Tag Archives: Gwyneth Paltrow

Avengers: Infinity War – A Review, Part 1

How Avengers 4 Is and Isn't Infinity War Part 2

Wow. I knew going in that this film would be intense, but… Whoa…

Yes, I know that I am very late in reviewing this movie. However, this blogger needed to process a lot of what she had seen in order to write a cogent analysis of the film. It’s not much of an excuse for leaving you hanging, readers, but it’s the truth. I had to do a lot of thinking about this film. It’s dense and not for the faint of heart.

This was a great movie. But there were some small items which bothered me while watching the film. These will be discussed today, while the more enjoyable aspects of the movie will be addressed later on.

Because Thanos got most of the screen time here (arrrgh!), I cannot do the characterization posts I enjoyed writing for Age of Ultron and Civil War. He took up too much screen time for more than a couple of the heroes to really stand out. So these reviews are probably going to just be lists of things I enjoyed/noticed in the film which point to the true, the good, and the beautiful.

All right, with that said, now it is time to get down to “tacks of brass” and tell you what I disliked about this movie. Most of these are minor quibbles, really; they do not detract from the film in any major way. But they were kind of annoying.

The first thing I had real trouble buying was Loki’s decision to save Thor after he told Thanos he could kill the King of Thunder. Someone who watched the film with me reminded this blogger that Loki wants to kill his brother himself, and it has to be said that there is some part of the Trickster which may be redeemable. There is good in him – somewhere. Still, although we saw that goodness on display more in Ragnarok than we have in prior installments, I’m not sure this film gave the transition proper justice. They didn’t do badly, but they might have been able to do better.

My next problem came with Pepper. As we see at the beginning of this movie, she is still trying to get Tony to abandon being Iron Man. My response to this is no, No, and NO!!! Good grief, what happened to the Pepper from The Avengers? The one who, like Penelope of old, understood that Tony had a responsibility to protect the Earth, not just himself and her? This selfish twit is a pale shadow of the Pepper Potts we saw in The Avengers and I AM NOT PLEASED WITH HER!!!

What Tony comes to realize here, and what Pepper has forgotten as of this movie, is Spider-Man’s motto: “With great power comes great responsibility.” Tony was not the first superhero, true, but the fact is that after he became Iron Man, he became accountable for more than himself. It is his job to defend America specifically and Earth as a whole from threats foreign and domestic.

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If she truly loves Tony, then Pepper will have to learn to love all of him – including his alter ego. Despite what she and he (to a lesser degree) seem to think, the two are not separable; he is both Iron Man and Tony Stark. For him to abandon that responsibility destroys a good part of his identity.

This leads us, neatly enough, to my problem with Hawkeye’s mention in the movie. Believe it or not, I can actually handle the fact that he does not appear in Infinity War. It is disappointing but understandable; with all the other people running around in this film, the odds of him getting decent – if brief – screen time were pretty darn slim. So while I missed him, his lack of presence here was not the problem.

No, my problem was that the writers had him take a deal from the government. What the Sam Hill….? That makes no sense. None. I can see why they would need to do this for Scott Lang, given the plot for Ant-Man and the Wasp, but not for Hawkeye. Knowledge of Scott’s family is a matter of public record. There was no way for him to take Cassie, his ex-wife, and her new husband into hiding. In order to see his daughter in a safe, meaningful way, he would have had to capitulate and take a deal. This is why it makes perfect sense for Scott to be under house arrest in Ant-Man and the Wasp.

It does not make ANY sense for Hawkeye to be under house arrest during Infinity War, which is where Widow says he is. The whole point of Clint’s rebelling against the Accords was to protect his family, to keep them secret. That’s why he smacked the bars on his cell after Tony opened his big fat mouth in the Raft. The absolute last thing he would do would be to sign a deal with the government which kept him under house arrest, since this requires the government to look in him and his family regularly, just as they did with Scott.

Clint made it abundantly clear in Age of Ultron that he wanted knowledge of his family to stay off the record. Even after Tony blabbed about his family, it would have been more sensible (and easier) for Hawkeye and the Secret Avengers to keep his wife and children hidden. All they would have to do was move his family to a new location, either in the U.S. or by seeking asylum in Wakanda. Without a way to track Clint or the Secret Avengers, the government could not use the Barton family as bargaining chips. This would have at least enabled Clint to “retire” with them in relative safety and comfort, if not continue his Avenging career with the rest of the anti-Accords gang every now and then.

For the writers to subvert Clint’s choice like this really bugs me. It also contradicts his previous portrayal and plays directly into the stereotypical trap that Pepper has fallen into. Clint Barton is a father and a husband first and foremost, yes, but if he wants to keep his family’s lives secure, he has avoid letting the government know about them at the least. There are no two ways about this and the writers should have handled it better than they did.

New Avengers: Infinity War trailer knows that Black ...

One of my other issues with the film came at the end of the story, when the “Snapture” begins to take a universal effect. Most of the unnamed people who are erased in Wakanda are guys. It appears from the camera shots that almost all of the Dora Milaje – T’Challa’s bodyguard and ceremonial wives’ corps – are left standing. I guess the writers and directors figured they wouldn’t be able to get past the Hollywoond censors if they wiped out half the women warriors in Wakanda.

Personally, I think erasing Okoye rather than T’Challa might have made more sense to the narrative and had more of an impact on audiences. But, heck, what do I know? I’m just a fan.

Another point of contention I have with the film is Thanos’ sacrifice of Gamora to gain the Soul Stone. The idea, as expressed in the film, that this works because he “loves” her is…sticky in one sense but, in another, it works pretty well. As Gamora herself says, what Thanos feels for her is not true love. He loves her as a reflection of his own brilliance and glory, not for herself. Technically, because he does not truly love Gamora, throwing her off a cliff to her death should not “earn” him the Soul Stone.

On the other hand the Stone may not be able to determine the difference between real love and selfish love. It may recognize and respond to either type, or just to the fact that a soul has been offered to it. Any one of these three things could make it acquiesce to being taken by the sacrificer. There is no clarification given in the movie for how this works, though, so viewers don’t know which it is for certain.

My final complaints about the film were the three-on-one fight with Proxima Midnight and the scene where Gamora cries after she thinks she has killed Thanos. In a way, both of these things make sense. But the method in which they were accomplished left something to be desired for this viewer.

We will deal with the cat fight first. It has been shown throughout this film franchise that the male Avengers are naturally chivalrous. They tend to go easy on their female opponents. This is demonstrated best in Civil War when Scott Lang/Ant-Man sheepishly admits that he doesn’t want to hurt Natasha, who promptly does a number on him. Therefore, if you want a no-holds-barred fight with Proxima Midnight, sending the Black Widow, Wanda Maximoff, and Okoye after the leader of the Black Order means there will be no need to tear off the kid gloves.

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The quandary comes in the portrayal of Okoye and Natasha’s trading nods like equals. As far as we have seen, here and in previous films, the two have never met or spent much time together. These slight nods that hint at a friendship between the two therefore have no weight, since we never saw them together before this film came out.

More importantly, Natasha and Okoye are not equals. Okoye is a general, a soldier. War is her business and her element, as shown in Black Panther. The woman practically lives for the thrill of battle.

In contrast, Natasha is a super spy. She was raised to be a solo operative who got in and out of areas and scenarios no one else could. Subterfuge is her expertise and her greatest weapon, even now. Fighting alongside the Avengers does not make her a soldier, since as Tony said in The Avengers, they ARE NOT soldiers. They are, rather, para-military commandos. A situation arises, the Avengers ride in, dispatch the bad guys, pull the plug on their evil scheme(s), and go home. That is it.

Even when they end up in situation like that seen at the start of Age of Ultron, the team is operating in the manner that Special Forces units do. The field of combat there may be wider than the one Natasha was accustomed to when working for the KGB and SHIELD, but in form it is not that different. When she is in the field with the Avengers she is doing what she has always done the way that she has always done it.

Avengers: Infinity War 4k Ultra HD Wallpaper and ...

As we saw in Black Panther, Okoye has very little patience for the arts of subtlety and guile. She can’t keep up a cover identity for more than fifteen or twenty minutes, tops. Unlike the patient Widow spinning a web to ensnare a foe, Okoye is a tigress who hunts in the open because she revels in the fear she inspires in her opponents. The two are nothing alike, and to suggest that they are in any way similar through these minute gestures was a stupid move on the part of the writers. It completely upset the tempo of the otherwise magnificent fight with Proxima.

Finally, we come to Gamora crying over Thanos. While it is true that she hates Thanos for everything he did to her and everything he made her become, the fact is that she does share a relationship with him. In a twisted, dark way she owes him her life. There is no way for Gamora to really escape that fact, even though she wishes she could. This scene also makes it clear that she sincerely pities the Mad Titan for his blindness to real love and beauty. It makes total sense that she would start crying after “killing” him.

What does not make sense is that she didn’t see through his Reality Stone ruse. Nor does it make sense for her to break down so completely in this moment. And as an assassin, she ought to know that it is better to mourn in private, after she has made sure her target is really dead. The fact that she falls apart here shows she is letting her feelings rule her.

This is a weakness she cannot afford in this war, but which she gives into anyway. While it is understandable and excusable from our point of view, it is neither within the context of the story. Her breakdown here was more than a little annoying for that reason. The universe is at stake and yet she stops to fall on her knees and cry over Thanos? Doesn’t it make more sense to do that in her room AFTER she is sure that the universe is safe and daddy’s not coming back to kill half the cosmic population? *Sigh….*

These are, as I noted above, very small nitpicks with this film. On the whole, this movie is fantastic!!! And with Avengers: Endgame set to be released in April/May of this year, we won’t have that much longer to wait until we know how it all ends. Here’s hoping it is one of those finales where, as Samwise Gamgee’s gaffer would say, “…all’s well as ends better!”

‘Til next week – Avengers, Assemble!

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Jane Austen’s Persuasion

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I enjoy the version of Pride and Prejudice where Colin Firth plays Mr. Darcy, and there are two versions of Sense and Sensibility which I appreciate. I do not know who plays who in my version of Emma, but I like that one immensely. But the version that Gwyneth Paltrow is in is terrible, just terrible – in my ‘umble opinion.

One of the things these three stories have in common is their lead players’ sharp wit. The ladies in Pride and Prejudice, Sense and Sensibility, and Emma all have razor tongues that cut as deeply as swords. Mr. Knightly and Mr. Darcy are not to be outdone by their ladies and have wits as acerbic as the girls’. Whoever suspected that verbal fencing matches could be so much fun? Nothing we have today is this cutting, this incisive, readers. It was truly an art of the time and these women were as adept at it as any samurai with his sword.

So when I saw Persuasion, I expected Anne Elliot to be just as quick-tongued as Jane Austen’s other heroines. But as the film progressed, I became disappointed, then confounded, then content. Why?

Anne is quick-witted, but she does not bite during the course of Persuasion. She hardly even barks. The middle of three daughters, Anne fell in love at a young age with a young officer named Frederic Wentworth (played by Cíaran Hinds). He proposed to her when she was nineteen but, since his financial prospects did not look good, Anne was persuaded not to marry him. She refused his offer despite the fact that she did in fact love him and he loved her.

It has been eight years since this occurred by the time Persuasion starts. Anne has been taking care of her foppish father and bratty older sister, Elizabeth, for these eight years, making her an old maid by the standards of the times. Her younger sister, Mary, is married to a Mr. Charles Musgrove and has two boys, who are unmanaged. Mary is always complaining of aches and pains, mostly so she can get her own way. She is so annoying that her husband takes every opportunity to go outdoors and hunt with his friends. Between the two of them it is not hard to see why the children are so undisciplined.

We learn at the beginning of the film that Anne’s foppish father has all but bankrupted the family, forcing him, Anne, and her older sister to “retrench.” In order to pay their debts they have to move to Bath from their country manor, which they must also rent to raise funds. A friend of Anne’s mother, the widowed Lady Russell, is the one who convinces Sir Walter Elliot that he has to move. Otherwise he would have to be dragged from the place by his heels.

Her father, Elizabeth and her companion, Mrs. Clay, depart for Bath. Poor Anne is left to prepare the house for rent, pack what the family “requires,” and then go see Mary, who says she is sick again. Neither her father nor her sister suggest they want anyone else to help with the work. They certainly do not volunteer their own time. Instead it is always Anne’s job to handle the practical matters. Elizabeth seems to hold Anne in complete contempt and there is little love lost between the sisters. The family estate, Kellynch Hall, is to be rented out to an admiral in the British Navy – whose wife happens to be the sister of Captain Frederic Wentworth.

Staying with her sister and in-laws at Upper Cross as the tenants move in, Anne ends up listening to the family’s vehement complaints about each other. Most of the Musgroves’ complaints about Mary are more than justified. Mary is as self-centered and snobby as Elizabeth, but she has less control and wit, holding Anne more as her personal lady-in-waiting than as a despicable housemaid. She is petty but on a lower level. Anne’s the only white sheep in the whole family since her mother’s death.

The best thing about Anne’s stay in Upper Cross is that it means she will not have to see Wentworth, who is coming to visit his sister.

So when her old flame turns up one day unannounced, Anne is thrilled, but also frightened. Wentworth feels somewhat the same. He still loves her, but he also does not want to get close to her. She turned him down once and he does not expect her to change her mind now. Nor does Anne expect him to propose to her again, given that she turned him down so long ago.

As the film progresses, we see Anne come out of her shell. Slowly, she breaks away from her empty-headed father and his fascination with power and fashion, as well as her bratty big sister’s control. She becomes a woman who can make her own decisions, standing firm when others demand she change her mind or do something they want her to do or believe is best for her. Eventually, she tells the man who still loves her that she does love him in return and that she will marry him.

The best scene in the whole film is also the only time we see Anne and Wentworth kiss. As a circus pulls into town Anne and her future husband clasp hands, with the camera taking special care to hover over their hands before this happens. While the world, represented by the circus, rattles on down the street and turns right, Anne and her beloved walk in the opposite direction. They are arm in arm as they converse quietly together.

That is all I am revealing about the film, readers. It is a masterpiece in every sense of the word, especially the scene I described above. Persuasion was written, I believe, when Jane Austen was at the top of her craft. Her first stories are marvelous tales, full of action, intrigue, and wit with teeth. But Persuasion is the cream of the crop. And I do not say that lightly!

If you can, readers, find Persuasion and view it. It is a chick flick, but it is a chick flick with style. Not many can claim that and get away with it.

See ya around!

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