Essays, Movies

Cinematic Universes: the divisive wave of cinema’s future

With the advent of Justice League, many fans and commentators are once again discussing the concept of the ‘Cinematic Universe’, given the formative attempts by DC Comics over the last several years to emulate the rampant success of the Marvel Cinematic Universe, the first truly successful and revolutionary cinematic model of an overarching mythological world of characters and narratives informing one another. Inevitably with the internet, it’s leading to a war of trolls – Marvelita haters and DC sceptics waging a pointless conflict over territorial ownership and trying the answer the utterly subjective question – ‘which is better?’. For every critic who tells you the MCU is technically stronger as a tapestry, you’ll easily find more than enough ‘DCEU’ defenders to race in with their Amazonian swords and claim everything Marvel has done is powerfully overrated. There can be no victor in such a battle.

In truth, discussion of the Cinematic Universe has never gone away. Hollywood and the blockbuster movie system has been utterly consumed and dominated by the power of a connected storytelling model, following the template Marvel Studios laid down. It has arguably changed the very fabric of the cinematic franchise. Following the essential advent of the ‘blockbuster’ in the mid-1970’s with Jaws and of course Star Wars, it took Hollywood a while to truly embrace the idea of creating what we accept as a ‘franchise’. Sequels had always existed – we can go back as far as 1916 indeed for the first recognised follow up, Thomas Dixon Jr’s The Fall of a Nation, which carried on the story from DW Griffith’s historically polarising The Birth of a Nation – but it was truly the 1980’s that gave birth to the notion of a franchise, once Star Wars developed sequels to George Lucas’ game-changing original movie and developed an entire cinematic eco-system around the property.

Sequels, nonetheless, remained *sequels*. Film number two. Taking the characters and situations from the first successful picture and moving them in new directions, though not always. Many sequels in the 80’s and 1990’s simply re-trod all of the same beats people loved about the first movies, mostly with diminishing returns. That’s what made The Empire Strikes Back so powerful; it took Star Wars and those characters truly in new, challenging directions and forever altered their destinations. Not every sequel took such a bold leap forward for its characters and narrative. Many played it safe, an accusation oddly levelled at some of the recent cinematic universes which were born out of the ashes of continuing storylines.

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Movie Reviews, Movie Reviews - 2017

Spider-Man: Homecoming (2017)

Spider-Man: Homecoming is probably the cheekiest title Marvel have ever given one of their films, simply for the fact the subtitle is both literal and figurative. Spider-Man, probably Marvel’s most famous superhero alongside the Hulk, finally comes home with Jon Watts’ entry to the Marvel Cinematic Universe.

Sony Pictures have owned the rights to the character for many years and have made repeated attempts over the last fifteen to launch a franchise with our friendly neighbourhood web-slinger. The first time, under Sam Raimi’s direction, we had the original Spider-Man trilogy starring Tobey Maguire as Peter Parker. There he fell in love with Kirsten Dunst’s Mary-Jane Watson and battled the Green Goblin, Doctor Octopus and Venom (plus half a dozen more in the third film it seemed). Poor critical buzz partly put paid to a planned fourth Raimi Spider-Man film after 2008.

Then came the reboot. Out went Raimi, out went Maguire. In came upcoming star Andrew Garfield as Peter and Marc Webb, best known for the divisive (500) Days of Summer, behind the lens. Emma Stone joined as Gwen Stacy, the other well-known Peter Parker love interest, and this time he battled a new Green Goblin and, again, thanks to the power of sequelitis, half a dozen bad guys including Electro in the second film, which also Sony planned to use as a backdoor way of teeing-up a Sinister Six spin-off movie. Despite how the two leads impressed, the knives were again out critically and any chance of a trilogy died a swift death.

The famed Sony hack was the first indication they were hatching plans with Marvel to bring Peter Parker into the MCU. The Amazing Spider-Man 2 came out in 2014 and just two short years later, at the start of 2016, another rising star in Tom Holland popped up to portray the character in Captain America: Civil War. In a film rammed with established superheroes, within a story very much in the middle of an ongoing story arc eight years to that point in the making, Holland shone brightly immediately in his extended cameo. He *was* Spider-Man, and he was back where he always should have been.

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