inconsistent. this isn’t to say clint has to be the leader at all times, he works well in a team in any capacity--just don’t shrug off the development and coordinating abilities he gained from his leadership

disaster?: i don’t fault situations where clint's going about the motions and suddenly everything around him is a disaster because when isn’t it with clint’s luck, dude once got cornered by like 10 supervillains in a sewer. and the man can make some bad decisions. but just remember how he’d respond to a disaster: thinking up a plan (or trying to on the fly), using all the resources at his disposal to conquer the problem, maybe insulting 5 people in the process, trying to wink after he gets stabbed

i’m not trying to disparage some people’s interpretations of certain aspects of clint, i’m just advocating against a misunderstanding or persistent misconceptions of clint as a character. he’s a character rich in development because he’s been kicking around continuity for over 50 years now. he went from screaming at cap like a grounded teenager to being offered the shield and rejecting it out of utter respect. he’s complicated in his experiences, his relationships, and many facets of his character, though his motivations can sometimes be simple (help people, show off, prove i can be be that good by being better). to whittle hawkeye down to one note would be a disservice to clint barton’s journey and evolution.

actually, here’s a panel:

#Anonymous #to be clear this is abt comics #this answer was almost as long as my conlaw exam #meta #i've had a compilation of panels mentioning clint training sitting in my drafts #it's so long there's just no text to it #also not to say 'every appearance of clint should be written based on this template from issue -13 from thunderbolts'#bc that's just restrictive #varied writing keeps things fresh #but like...there's layers #WAIT i forgot to talk about his relationships #bring back clint's close friendships #it's like a running joke now when he shows up for a few panels in something #and everyone's like 'ugh hawkeye's here'#stop!!!#at least no road home had him and wanda on a diner friend date

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steve0discusses · 3 years

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Yugioh Ep 36 S4: Seto Joins Dragon Wife in Hell

So I dunno about you guys, but 2020 aged me like a lot in just these 8 months, so I figured it was time to embrace the feeling of being on death’s door and I decided to learn Mahjong. So I could truly embrace the ancients and vibe in their natural habitat.

Anyway, once I learned some Mahjong lore, some parts of Yugioh just open up. Namely--Seto’s dragons. Like a whole lot of stuff about early Seto Kaiba that confused me at the time just makes so much more sense now.

But unfortunately, he dies this episode, and he never pulled out his Blue Eyes White Dragons, and it’s just like...

...but my Mahjong deep cuts...

Like every episode I’m just rubbing my palms together in anticipation that someone will die, but like...I never get to talk about how in Mahjong, there’s only 4 white dragon tiles, but if you have 3, you can steal the fourth white dragon from another player’s discards, and that when you that, other stuff happens...I don’t get to talk about that because Seto’s hella dead.

So lets just get to the death. Dartz decides to make all of our soldier frenemies attack Pharaoh--because that’s all he needs to raise the Leviathan. Like Dartz doesn’t even really need to finish this game. He just needs Yami.

Seto picks up that these friend (and Pegasus) soldiers that Yami refuses to kill are probably going to end the world very quickly so he decides to do something about it. If this were a blog where I talked about cards instead of Mahjong, then I’d dive into the intricacies of what that even was.

But, we’re not, so lets just talk about Pegasus.

(read more under the cut)

This guy harnesses some psychic energy he’s got leftover from S1 and communicates directly to Pharaoh’s mind.

So, hey, what was that about Pegasus not having powers anymore? Like? He’s still doing this? He’s still psychic and he very clearly can still make blank cards so like...I guess you can take out the eyeball and make him nicer, but you can’t take out some of the effed up magic side-effects. (like there was a comment I didn’t respond to (which, sorry about that, been a little nuts over here in California), but apparently there was a movie in between seasons where Pegasus saved their lives--so he’s legit good now...there was a DLC where character arcs happened.)

Which kind makes you wonder about Marik, but we’ll probably never see him again so o well, save it for the fanfiction.

PS Yami is totally fixating on that eye we can’t see, right? Like...it never outright tells us, but does this spiritual Orichalcos manifestation of Pegasus still have the golden eye? A human eye? Or no eye at all? Just skin?

Not like it matters because Seto does some sort of card shenanigans that undo the whole friends that are soldiers thing like it never happened.

MMMMM I don’t like these weird legs on Yugi. Don’t like the thighs it gave to Joey. No! I’m seeing like this skin-tight silhouette of half an ass right now and I really don’t like it.

Along with other card things I won’t go into that consumed most of this episode, Seto finally got hit by a...well, I mean you can clearly see it in the next cap.

So, in Mahjong, there are 3 types of dragons: a white dragon, a red dragon, and a green dragon. I used to think it was really lazy that we’re just calling monsters straight up “white dragon” or “red dragon” in this show, but now it makes more sense because this whole time it was probably baby’s first Mahjong reference but I’m too Western to know that.

Anyway, the white dragon is funny looking because it’s a white tile--just a completely blank white tile. I thought it was a wild card at first but nah--it’s a white dragon in a snowfield--which is a very funny Dad joke from 200 years ago we’re still doing today. But, often, instead of a Dad joke, they’ll just make the white dragon tile a drawing of a blank card, like this:

Kind of funny that the guy who’s shtick is white dragons, ended up with his soul in a blank card. Was that a mahjong reference? Probably not, but I noticed it.

And mahjong aside, the show paid it’s respects to Seto dying and so he took his sweet time passing on. It’s still not that much respect. We aren’t gonna get that amazing Joey death sequence from S3 that took like half an episode of scene-shredding for our mains to recover from, but like...Seto was very determined to keep going, despite not having a soul.

He even finished his turn of cards, as if to just spite Joey Wheeler for that one time Joey hella died before killing Marik.

Shippers rejoice, it’s a Yami and Seto Kaiba death sequence. If you squint really hard, it might even be an embrace. I mean they both have very sharp duel disks on, and if Yugi’s closes for whatever reason, it’ll snap Seto’s head clear off, but what other “hugs” do we really get on this show?

And as for Mokuba, he was quite tragic this episode. I mean it’s Yugioh, so it’s not like you’re gonna cry or anything, but Mokuba just doesn’t really have anything else going for him without his brother so it is legit like...man Mokuba gets a lot of crap thrown his way and even when he’s happy, he still has to live with Seto so just...Mokuba...

Again we get this bubble effect of other people trying to enter the Orichalcos which happens just a Hell of a lot this season. Like Dartz probably has never had a single person WANT to go in the green zone in 10,000 years and then these bizarre children happened and they just want to bounce off that thing like a jello pudding.

I think it took over 5 minutes for Seto to die, and he was very, very, VERY angry the entire time. Just fueled by literally nothing but rage. Could probably go a couple more episodes if he had taken a nap in the KaibaCopter, but alas, even Seto Kaiba eventually runs out of fumes.

Anyway, another Mahjong fun fact. The dragon tiles are considered an “honor tile” and how many times have we heard Seto--who is such a scumball--go off about his honor? It can be hard to use honors tiles because their rate of success is lower, so when Seto’s like “I have to live up to my dragon’s honor or I can’t keep these in my deck” could he be like...making a Mahjong pun as well as a literal reference to whatever he defines as honor?

...Again, just a Mahjong reference I noticed, but probably not what they intended at all. Which is Good Enough for this blog.

After he tragically passed on, and Yami delicately put his body on the ground, -- Dartz decided to make this moment very funny for me, instead.

Bless.

Not as good as Yami the both times his body was chucked casually across the screen this season--but a very good toss, nonetheless.

I have made so MANY clips of this season!

Tristan and Tea kinda just stood there this entire episode while this was all going down and like...I know they can’t really do anything else at this point but like...can someone give Mokuba a hug???

I can’t believe Valon was the only guy in this entire show about friendship who knew how to hug people. He was in prison since he was 9, and then was raised by freakin Dartz, why is he the only hugger?

PS, apparently Seto’s yummy soul was enough to make the Leviathan open a single eye-ball in curiosity.

Mokuba out there flinging so many insults that he got everyone else banned from watching devil cards. It’s like sports competitions in Middle school with that one kid who won’t stop cussing. That one kid who is the reason everyone else has to sit through a boring ass assembly about sportsmanship? That’s Mokuba.

Now that everyone is ‘passed out’, we can get to the juicy stuff only the olds talk about--which sounds a lot like I’m about to do another segway into talking about Mahjong again, but I’m actually all out of the Mahjong juice. Again, I’m ass at Mahjong.

(and like...the peanut gallery died in the original version, right? I know to never trust a “they’re just sleeping” line in Yugioh.)

Dartz telling me he dragged that ass length blue hair across Egypt?

Man.

I would say that it must’ve really thrown people, but then again, their Pharaoh looked like...that.

So Dartz ended up wandering the earth for 5000 years, cursed to live immortally, unable to revive the great Leviathan, wallowing in his failure. Sentenced to suffer the entire existence of humanity that he never wanted to see survive anyway, unable to die himself.

That’s an interesting plotline that I wish I saw more of. I really like the idea of a supervillian who is already past his prime, who’s already burnt out, who’s so far removed from what happened that he’s fully accepted his demise and is just wandering around out of habit. But, most importantly--that changes my math. That’s like...5000 years he wasn’t slurping no souls because he was too damn depressed. So I’ll append the Deathcount. One second.

OK so we can just subtract 7.3 million from what we had, leaving us with: 7,805,844,047. Barely even made a dent but...eh...when you got the current population of the Earth in there it’s really hard to make a dent in that thing.

PS I still have that google doc where I keep track of the deaths, we have 55 lines of entries, haha.

Yugioh is interesting because you do have some racial stuff going on here where Yami is SO OLD that he doesn’t remember not only his own name--he doesn’t remember what he looks like. He’s even seen it a few times in hallucinations but like...Yami legit doesn’t know what it is to be an ancient Egyptian anymore. It’s been a hot minute, and he still sees himself as a pale skinned Yugi clone when he spiritually manifests in the show. Because the modern day, set in Japan, through Yugi’s eyes--that’s all he knows about life.

Dartz was so impressed by Pharaoh’s magic powers that he knew--he just KNEW that this Pharaoh with the worst hair would be the yummy soul for the Leviathan tummy. But unfortunately...

This is a show that has had so MANY overlapping apocalypses that I did have to sit back and kind of count off on my fingers which crazy person this would be about.

Honestly? Either Seto or Bakura...guessing Bakura because we haven’t finished his storyline yet and I know that he’s the big bad of S5. But man...Dartz was just like “oh...no thanks to that guy. I’ll just take a nap for 5000 years, BIG no thanks.” and it does make you wonder...

...oh...so that’s why you didn’t bother Bakura in this timeline.

It also helps make Bakura even more of a threat. Again, Bakura is great because he’s just constantly leaving nuggets of what a threat he is and then just...disappears for seasons on end. The Bakura we’ve made in our head is probably way more awful than what he may end up being.

But for now, it’s fun to just fill in the gaps instead.

anyway that was it for this episode, I’m off to pretend it’s Thanksgiving week and will look forward to drowning my anxiety in a 16 lb turkey shared between four people.

Anyway, I brought up the cat that falls asleep on metal rods so I have to do this:

And for those that are new, this is a link to read these in chrono order: https://steve0discusses.tumblr.com/tagged/yugioh/chrono

#yugioh #ygo #yu-gi-oh #yami #dartz #seto kaiba #dies #mokuba #tea gardner #tristan taylor #Yugi Muto #Joey Wheeler #'s weird ass pants with the flap thing going on #mahjong #S4 Ep36

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jayleeg · 5 years

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Captain America #10 Review/Recap

Ta-Nehisi Coates is a brilliant man. I mean, this goes without saying, the guy has awards for his writing. But his handling of the post-Secret Empire Steve in his current Captain America run is breathtaking.

To sum up the current Cap run, Steve has been framed for a murder he didn’t commit. The reason he was framed?

Because known Cap villains the Lukins (and Aleksander Lukin is currently inhibited by the spirit of Red Skull) have paid a great deal of money to get Steve out of the way. But they weren’t satisfied by killing him, no, that wouldn’t serve their purpose. They had to destroy him.

See, Steve, he has always used his mantle to be about hope. He doesn’t represent the American government, he represents the American ideals. He has stated this over and over, in numerous speeches, throughout every single run he’s ever been in. “I don’t work for the government, I work for the dream”. As such, Steve’s whole shtick is to fight, not for what America is, but for what it could be if it lived up to its promise of freedom and justice for all. The Lukins know this and they want to crush that hope and the Captain America mantle as a symbol.

So they frame him for murder, then they go to the Marvel Universe equivalent of fake news channel Fox News and have them run the story that Hydra!Steve, the evil cosmic cube created duplicate of Steve that wrecked so much havoc during Secret Empire, and real!Steve are one in the same.

Meanwhile, because he was framed for murder, Steve has been locked up in a prison run by Baron Wolfgang von Strucker, who tortures his prisoners for fun on a live feed for the prison, who put a power dampener on the prison so Steve (and the other prisoners) are only at half strength, who took Steve’s power and then powered himself up and fought Steve in a cage, and who is, basically, the thoroughly evil dude we all already know him to be.

There have been a few issues, during previous Cap runs, where Steve has tackled the issue of prison reform. From this we know that Steve is very much in favor of prisoner reform and often champions that prisoners should be treated like human beings.

He is doing the same here. He’s locked in a prison with several supervillains, people he’s fought, and he’s reaffirming that even in them, there is good, there is humanity.

I said in another post today that Steve greatest strength, and his greatest weakness, is his faith in people. That is why he stopped at nothing to save Bucky when he was the Winter Soldier, that is why he is stopping at nothing to save Namor in Invaders. And in today’s issue Steve is reminded that even the most bitter, angry and jaded of souls can rise like a phoenix above their troubled past, when push comes to shove. That his faith isn’t misplaced.

The world does not deal in absolutes. No one can be defined by just one thing: good or evil. There are shades of gray in all of us.

All anyone needs is a little love, a little faith. And with that, there can be a hero in anybody.

And honestly, what a fantastic and powerful message.

#steve rogers #captain america #wednesday spoilers

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takaraphoenix · 5 years

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Review: Spider-Man Far From Home

I watched it against better judgement. Should really start listening to myself in these cases, because I knew I wasn’t going to like this - and color me surprised, I greatly disliked this.

So, if you expect even a single good word about the movie, this... is not the review for you, keep scrolling, read someone else’s.

I admit, I was a great fan of the IronDad and Spider-Son in the last one. It was... the only truly enjoyable part of that movie. And it was cool.

But with this? Damn. These movies can hardly call themselves Spider-Man movies, they are banking as heavy of Tony Stark as Iron Man movies do. This is just... ridiculous.

That the first movie’s villain was motivated through Tony Stark for bullshit reasons, that Tony made Peter’s suit (despite one of the great things about Peter being that he builds those himself because he too is brilliant), that Tony was a mentor figure for Peter, okay fine.

But here? That Peter just... latches onto the next-best middle-aged white guy as his replacement mentor figure? Insanely cheap, particularly considering they’ve known each other for like two damn days.

That the villain again is motivated by Tony Stark is just so bloody tiresome. The MCU needs to learn a new tune. This stopped being creative after the second Iron Man movie, really. And dragging this “Tony Stark wronged me once so now I wanna destroy/rule the world because of him” into other movies, now even into movies that don’t even feature Tony anymore...? That’s less than cheap, it’s straight-up pathetic.

They created a Spider-Man who is 200% dependant on Tony Stark about absolutely everything. His suit, his moral-compass, even his damn villains.

And that’s me talking as a huge Tony stan, okay? I love Tony Stark. I really truly genuinely love the Tony-Peter dynamic, but... having Tony guide him a bit versus making every single angle of Spider-Man dependant on Tony Stark is a huge difference.

While they didn’t use Tony Stark himself, they had a painting or other memorial approximately every twenty minutes, just so no one forgets that this is the Tony Stark Universe...

It’s not even like this is the only problem this movie has though!

The entire forced premise of Far From Home is the biggest bullshit yet.

These fifteen year old teenagers, right after a huge financial crisis of being undusted again, just go... not even just on one trip to one city in Europe. They fly, from the United States of Far Away, all the way to Venice in Italy, then drive in a bus all the way to Prague, Czechia... which is like nine hours driving? Never mind that this was somehow considered an “upgrade” from their original plans of going to freaking Paris, France? And somehow they were also in London... which is all the way over in England?

They didn’t just visit various cities in Europe, they visited various countries. And act like this is somehow... a class-trip that you can... afford? How? This is a public school, not some rich-kid school...?

Just. Nothing about those travel-plans in that context made even remote sense. There wasn’t even a reason for it to be in Europe? I mean, come on, aside from the dumbass name having to fit with Homecoming, there was no need for this to take place all over Europe...?

The nice thing about Spider-Man is that he is our friendly neighborhood Spider-Man. So... how about... you just... put him into his neighborhood and let him... protect... his... neighborhood?

They’re trying to force him into being Tony Stark 2.0 so hard (that scene in the jet with Happy... wow. Like, that was mindblowing how hard they tried there). But the thing is: Peter Parker is not Tony Stark 2.0, Peter Parker is Peter Parker. Let Peter Parker be Peter Parker!

Another part that truly irritated me is how they’re literally forcing Peter into that role. Like. He doesn’t want it. He wanted to go on a vacation, but his aunt forces him to take his suit along. There’s a difference between supporting and wilfully encouraging.

“Nick Fury” comes in and drugs a child, there was literally no need to knock Ned out, what the fuck was that awful move, that is horrifying. And then he proceeds to coerce Peter into joining it.

That low blow of “you’re not ready” - like, genuinely fuck you, he didn’t want to be there, he wanted to be on vacation but you literally hijacked his trip to force him to go along with your plan? A fifteen year old child? But antis threw a fit that Tony Stark built him a suit and supported him in the last movie; at least he never forced Peter into anything, what the ever-loving fuck...?

That whole shtick of the adult heroes being “unavailable” was... Ant-Man. Wasp. Captain Marvel. War Machine. Falcon. Winter Soldier. Scarlet Witch. Hawkeye. Hulk. Doctor Strange. And, as I assume even though the MCU pretends it’s not so, there must have been a ton of new heroes who rose in the past five years too! But nope, we gotta go and coerce a fifteen year old child into this huge threat... sounds legit. And don’t give me that bullshit post-credit “he was Talos all along and didn’t know what to say because he doesn’t know the Avengers!!!”. Fuck that excuse too. And that twist.

And, while I’m at it, fuck that other twist too. Mysterio pops up exactly when the Elementals attack and only for that time-period. Spider-Man’s been around for years and literally helped during the whole Infinity War thing? Like? They made memorials for Cap, Black Widow, Vision even and Tony Stark, because they knew in such great detail how that battle went, but... Spider-Man, who was there and has helped people out for years now... Yep, one fake news from a dude who was around for like a whole damn week... and I’m supposed to buy that Spidey’s reputation is kaputt? Not mentioning damn they just took the same dude who played JJJ before? That’s just lazy and... urgh, he’s so old. So far, he was at least countered by Spider-Men who looked like they were in their mid-twenties. But having such an old dude try to suppress a literal child, especially with Peter outed now... that’s just not a cool dynamic? Particularly with how this version of Spider-Man went out of its way to ““update”“ Flash Thompson and essentially created a whole-ass OC and slapped Flash’s name onto him... but JJJ’s staying The Exact Literal Same, even with the same actor...? I had kind of expected him to be updated into a school-age bully who was on social media and spread bad fake news about Spider-Man on like twitter, tumblr and whatever to, you know, update it.

Look, the point is... The point is, all of this was so incredibly forced. It was so manifactured to get Peter into this situation, to get him to Europe, to get him involved in this attack. There was little logic behind it.

I just... I really didn’t like... anything... about this movie? Like, there was nothing? That Happy/May was sudden, weird and really just had the point of Peter being weirded out? That Peter/MJ that literally came out of nowhere was just yikes. Ned was pretty much useless this movie, even though him and his dynamic with Peter was so great in the last movie but now he was just all about that girlfriend. The constant invoking of Tony’s name like you could forget for maybe two seconds that it all hinges on him. Mysterio’s weak-ass motvation. How, or why, Fury had to get Peter involved in this. The lack of logic concerning the logistics and the motivations, just... nothing. This was just bad.

#Spider-Man Far From Home #Marvel #Phoe's Movie Reviews #Movie Ranking 2019

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ryanmeft · 5 years

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Ranking the Marvel Cinematic Universe, part 3

Part 1: https://ryanmeft.tumblr.com/post/183962601514/ranking-the-marvel-cinematic-universe-part-1 Part 2: https://ryanmeft.tumblr.com/post/184208179827/ranking-the-marvel-cinematic-universe-part-2

10. Avengers: Age of Ultron

Yes, the third act goes on way too long, and is uninspired and even a bit dull. It deserves the criticism it gets. Thing is, that’s pretty much all this one deserves criticism for. Right up until that final showdown, everything in the movie clicked. It starts right off with the Avengers already a team, in a semi-cold open where every member just works. Throughout the movie, Joss Whedon proves he deserves his reputation for snappy dialogue, as nearly every exchange between every character zings. The additions of Scarlet Witch and Quicksilver may not feel like the most vital parts of the formula, but they work every bit as well as they need to, and the defeated Avengers retreating to an off-the-grid hideout to hash out their issues is still among the franchises’ best sequences, more than worth the silly Ragnarok tie-in Whedon had to trade for it.

It also has a great, underrated villain. While it does seem that no one really planned in advance to have Ultron in the MCU, he works perfectly, backed up by the voice and personality of James Spader. He never comes across as a robot, but rather as artificial life, dropped into a supremely messed up world and taking---well, can we really say the wrong interpretation? Skewed, perhaps, but driven by the very true reality of mankind’s brutal nature. It seems obvious Whedon got tired by the end of the film, but everything prior to that is gold. Unless you’re one of those people who watches the original on repeat, it’s now hard to deny that the sequel tops it.

9. Iron Man 3

Fanboy cries of “they didn’t do the Mandarin right” have unfairly dogged this one since release. I don’t read the comics regularly anymore, and I find that after more than a decade outside of regular readership I have the glorious freedom of judging a movie apart from whether it matches the comics’ often-contradictory and confusing continuity. So, with that out of the way: Iron Man 3 is genuinely good. Recovering from the train wreck that was Iron Man 2 with new director Shane Black and co-writer Drew Pearce, this one decided to de-glamorize the hard-party aspect of the character and let his frat-boy nature lead him to near-ruin, getting his home destroyed and his suit crippled by a mad terrorist. That led to an excellent middle act in which Tony has to make a go of things without his vaunted suits to help him, against a mysterious villain. When the nature of that villain is revealed, it’s actually quite clever (while also being a way to avoid massively ticking off the all-important Asian box office). The new supporting cast, especially Ben Kingsley and Guy Pearce, add a lot, while returning favorites get actual development. The third act goes on a little too long, but the device of having Tony manipulate multiple suits of armor at once is a clever twist on the usual Marvel shtick of an army of bad guys vs. one hero. As Marvel’s first post-Avengers movie, this one needed to prove the MCU concept still had gas in it even though the big event it had been building to was come and gone. It succeeded.

8. Guardians of the Galaxy Vol 2

Which Guardians is better? They’re both some of the more pure fun movies in the MCU, kind of like Suicide Squad, but not shitty, and in space. Some people prefer the first one for sheer irreverence and comedic chemistry, while others appreciate the more personal story and stakes in the sequel. I had a raging debate with myself on this (there were injuries) but ultimately, more personal won out. The first movie has a bunch of misfits who get together to stop a generic cosmic evil baddie bad guy seemingly for no other reason than the heck of it. The second gives them actual reasons to be together, with a truly interesting threat to fight. Peter Quill’s dad Ego, played with just the right amount of swagger and just the right gleam in his eye by Kurt Russell, is the lightning this team needed to really live. There’s a lot of “Oh, come on, stop pretending he’s not the bad guy” in movies, but in this case you really don’t want him to be; he’s the kind of guy you’d like to have a beer with, and you get the sense he really cares for his son in his own twisted way. That’s villain gold.

The family themes don’t end there, with Gamora and Nebula working out their differences and Rocket learning to be (slightly less of) a little shit and appreciating his adoptive family more. And, of course, there’s Yondu’s emotional death. In fact, one of the more interesting takes I read casts the movie in the light of overcoming abusive relationships. That may seem a little grand for a superhero popcorn flick, but tilt your head a bit and you can see it. The greater amount of heart on display in this entry makes up for some occasionally ramshackle plotting, and provides a worthy sequel.

7. Black Panther

One of the few superhero movies that genuinely created a believable world, the land of Wakanda comes to vivid and incredible life, a more visually varied, colorful and detailed setting than anything in the MCU or even the Marvel catalogue; there’s nothing else like it in the genre. Ritual battles for the throne are fought amid towering waterfalls, while light speed trains blast by beneath the rural African facade. The action in this amazing setting is driven by two great characters. Chadwick Boseman’s T’Challa is a doubtful king, unsure of his country’s place in the world or even his own necessity to his country. Michael B. Jordan’s Killmonger is a radical with a reason; his motivations feel genuine and his rage earned.

Ultimately, the supporting cast decided this one’s ranking. Other than fan favorite Shuri, the secondary players in this one are…well, dull. Lupita Nyong’o, Angela Bassett and Danai Gurira are given minimal-if-any character development, and it’s impossible to ignore the fact that in the age of MeToo, all of the women here are subservient to a man. The third act devolves into an obligatory battle scene, when it could have been so much more given what it had to work with. By any measure, it’s an excellent tights flick, but we’re going to have to wait for the sequel to see what the setting is really capable of.

6. Captain America: The First Avenger

Just in case you were wondering if this list were biased, here’s my personal favorite MCU movie, down here at #6. One of the few films in the studio’s catalog that feels it was made entirely by humans with visions and not a marketing committee, Joe Johnston lends this one a feel that is a distinct mix of genuine World War II and the boys magazine vibe that originally birthed Cap. The result is a superhero film that stands as unique in the genre. Actual scenes of warfare are mostly avoided due to that PG-13 rating, but the costs of war are seen in relatively realistic depictions of refugee soldiers returning from a doomed mission, or the jaded responses of hardened troops to Cap’s USO-style shows. Light elements of camp come in with the deliciously over-the-top performance of Hugo Weaving as the Red Skull and that wonderfully hammy montage of Cap selling war bonds. The whole thing is tied together by Chris Evans playing the MCU’s most naturally likable protagonist, who gets a last line that, for my money, easily tops “I am Iron Man”.

5. Thor: Ragnarok

It may not be the weightiest film in the MCU, and the apocalyptic, full-stakes tone of the Asgardian story occasionally clashes strangely with the full-comedic tone of the Planet Hulk-inspired material, but Ragnarok was nonetheless the tonic we all needed in a world where blockbusters often don’t know how to relax. Sure, there’s plenty of humor in other MCU films, but it can occasionally feel as though a committee of people is sitting around with a page of one-liners and a stamp. Taika Waititi’s material does not feel like that. From the banter between Loki and everyone else to the fact that Hemsworth is finally allowed to tap into his comedic abilities, it feels like kids having fun, which we need more of. Cate Blanchett completely devours her role as Hela, while Jeff Goldblum’s Grandmaster is a preening drunk who gets some of the best lines. It pretty much erases the previous Thor continuity---including the only clever bit of plotting from Dark World---but what we lose is more than made up for by the fun we gain in the process. Oh, and visually, it may be the only MCU film other than Doctor Strange which fully taps into that wonderfully bizarre 60’s Marvel vibe.

4. Spider-Man: Homecoming

Spider-Man’s long-awaited starring debut in the MCU may not have been quite as earth-shattering as some hoped, but then, it wasn’t supposed to be. Of all the heroes in Marvel’s vast catalog, Spidey is the most like us. He has girl troubles, he can’t pay the rent, his boss is a jerk, and there’s always someone in the bathroom when he really needs to go (probably). Many of the hallmarks of the classic character didn’t make the transition, but the spirit is alive. Peter comes across as a hyperactive, overconfident millennial, which is what he’d be these days, and his classmates are updated from a rotating roster of stock characters straight out of 1950’s pamphlets on The Modern Teenager to a varied group of personalities that connect with today’s kids. Most crucial of all, though, is the Vulture, widely regarded at the time as the best MCU villain to date (and still this writer’s favorite). He doesn’t want to rule the world, he just wants to make a living, and that makes him the perfect opponent for Peter. Michael Keaton was the ideal choice for his casting. This is a case where a pretty darn good movie is bumped several slots simply because of how great the villain is. Sure, Downey seems to be phoning in his support role at times, and some great comedic actors are relegated to tiny roles, but these are flyspecks on the movie that redeemed the Spider-Man name after a decade of cinematic missteps.

3. Iron Man

The original and…still the best? Not quite, but it’s up there. At the time Iron Man released, it seemed flawless in part because of the odds against it. It’s hard to imagine a time now when Shellhead wasn’t a household name, but when Marvel decided to launch their new line of films with him, he was second-tier at best. The success of the movie and, crucially, Robert Downey Jr.’s casting elevated him to essential. The impact was so great that if you go and read a modern Marvel comic, you’ll find them pretending he was always front and center. It all started here, and it started because the movie was so good. It not only rehabilitated Downey’s image, it cast the great Jeff Bridges as a villain who seems to plausibly believe his version of events, and a pre-Goop Gwyneth Paltrow as an effective romantic foil for Tony. The humor, the action, the pathos all clicked. Looking back now, the decision to have Stane go completely evil by the end of the film cheapens it a bit, especially compared to truly complex villains like The Vulture and Loki, and the character himself has evolved beyond these beginnings---despite his moral conflicts, he still revels in being an irresponsible playboy here. These are incredibly minor quibbles, but ten years later, they stand out just enough to cost it a couple rungs on the ladder.

2. Captain America: The Winter Soldier

The popular favorite for the best MCU movie slides in at #2, and before you hit me, it’s all because of Marvel’s need to insert cookie cutter, blockbuster endings in their movies, regardless of what kind of movie it is. They’ve gotten better as time goes on, but the giant ships over the city, flaming and falling from the sky while superpeople jump on, in, over and around them was incongruous with the slower, more measured spy stuff of the rest of the movie, and felt obligatory, causing this to lose the top spot. Still, it had to have ranked second for a reason. The plot up until the third act may be the tightest and most tense of any MCU film, with genuine mysteries unfolding and an unexpected payoff when we get to the what’s-really-going-on-here moment. New additions Anthony Mackie and Robert Redford fit well, while Black Widow is such a perfect compliment to Cap that it’s a crime they didn’t team up more often without all those other hangers-on (and there’s an unexplored romantic chemistry that seems much more apt than that between Cap and Sharon Carter). The first two acts of this one define what the MCU is capable of.

1. Captain America: Civil War

Civil War plays like one of those old Marvel Annuals, with the double-sized page count and the promises of things you wouldn’t normally see. Unlike those annuals, the movie isn’t padded out with recycled material, either. It gives audiences exactly what they’re expecting: the answer to what would happen if the good guys turned on each other.

That answer, of course, is: one hell of a fight. The airport battle in particular shows off the powers of every available hero, including the newly introduced Black Panther and Spider-Man, and the Russos (with their small army of effects people) come up with every trick and use of the hero’s powers they can for this lengthy sequence. In many ways, it’s the best of the Avengers movies.

Yet despite some wags who say it isn’t really a Captain America movie, it is. The story heavily involves both him and Winter Soldier, and Rogers ends up being the one whose decisions shape the outcome. The stakes may involve everyone at first, but they eventually come down to a very personal battle between Iron Man and Cap, after a highly clever fake-out by Daniel Bruhl’s Zemo. The ads may have promised fireworks, but just like the other Cap movies, it’s the personal stuff that makes this one work so well.

#Avengers #marvel #robert downey jr.#black panther #spider-man #guardians of the galaxy #Chris Evans #thor #tom hiddleston #captain america #movies

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