Divergents will destroy our society unless we destroy them.

The Divergent Series: Insurgent

(2015)

(SPOILERS) I quite enjoyed the first Divergent, mostly because Shailene Woodley gave a really strong performance, but also because Neil Burger managed to somehow drive the picture forward engagingly in spite of the nonsensical premise. Robert Schwentke picks up the reins for the sequel, and has no such luck. While the first 40 minutes are reasonable, it soon becomes apparent that Insurgent’s idea of plot progression is having Tris confront yet more bland, CGI-infused virtual realities.

I even preferred the first movie to the most recent instalment of that darling of YAs, The Hunger Games, but Insurgent really does everything in its power to support the view that the series is a poorly devised facsimile of any given dystopia, just one that’s more difficult to swallow. It will be interesting to see how the second Maze Runner does, since there was a picture that exceeded box office expectations but conversely had similar problems to Divergent in nursing negligible internal logic.

Here, we pick up soon after the original, with Tris, Four (Theo James), Peter (Miles Teller) and Caleb (Ansel Eglort) on the run. And that’s the best bit, really, with Jai Courtney well cast for a change as the psychopath on their heels. We also have Daniel Dae Kim obligingly putting Tris and Four on trial, and brother Caleb betraying sis in a subplot that’s never as potent as it should be, but for the most part this is about arch-bitch Kate Winslet trying to open an ornate box that isn’t, alas, the one from Hellraiser.

Naturally, Tris is the key; as a 100% divergent so she must take the test of being a five-quadrant faction special case, plunging into very obvious simulations and coming out with flying colours. But wait, wasn’t the whole point of the first movie that she could tell the difference between fake reality and real reality? Never mind, it’s the hook of the series, and nothing making any sense hasn’t stopped it before. As it turns out, the rather dull secret is that there is life beyond the wall and, since similar ideas have already been explored in The Giver and Maze Runner, probably no one’s that excited to find out in Astringent Parts 1 and 2.

For which, it appears Naomi Watts will be cashing the cheques Kate has surrendered, probably not the lesser of two evils son Four (no shit she had him young) hoped. Also back, poor Miles Teller who would prefer to make better use of his time (he shouldn’t be so miserable, he make more of an impression here than in Fantastic Four and gets the few witty lines).

Lionsgate must be licking their wounds a bit, wondering what went wrong with this series. Divergent was no Hunger Games, that was clear off the bat, but they probably had a reasonable expectations the franchise would find a growing audience, rather than a more expensive sequel to negligible extra return (slightly more globally, slightly less US). This is the studio’s last cash cow YA franchise (Hunger Games ends this year), but it looks like the milk’s run dry.

This risotto is shmackin’, dude.

Stranger Things Season 4: Volume 1 (SPOILERS) I haven’t had cause, or the urge, to revisit earlier seasons of Stranger Things , but I’m fairly certain my (relatively) positive takes on the first two sequel seasons would adjust down somewhat if I did (a Soviet base under Hawkins? DUMB soft disclosure or not, it’s pretty dumb). In my Season Three review, I called the show “ Netflix’s best-packaged junk food. It knows not to outstay its welcome, doesn’t cause bloat and is disposable in mostly good ways ” I fairly certain the Duffer’s weren’t reading, but it’s as if they decided, as a rebuke, that bloat was the only way to go for Season Four. Hence episodes approaching (or exceeding) twice the standard length. So while the other points – that it wouldn’t stray from its cosy identity and seasons tend to merge in the memory – hold fast, you can feel the ambition of an expansive canvas faltering at the hurdle of Stranger Things ’ essential, curated, nostalgia-appeal inconsequentiality.

The Illumi-what-i?

Doctor Strange in the Multiverse of Madness (2022) (SPOILERS) In which Sam Raimi proves that he can stand proudly with the best – or worst – of them as a good little foot soldier of the woke apocalypse. You’d expect the wilfully anarchic – and Republican – Raimi to choke on the woke, but instead, he’s sucked it up, grinned and bore it. Doctor Strange in the Multiverse of Madness is so slavishly a production-line Marvel movie, both in plotting and character, and in nu-Feige progressive sensibilities, there was no chance of Sam staggering out from beneath its suffocating demands with anything more than a few scraps of stylistic flourish intact.

Haven’t you ever heard of the healing power of laughter?

Batman (1989) (SPOILERS) There’s Jaws , there’s Star Wars , and then there’s Batman in terms of defining the modern blockbuster. Jaws ’ success was so profound, it changed the way movies were made and marketed. Batman’s marketing was so profound, it changed the way tentpoles would be perceived: as cash cows. Disney tried to reproduce the effect the following year with Dick Tracy , to markedly less enthusiastic response. None of this places Batman in the company of Jaws as a classic movie sold well, far from it. It just so happened to hit the spot. As Tim Burton put it, it was “ more of a cultural phenomenon than a great movie ”. It’s difficult to disagree with his verdict that the finished product (for that is what it is) is “ mainly boring ”. Now, of course, the Burton bat has been usurped by the Nolan incarnation (and soon the Snyder). They have some things in common. Both take the character seriously and favour a sombre tone, which was much more of shock to the

Is this supposed to be me? It’s grotesque.

The Unbearable Weight of Massive Talent (2022) (SPOILERS) I didn’t hold out much hope for The Unbearable Weight of Massive Talent being more than moderately tolerable. Not so much because its relatively untested director and his co-writer are mostly known in the TV sphere (and not so much for anything anyone is raving about). Although, it has to be admitted, the finished movie flourishes a degree of digital flatness typical of small-screen productions (it’s fine, but nothing more). Rather, due to the already over-tapped meta-strain of celebs showing they’re good sports about themselves. When Spike Jonze did it with John Malkovich, it was weird and different. By the time we had JCVD , not so much. And both of them are pre-dated by Arnie in Last Action Hero (“ You brought me nothing but pain ” he is told by Jack Slater). Plus, it isn’t as if Tom Gormican and Kevin Etten have much in the way of an angle on Nic; the movie’s basically there to glorify “him”, give or take a few foibles, do

Whacking. I'm hell at whacking.

Witness (1985) (SPOILERS) Witness saw the advent of a relatively brief period – just over half a decade –during which Harrison Ford was willing to use his star power in an attempt to branch out. The results were mixed, and abruptly concluded when his typically too late to go where Daniel Day Lewis, Dustin Hoffman and Robert De Niro had gone before (with at bare minimum Oscar-nominated results) – but not “ full retard ” – ended in derision with Regarding Henry . He retreated to the world of Tom Clancy, and it’s the point where his cachet began to crumble. There had always been a stolid quality beneath even his more colourful characters, but now it came to the fore. You can see something of that as John Book in Witness – despite his sole Oscar nom, it might be one of Ford’s least interesting performances of the 80s – but it scarcely matters, or that the screenplay (which won) is by turns nostalgic, reactionary, wistful and formulaic, as director Peter Weir, in his Hollywood debu

Twenty dwarves took turns doing handstands on the carpet.

Bugsy (1991) (SPOILERS) Bugsy is very much a Warren Beatty vanity project (aren’t they all, even the ones that don’t seem that way on the surface?), to the extent of his playing a title character a decade and a half younger than him. As such, it makes sense that producer Warren’s choice of director wouldn’t be inclined to overshadow star Warren, but the effect is to end up with a movie that, for all its considerable merits (including a script from James Toback chock full of incident), never really feels quite focussed, that it’s destined to lead anywhere, even if we know where it’s going.

All the world will be your enemy, Prince with a Thousand Enemies.

Watership Down (1978) (SPOILERS) I only read Watership Down recently, despite having loved the film from the first, and I was immediately impressed with how faithful, albeit inevitably compacted, Martin Rosen’s adaptation is. It manages to translate the lyrical, mythic and metaphysical qualities of Richard Adams’ novel without succumbing to dumbing down or the urge to cater for a broader or younger audience. It may be true that parents are the ones who get most concerned over the more disturbing elements of the picture but, given the maturity of the content, it remains a surprise that, as with 2001: A Space Odyssey (which may on the face of it seem like an odd bedfellow), this doesn’t garner a PG certificate. As the makers noted, Watership Down is at least in part an Exodus story, but the biblical implications extend beyond Hazel merely leading his fluffle to the titular promised land. There is a prevalent spiritual dimension to this rabbit universe, one very much

What’s so bad about being small? You’re not going to be small forever.

Innerspace (1987) There’s no doubt that Innerspace is a flawed movie. Joe Dante finds himself pulling in different directions, his instincts for comic subversion tempered by the need to play the romance plot straight. He tacitly acknowledges this on the DVD commentary for the film, where he notes Pauline Kael’s criticism that he was attempting to make a mainstream movie; and he was. But, as ever with Dante, it never quite turns out that way. Whereas his kids’ movies treat their protagonists earnestly, this doesn’t come so naturally with adults. I’m a bona fide devotee of Innerspace , but I can’t help but be conscious of its problems. For the most part Dante papers over the cracks; the movie hits certain keynotes of standard Hollywood prescription scripting. But his sensibility inevitably suffuses it. That, and human cartoon Martin Short (an ideal “leading man” for the director) ensure what is, at first glance just another “ Steven Spielberg Presents ” sci-fi/fantas

Get away from my burro!

The Treasure of the Sierra Madre (1948) (SPOILERS) The Treasure of the Sierra Madre is beloved by so many of the cinematic firmament’s luminaries – Stanley Kubrick, Sam Raimi, , Paul Thomas Anderson and who knows maybe also WS, Vince Gilligan, Spike Lee, Daniel Day Lewis; Oliver Stone was going to remake it – not to mention those anteriorly influential Stone Roses, that it seems foolhardy to suggest it isn’t quite all that. There’s no faulting the performances – a career best Humphrey Bogart, with director John Huston’s dad Walter stealing the movie from under him – but the greed-is-bad theme is laid on a little thick, just in case you were a bit too dim to get it yourself the first time, and Huston’s direction may be right there were it counts for the dramatics, but it’s a little too relaxed when it comes to showing the seams between Mexican location and studio.

If that small woman is small enough, she could fit behind a small tree.

Stranger Things Season 4: Volume 2 (SPOILERS) I can’t quite find it within myself to perform the rapturous somersaults that seem to be the prevailing response to this fourth run of the show. I’ve outlined some of my thematic issues in the Volume 1 review, largely borne out here, but the greater concern is one I’ve held since Season Two began – and this is the best run since Season One, at least as far my failing memory can account for – and that’s the purpose-built formula dictated by the Duffer Brothers. It’s there in each new Big Bad, obviously, even to the extent that this is the Big-Bad-who-binds-them-all (except the Upside Down was always there, right?) And it’s there with the resurgent emotional beats, partings, reunions and plaintively stirring music cues. I have to be really on board with a movie or show to embrace such flagrantly shameless manipulation, season after season, and I find myself increasingly immune.

Now In Full Color, with a Happier Ending

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