Don’t mention the m-word: are mutant X-Men about to show up en masse in Spider-Man: Brand New Day?

An intriguing chat about warped DNA in the record-breaking trailer for the new Spider-Man movie could mean a host of long-awaited arrivals in the MCU There was a time when the mere mention of the term “mutant” in the Marvel Cinematic Universe was frowned upon. Rival studio 20th Century Fox owned the rights to the X-Men and with it the whole idea of a parallel branch of humanity, which meant superheroes were contractually obliged to have received their powers from somewhere else. Radioactive accidents, experimental serums, infinity stones, the bite of an unusually committed arachnid: Marvel tried them all, but left the mutation thing alone. Occasionally, comic book icons such as Scarlet Witch were retconned in the MCU to remove their X-gene origins, but for the most part, the very notion of mutation seemed to be placed under narrative quarantine – as if this were a door the studio had quietly agreed not to open. This week saw the record-breaking release of the debut teaser trailer fo...

Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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