Cronenbergiana

Another unhappy family reunion.

Being a Canadian fellow who watches a lot of horror movies I’ve seen most of the work of the Cronenbergs (father David and son Brandon) over the years. So I thought I’d provide an index here to the notes I’ve made on some of them at Alex on Film. As I (and they) go on I’ll add to the list.

David

Stereo (1969)
Crimes of the Future (1970)
They Came From Within (a.k.a. Shivers) (1975)
Rabid (1976)
The Brood (1979)
Scanners (1981)
Videodrome (1983)
The Dead Zone (1983)
The Fly (1986)
Naked Lunch (1991)
Crash (1996)
eXistenZ (1999)
Maps to the Stars (2014)
Crimes of the Future (2022)

Brandon

Antiviral (2012)
Possessor (2020)
Infinity Pool (2023)

Shakespeare on film

This is an index to my Shakespeare notes, on the plays at this site and on movie adaptations over at Alex on Film. I’ll keep updating this page as I go along.

General

Theater of Blood (1973)
The Dresser (1983)
Shakespeare in Love (1998)
Anonymous (2011)
Last Will & Testament (2012)
The Dresser (2015)
All Is True (2018)

The Comedy of Errors

Love’s Labour’s Lost

Henry VI

The Hollow Crown: The Wars of the Roses (2016)

Richard III

Richard III (1911)
Richard III (1912)
Tower of London (1939)
Richard III (1955)
Tower of London (1962)
Richard III (1995)
Looking for Richard (1996)
The Hollow Crown: The Wars of the Roses (2016)

Titus Andronicus

Titus (1999)

The Taming of the Shrew

Kiss Me Kate (1953)
The Taming of the Shrew (1967)
10 Things I Hate About You (1999)
The Taming of the Shrew (2005)

The Two Gentlemen of Verona

Romeo and Juliet

West Side Story (1961)
Romeo and Juliet (1968)
Romeo + Juliet (1996)
Gnomeo and Juliet (2011)
Warm Bodies (2013)

Richard II

Richard II (2012)

A Midsummer Night’s Dream

A Midsummer Night’s Dream (1935)
A Midsummer Night’s Dream (1999)
A Midsummer Night’s Dream (2005)
A Midsummer Night’s Dream (2017)

King John

King John (1899)

The Merchant of Venice

The Merchant of Venice (2004)

1 and 2 Henry IV

Chimes at Midnight (1966)
My Own Private Idaho (1991)
Henry IV, Part One (2012)
Henry IV, Part Two (2012)
H4 (2012)

The Merry Wives of Windsor

Much Ado About Nothing

Much Ado About Nothing (1993)
Much Ado About Nothing (2005)
Much Ado About Nothing (2012)

Henry V

Henry V (1944)
Henry V (1989)
Henry V (2012)

Julius Caesar

Julius Caesar (1908)
Julius Caesar (1953)
Julius Caesar (1970)
Caesar Must Die (2021)

As You Like It

As You Like It (1936)
As You Like It (2006)
As You Like It (2019)

Twelfth Night

Twelfth Night (1910)
Twelfth Night (1988)
Twelfth Night (1996)
She’s the Man (2006)

Hamlet

Hamlet (1910)
Hamlet (1913)
Hamlet (1948)
The Bad Sleep Well (1960)
Hamlet (1964)
Hamlet at Elsinore (1964)
Strange Brew (1983)
Hamlet (1990)
Rosencrantz & Guildenstern are Dead (1990)
The Lion King (1994)
Hamlet (1996)
Hamlet (2000)
Prince of the Himalayas (2006)
Hamlet (2009)
Ophelia (2018)
The Northman (2022)

Troilus and Cressida

All’s Well That Ends Well

Othello

Othello (1922)
A Double Life (1947)
Othello (1951)
Othello (1965)
Othello (1995)
O (2001)

Measure for Measure

Measure for Measure (2006)

King Lear

King Lear (1909)
King Lear (1910)
King Lear (1916)
King Lear (1970)
Ran (1985)
King Lear (1987)
King Lear (2018)

Macbeth

Macbeth (1948)
Joe Macbeth (1955)
Throne of Blood (1957)
Siberian Lady Macbeth (1962)
Macbeth (1971)
Macbeth (1979)
Scotland, Pa (2001)
Macbeth (2005)
Macbeth (2010)
Macbeth (2015)
The Moving Forest (2015)
Lady Macbeth (2016)

Antony and Cleopatra

Timon of Athens

Coriolanus

Coriolanus (2011)

Pericles

Cymbeline

Cymbeline (1913)
Cymbeline (2014)

The Winter’s Tale

The Winter’s Tale (1910)
A Tale of Winter (1992)

The Tempest

Yellow Sky (1948)
Forbidden Planet (1956)
The Tempest (1979)
Prospero’s Books (1991)
The Tempest (2010)

Henry VIII

The Two Noble Kinsmen

 

Forbidden films

Hunting for something good to watch.

Anyone who’s been visiting this site for a while probably knows that I’m a Luddite. I’m inclined to think that the Internet was a wrong turn, and I’m convinced social media has been a disaster. Despite still reviewing new books regularly, I don’t have an e-reader and I only buy “real” books, which not only furnish a room but fill up an entire house.

When it comes to movies I’m the same way. I watch movies on DVD. Not Blu-Ray, but DVD. And I’ve never signed up with any of the streaming platforms.

But streaming is, clearly, the way studios want to go. They’ve given up on cinemas, are grudging about DVD releases, and want to shepherd as many viewers as possible into their proprietary pens, paying monthly fees. This has led to some curious results. Like, for example, how expensive DVDs have become. I would have thought that as they became out of date they would fall in price because nobody wanted them, but instead I find most titles on Amazon (the store, not the streaming platform) now running anywhere from two to five times as much as they cost five or ten years ago. Is it because they aren’t making them anymore? Luckily, I already have a pretty good collection and get almost all the new DVDs I watch from the library. I think I’ve only bought a couple in the last few years.

But another result of the studios switching to streaming is that some movies, including major releases, aren’t coming out on DVD at all, so that I can’t see them. I’ll just take two examples from last year: Prey (a.k.a. Predator 5) and Glass Onion: A Knives Out Mystery. Both of these were what I would consider to be big titles: one the well-received latest instalment in a popular action franchise and the other a sequel to a popular star-studded hit from a few years earlier. I would like to see both, but still haven’t seen either because they haven’t been released on DVD and I’m not sure if they ever will be. Prey was released on Hulu in the U.S. and Disney+ internationally. Glass Onion was a Netflix original. These companies want subscribers, they don’t want you buying DVDs. The latter is a market, and a technology, they’ve declared war on.

I don’t know how this will play out for future audiences. Effectively everything is turning into pay-per-view, and I’m not going to go there. But then I’m getting older, and I’m comfortable with what I have. There are more books and movies in my house than I’ll ever be able to re-read and re-watch. As for the new stuff, well: I didn’t give up on movies, they gave up on me.

Update, January 3 2023:

Prey finally did come out on DVD over a year later. I reviewed it here.

The bad beginnings

Stellan Skarsgård working overtime.

Over at Alex on Film I’ve been looking at the two attempts made at an Exorcist prequel: Paul Schrader’s Dominion: Prequel to the Exorcist and Renny Harlin’s Exorcist: The Beginning. What a two-car pile-up. Schrader was first man up, but the studio hated what he did and told Harlin to fix it. He ended up making an entirely new movie, which the studio didn’t like any better so they got Schrader to rejig his version.

It’s interesting to look at the two movies side by side just to see what two very different directors did with the same basic material. Both movies are terrible, but I can’t think of any other examples of something like this happening.

O.J. then and now

Over the past month I’ve been rewatching Ezra Edelman’s outstanding 2016 ESPN documentary series O.J.: Made in America. If you’ve never seen it, take this as a recommendation. It’s 7.5 hours but never flags for a minute.

For anyone old enough to remember it, the O.J. Simpson trial (which ran for nearly a year, ending in October 1995) really was the trial of the century. You can’t overstate how big it was. In 1996 I was actually in Los Angeles during the subsequent civil trial and even that was a media circus, though nowhere near as big a deal. I went to the courthouse one day and drew a ticket to get in to watch it, but wasn’t selected.

Revisiting all of this today, I was surprised at how the racial divide foreshadowed what was coming own the pipe in terms of American politics. What I’m referring to is the polarization and rejection of a shared reality. As Jeffrey Toobin puts it in the documentary when describing Johnnie Cochran’s address to the jury, “the heart of the summation was ‘whose side are you on?'” The point being that the jurors, who were mostly Black, were angry at the police and wanted payback not just for Rodney King but a whole history of racial injustice.

This felt very similar to the “jury nullification” of the Trump impeachments. The question wasn’t Trump’s guilt or innocence. The reporting I’ve heard is that there were no Republicans in the Senate who didn’t believe Trump had done everything he’d been accused of. The question was “whose side are you on?” Once you’d chosen your side, the verdict could be taken for granted. There was no need to build a case or present any evidence. The votes were already locked in.

There are other connections too. Like the celebrity angle and the way the media transformed the trial into spectacle and entertainment. It’s become fashionable among political historians to cite Newt Gingrich and the Republican takeover of Congress in 1994, the same year Nicole Brown Simpson and Ron Goldman were murdered, as signaling the beginning of a slide into increased anger and polarization in American politics. Looking back, I think the Simpson trial was representative of the fracturing to come.

The Marvel Age

Can’t remember this guy’s name. He’s a talking raccoon.

I grew up on Marvel comics, and still have some old favourites stored in my basement. I don’t think they’re worth anything though because they’re not in the best of shape. But despite this background, I was never a huge fan of the way Marvel/Disney took over the movie business in the twenty-first century.

It’s hard to overstate just how central these movies have been. Their box office success ensured countless imitators, and the Marvel style became ubiquitous. What this meant, primarily, was: (1) the creation of a totally plastic, CGI “virtual” reality, making nearly every blockbuster movie over into a cartoon and every action star a superhero, and (2) the evolution of franchise filmmaking into various “universes,” given over to an even more assembly-line serial format. This latter development would, in turn, help with the transition away from cinemas to streaming platforms in need of a constant supply of new content. The comic-book form was particularly well-adapted to all of these developments, something the triumph of Marvel clearly underlined.

Meanwhile, the Marvel formula in terms of writing didn’t change much. Scruffy, ordinary-guy heroes with self-deprecating senses of humour and bulging biceps save the universe from supervillains intent on world domination (or world destruction). Lots of A-list talent. Lots of big action. Lots of CGI.

Some of the movies were entertaining, but the formula started to feel played out by the end of the 2010s. This is something I think everyone was aware of. Spinning off into the multi- or metaverse was one attempt at trying to make things new, and it worked to some extent. But my bottom line is that I really don’t want to see any of these movies, even the best of them, again, and I’ve already forgotten some of them completely. I was surprised, when compiling this list, to see that I’d reviewed Ant-Man and the Wasp. What had that been about? I have no idea now.

In any event, here’s the line-up of the Marvel movies (not all of them MCU) that I’ve written notes on over at Alex on Film. I’ll keep this index current with new postings, but I think it’s going to be slow on the Marvel front from here on out.

The Amazing Spider-Man (2012)
The Avengers (2012)
The Amazing Spider-Man 2 (2014)
Captain America: The Winter Soldier (2014)
Guardians of the Galaxy (2014)
Avengers: Age of Ultron (2015)
Ant-Man (2015)
Fantastic Four (2015)
Captain America: Civil War (2016)
Doctor Strange (2016)
Deadpool (2016)
Guardians of the Galaxy Vol. 2 (2017)
Thor: Ragnarok (2017)
Ant-Man and the Wasp (2018)
Avengers: Infinity War (2018)
Black Panther (2018)
Deadpool 2 (2018)
Venom (2018)
Avengers: Endgame (2019)
Black Widow (2021)
Shang-Chi and the Legend of the Ten Rings (2021)
Venom: Let There be Carnage (2021)
Eternals (2021)
Doctor Strange in the Multiverse of Madness (2022)
Morbius (2022)
Thor: Love and Thunder (2022)
Ant-Man and the Wasp: Quantumania (2023)
Guardians of the Galaxy Vol. 3 (2023)
Deadpool & Wolverine (2024)
Captain America: Brave New World (2025)
Thunderbolts* (2025)

Chekhov on film

Been there.

Over at Alex on Film I’ve been watching some film adaptations of the work of Anton Chekhov. He’s not a writer who gets the big-screen treatment very often, at least in English-language productions. And the films that have been made tend to be very stagey. Still, they each have their strengths.

Uncle Vanya (1957)
The Cherry Orchard (1962)
Three Sisters (1970)
Three Sisters (1970 BBC)
Uncle Vanya (1970 BBC)
Uncle Vanya (1970 Mosfilm)
The Seagull (1978)
The Cherry Orchard (1981)
Uncle Vanya (1991)
Days and Nights (2013)
The Seagull (2018)
Drive My Car (2021)