Stretching it out to feature-length risks tainting the particular, pointed charm of the good doctor’s picture book. Seuss’s classic yarn about a contemptible creature who loathes Christmas and those who celebrate it is absolutely perfect in its Chuck Jones-animated, Boris Karloff-voiced, twenty-five-minute form. The sword-fighting sequences look like half-speed run-throughs, while the story asks us to invest in a love story played by two actors, Sam Claflin and Àstrid Bergès-Frisbey, who constantly appear to have just met before Marshall yelled “Action!” But Johnny Depp was still one of the biggest stars on the planet in 2011, which was good enough to generate $1 billion at the worldwide box office.Ītrocious. After a four-year layoff, Disney handed over the franchise keys to Rob Marshall, who delivered a stunningly incompetent installment that, if nothing else, made a case for Verbinski’s underappreciated visual genius. The first two sequels were made in tandem by Gore Verbinski, and, while it's way overstuffed, the set pieces were sensational enough to justify their excessive runtime. “Pirates of the Caribbean: The Curse of the Black Pearl” was the surprise blockbuster of 2003, a briskly paced adventure that felt like a heaven-sent melding of Golden Age swashbucklers and the Indiana Jones movies. With “Star Trek”, he could do whatever he wanted because he’d branched off into an entirely new timeline – and he still remade “The Wrath of Khan” with his second movie! With “The Rise of Skywalker”, he wedges puzzle pieces into the wrong places, leaves a few off to the side, and says, “Eh, close enough. The decision to bring back Palpatine is emblematic of Abrams’s lack of trust in not only his audience but his abilities as a storyteller. One day, all of this will get hashed out in an oral history, but here’s what we know for now: “The Rise of Skywalker” is a chaotic conclusion that rushes to tie up every loose end like a procrastinating college kid crashing through the last ten pages of a term paper two hours before it’s due. Abrams brought back the “Star Wars” of our childhoods with the cluttered, but conventional hero’s journey of “The Force Awakens”, but his last-second tinkering before the film’s release forced the writer-director of the next installment, Rian Johnson, to make some narrative audibles. Though Snyder’s director’s cut regenerated a bit of excitement in his vision of the DCEU when it hit HBO Max this year, it still couldn’t solve the built-in flaws of this hastily made movie. Even after the well-received “Wonder Woman”, Snyder’s “Justice League” sputtered at the box office. Though audiences showed up in relative droves ($874 million worldwide), the finished film labored to make an immediate case for the massive superhero team-up WB/DC desperately wanted. Superman: Dawn of Justice”, an all-in gamble that was meant to fast track a “Justice League” movie. Given that Supes was supposed to provide Warner Bros’ a break from The Dark Knight after Christopher Nolan’s blockbuster trilogy, this was a problem ergo, the studio rushed into “Batman v. To this day, it’s considered by some to be the first blockbuster.īoys love Batman! You cannot stop a boy from loving Batman! Superman, however, with his goody-two-shoes belief in the goodness of humanity, isn’t quite as cool, which led to Zach Snyder’s quite good “Man of Steel” to underperform at the box office. Its same-day, coast-to-coast rollout was both unique and hugely successful. But the excitement generated by the first movie turned the release of “The Trial of Billy Jack” into a nationwide event. Billy eventually gets out of jail and once again comes to the defense of a Native American getting kicked around by local rednecks. It’s a paean to the grassroots Nader’s Raiders ethos, which makes it feel one very long promotional reel for Laughlin’s endeavors in the Southwest U.S. This 170-minute jumble of good intentions finds Billy Jack’s Freedom School carrying on in his absence (after he’s sent to jail for involuntary manslaughter due to the āss-whuppin’ events of the previous movie). His four Billy Jack movies are sincere indictments of bigotry and corruption, and he vehemently believed in the transformative power of cinema as a means of combating these ills.
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