Beyond the Stars...

With a recent family tragedy fresh in my mind, I’ve been putting off my usual passions and slowly reintegrating them. I’ve only recently started re-watching movies and TV shows, and I’ve been behind in my writing. However, because the algorithm hates idleness, I’ll do a two-in-one this time. I’ll make it tangentially related…somehow. (Also, there’ll be spoilers.)

Lightyear was a movie I was wishy-washy on. On one hand, it was a spinoff on a beloved Toy Story character. On the other hand, it’s not like there was much to do after Toy Story 4. I guess the alternative was to gamble on the movie Andy, supposedly, had fallen in-love with in 1995. Regardless of whether it’d be successful, it was Pixar. They’ve made the unlikely work quite frequently, so I gave them the benefit of the doubt.

The movie follows Buzz Lightyear, space ranger, in his attempt to right a wrong and help his colony get back into orbit. Doing so requires testing hyper-speed, but there’s a catch: for every attempt he makes, he loses several years in real time. And when his first successful attempt causes him to lose more than usual, Buzz wonders if it was worth it. Complicating matters is a ship that’s invaded the planet and is intent on capturing him for…reasons, with his only chance at victory being in the hands of inexperienced cadets.

I like the replacement voice for Buzz. I know Tim Allen’s associated with the character, but Chris Evans makes him his own. He gives Buzz a warm arrogance that remains dignified, a complete contrast to Allen’s charming cluelessness, and it works given Lightyear’s about living in the moment. Plus, hearing Captain America’s voice is a nice reminder that Evans can play arrogance too.

The rest of the cast is also spot-on, with an attention to diversity being the big focus. Obvious standouts are Taika Waititi and Josh Brolin. The former plays the weird oddball Waititi has nailed down to a science, and I love it. The latter was an interesting choice, especially since he voices the villain, but Brolin’s up to the task. He takes his Zurg in an original direction, and while it could’ve stood for a rewrite or two, it’s not bad. It’s different than the standard twist-villain Pixar’s infamous for.

The visuals are pretty unique. Cartoonish photorealism isn’t anything new for Pixar, but since this is set in the Toy Story year of 1995, it’s striking to see how detailed the world and character designs are. It looks like a live-action science-fiction movie in animated form, complete with the lived-in grit you’d expect. It’s a choice, that’s for sure.

I’d now like to address the first of the film’s two controversies: the lesbian kiss. There’s a brief moment during Buzz’s hyper-speed montage where he returns to his best-friend celebrating her pregnancy with her partner. They kiss for a second, and the montage continues. Initially, this wasn’t even going to be in the final cut, only brought back in because of the backlash. Many critics have called this “brainwashing”, but I call it “acknowledging reality”. Gay couples exist, and it’s high-time they’re acknowledged.

The other controversy involves how “this is a lame favourite movie for Andy to love”. Firstly, he could’ve done a lot worse. And secondly, so what? Andy was 6 years old! My favourite movies when I was a child were films like Inspector Gadget and Born to Be Wild. Not every movie children like is good, and that’s okay. Because they’re kids.

It's a shame these controversies are getting in the way of the film’s high-points. Like how detailed it is. Or Michael Giacchino’s excellent score. Or how Felicia Hawthorne’s final message to Buzz is a gut punch. As someone whose Zaidy passed away recently, that got to me.

If one aspect needs work, it’s the twist-villain. Having Zurg as an older, more jaded Buzz from another timeline is neat in theory, but his motivation needed tweaking. He’s basically an incel who wants to relive the glory days. Ignoring how much of a stretch that is, it’s messy in execution. Also, that post-credits tease is pushing it. Pixar’s really gunning for a sequel?

All in all, I enjoyed Lightyear. Is it great? No. Has Pixar made better movies? Yes. But it could’ve been a whole lot worse too. I’d say to check it…even if I’d have much preferred something like Buzz Lightyear of Star Command.

On the subject of entertainment that I enjoyed more than expected, Obi-Wan Kenobi was pretty good. I’d have watched it anyway, I’m a sucker for Star Wars, but I was hesitant. It takes place within the 19-year gap of the third Prequel movie and the first Original movie. Because the main character has plot armour, I didn’t think tension or stakes could be possible.

I was wrong. Obi-Wan Kenobi isn’t only a good series, it’s one of the better Star Wars shows. And by making it about Obi-Wan overcoming his trauma as a Jedi Master, which is made explicit in the opening montage, it not only enhances the Prequels, it also remedies some inconsistencies in the Original Trilogy. These include why Obi-Wan calls Darth Vader “Darth” and why Leia chose Obi-Wan with the Death Star plans. Kudos!

Set 10 years after the downfall of The Galactic Republic, the show follows an emotionally downtrodden Obi-Wan as he struggles on Tatooine. When Leia’s kidnapped by smugglers on Alderaan, he’s reluctant to help. Only when he realizes that her kidnapping wasn’t an accident, and that she’s part of a plot to draw him out, does he decide to rescue her. Along the way, Obi-Wan comes to terms with his past, regains his confidence and makes peace with The Force.

The key is the relationship Obi-Wan has with Leia. We all knew that Ewan MacGregor was good as Obi-Wan, but it was undetermined how he’d fair alongside a child actress. Fortunately, they make a great pair. Obi-Wan and Leia work so well together that I was shocked to discover that Leia wasn’t Vivian Lyra Blair’s first role. I see greatness in her future…

It also helps flesh out Leia. Leia’s always been tricky, in that she has plenty of personality in the films, but little in the way of character development. Each of her appearances had her already established, but the steps in-between weren’t filled in. We were simply told to accept it, and that bothered me. Giving Leia development and screen-time, aside from proving that a Star Wars show’s success relies on having a child in the main cast, was a pleasant change.

The rest of the cast is also stellar. I especially enjoyed Moses Ingram as The Third Sister. Ingram received plenty of backlash for her turn as an Inquisitor hunting for Obi-Wan, and I don’t get it. She’s easily one of the show’s best characters! Then again, no one hates Star Wars more than Star Wars fans…

The last actor of note is Hayden Christensen. He, essentially, returns as Anakin Skywalker. It’s nice to see a redemption for someone who was done dirty, as he demonstrates that he can act. It takes a while to adjust to him being the stand-in for Darth Vader, however, especially since the late-David Prowse made the role. But it works.

I was surprised Alderaan got a lot more screen-time. The planet never felt like its own character previously, instead feeling like a plot point. But now we get to see life from the perspective of those living on it. We see how well-off it is, and even get a real taste of classist commentary. It makes its inevitable destruction more tragic.

The action sequences are a pleasant step up from The Prequels. The lightsaber duels in particular feel more weighty and gritty, instead of being over-choreographed dancing. These are Force-wielders in their prime. They’re superheroes! So having them fight like dancers is lame, while having them tap their blades is equally as lame. The balance is struck here.

There are also subtle commentaries that serve as parallels to reality. The moment where Obi-Wan encounters a homeless Clonetrooper is a nod to how army vets are treated by society. Obi-Wan’s ally being an Imperial spy with war guilt shows how military personnel experience PTSD. And The Third Sister’s entire arc is about the dangers of revenge, and how that damages the psyche. Even Obi-Wan’s inability to connect with the spirit of Qui-Gon Jinn demonstrates how guilt overrides being grounded with reality.

I really enjoyed Obi-Wan Kenobi. Is it perfect? No. Some episodes could’ve been trimmed, and I see how this could’ve been better as a movie. I also think some of the flashbacks are awkward, and the editing’s a bit jumpy. And while I knew in advance that The Grand Inquisitor’s death wouldn’t stick, the reveal left some unanswered questions. But that’s nitpicking for an otherwise fantastic series, one you should absolutely see.

So there you have it: my thoughts on two pieces of entertainment. Are you happy now, algorithm?

Everything and Nothing

This is the story of my never-ending-yet-unsuccessful quest to watch Everything Everywhere All at Once.

It began when the movie was announced in 2021. I remember seeing the trailer and being intrigued: a high-concept action film with the budget of an indie feature? And one starring Michelle Yeoh? And it actually looks fun? Count me in!

I was so intrigued that, despite immediately forgetting about it, when it came to theatres and received rave reviews, I was pumped! An indie movie darling that looked interesting! No Birdman pretentiousness here! When can I watch it?

Well…not right away. Several years ago I wrote about a Jewish period of self-reflection called The Omer. This film came out during its first 33 days, during which I don’t see movies in theatres. The exception is Yom Ha’atzmaut, or Israeli Independence Day, as any and all rules of are waived for 24 hours. Perhaps I could watch it then? I waited, even looking online to see if my local theatre was screening it. It was.

Okay, so I had a day and time. I arrived at the theatre, went to the ticket booth…and found out that I’d confused the showing with Doctor Strange in the Multiverse of Madness. One facepalm later, I watched that instead. (You can read my thoughts here.) Regardless, my window of opportunity was gone until Lag BaOmer.

Unfortunately, Lag BaOmer didn’t help. Because I have a monthly budget I try not going over, and because it’s pretty low, I had to make a choice: do I shell out $15.26 for Everything Everywhere All at Once, or do I rent Belle on YouTube for a fraction of the price? Since I’d also wanted to see Belle for a while, I went for it. Because a Mamoru Hosoda movie’s always worth my time.

Fine, my movie budget was used up. Surely I’d see the film in June, right?

Sufficed to say, tragedy struck. My Zaidy passed away on Shavuot morning. Not only did his death derail family plans, it dampened my mood too. Suddenly, I no longer had a desire for movies. I barely even had a desire to write, hence the absence in content. Given my family situation, the theatre would’ve made me feel guilty. So scratch that!

I didn’t do anything fun for the next week and a bit. But the desire to watch Everything Everywhere All at Once didn’t subside, so I waited. And waited. Until I had the desire to watch movies again. I went to go see if it was still in theatres…and it wasn’t. The Cineplex Store was also charging more for a purchase than a theatre ticket, with no rentals. The alternative was Amazon Prime, and I wasn’t getting a subscription for one movie.

A moviegoing experience was officially impossible. But what about a purchase? If the movie was good as everyone said, then it was worth the buy, right? You’d think so, but the only place stocking it, Amazon, was initially $45 for a DVD print (though it’s decreased since). I’m not shelling out $45 for a DVD! Besides, the movie wasn’t even shipping until July. So, once again, I was forced to skip it.

Which leads to now, and the dilemma I’m currently faced with. On one hand, I can buy Everything Everywhere All at Once and miss either Lightyear or Thor: Love and Thunder depending on the month. On the other hand, I can see both Lightyear and Thor: Love and Thunder, but it’d mean forgoing Everything Everywhere All at Once. Either way, something gives. And either way, I’m not satisfied.

You’re probably wondering why I’m telling you all of this. It’s actually quite simple: I can only do so much. I’m limited financially when it comes to movies, which are no longer cheap anyway. So watching Everything Everywhere All at Once right now isn’t feasible.

This also goes back to my frustration with the claim that “people don’t watch movies in cinemas anymore”. Ignoring how awful the theatregoing experience has become, juggling life with entertainment’s getting increasingly difficult. I have two part-time jobs, and my free time is shrinking. I also can’t drive, which limits my ability to travel. Factor in that life keeps throwing curveballs, and is it any wonder that I’m selective about what I watch? Is it any wonder why I gravitate to Marvel movies, regardless of quality?

You can flaunt how much you love Everything Everywhere All at Once. You can boast how it’s a masterpiece to my face. And you can make video essays discussing it on YouTube. You can do all of that, and more. But if I can’t actually watch it, then why bother? I’m not Superman.

I wish that Everything Everywhere All at Once was readily available to watch without hassle. It’s not, though. It might be amazing, but until I can sit down and judge it for myself, I’ll be unable to be part of that conversation. And Lord knows how I want to be!

So that’s my story about the never-ending-yet-unsuccessful quest to watch Everything Everywhere All at Once. Was it comprehensive?

On Bad-Faith Criticism

A while back, I found a review of Captain America: Civil War from a pro-Marxist website. This review was featured on Rotten Tomatoes, but the content was alarming. It gave the movie a bad review, with two points of note sticking out. The first was how it was pro-military propaganda, something I can’t refute, yet don’t consider deal-breaking. The second claim, however, struck me as dishonest:

“In any event, the issues and dilemmas facing the characters, the gestures in the direction of ‘psychology,’ are mere scaffolding for a large-scale money-making operation. What passes for film criticism is so prostituted in the US at this point that hardly anyone can state the obvious: that this is a bloated, pointless and dull film, which simply kills (truly murders!) a few hours in the viewer’s life.”

Aside from disagreeing with this movie being “pointless”, this is bad-faith criticism. Captain America: Civil War might be long, but “pointless” it’s not. It’s about how conflicting ideologies, even within friend circles, can tear people apart. I’ve seen that play out in real life numerous times. How is that “pointless”?

I know this is a Marxist website, hence it’s going to have a slant, but knocking something for not meeting a pro-Socialist agenda does no one favours and looks petty. Because guess what? Most movies fail at being Socialist, even great ones! Criticizing an action film for failing that is spiteful. It’s also, like I said, bad-faith criticism.

I’d single the review out, but it’s a microcosm of a grander trend. In in an age of global access to information, we can hear any take about media that we want. And not all of them are sincere. It’s an issue I’d have equally with an MRA site criticizing a film for being “woke trash” because of its casting. You can’t disregard something well-regarded for not fitting into an arbitrary checklist. Life doesn’t work that way.

Since I dwell a lot on Marvel content, I’ll mention that this doesn’t stop with The MCU. The Indiana Jones movies are about a white colonist who steals artifacts and houses them in an American museum. They’re well-loved, and enjoyable, but that’s inescapable. It’s also bad-faith criticism to state that these movies suck because of that alone.

Why stop there? James Bond, one of the most-beloved spy franchises, is about a British operative who’s a misogynist and a violent aggressor. Mission Impossible is pro-CIA dribble. Even Netflix’s Stranger Things franchise can’t escape its “US good, Russia bad” subtext in later seasons. This is all valid criticism, and I won’t discredit it offhand, but using it to invalidate these franchises is dishonest.

Yet it happens constantly. It’s easy to call out the far-right version for being so blatant, especially since it makes no sense, but the left isn’t guiltless. Bad-faith critiques exist everywhere, and it’s up to everyone to call them out. They’re not only obnoxious, they also actively ruin the movies. They especially ruin them when studios go and try to “remedy” them, ultimately butchering authorial intent and obscuring the real issues at play.

This is most-apparent in how classic Disney movies are discussed. Were these movies riddled with issues? Yes, and it’s foolish to ignore them. But does that mean they aren’t classics? No.

That’s not being addressed, however. Instead of Beauty and the Beast being criticized for having a female lead who doesn’t grow, the discourse surrounding its “flaws” hinge on a misreading of Stockholm Syndrome and how Belle’s relationship with Beast is toxic. Instead of Aladdin being criticized for its insensitive portrayals of Arabs, its discourse falsely centres on how Jasmine lacks agency. Even The Little Mermaid, which has its issues surrounding the Three-Day Cycle trope, is now focused on how Ariel’s a spoiled brat who disobeys her father and learns nothing. This isn’t to discount these critiques, but they shouldn’t stop there.

In an old piece for The Whitly-Verse, I mentioned my issue with the phrase “problematic”. It bears repeating that the term doesn’t accurately explain what’s wrong with entertainment. Instead, it’s an excuse to not engage with it in a constructive and healthy way. Yet so many bad-faith critiques fall victim to that. And it’s frustrating.

I’m not saying you can’t analyze media critically. I’m as guilty of that as anyone else! But using a litmus test that doesn’t factor in gradients is unhelpful and gets nothing positive accomplished. If anything, it’s a deterrent to helpful and honest feedback about content like narrative structure, character consistency, visual literacy and coherency and basic filmmaking techniques. These are as important, if not more important, as any lens you can apply to a piece of storytelling.

Go ahead, be critical! Acknowledge when something has aspects that don’t entirely work! And mention if something is outdated or insensitive! But don’t let that stop you from engaging with entertainment on its own terms. Failing that isn’t only bad-faith criticism, it’s also not honest criticism. And nothing reeks more than dishonest criticism becoming the default norm.