Thursday, April 9, 2020
"STAR WARS: EPISODE IX - THE RISE OF SKYWALKER" (2019) Review
"STAR WARS: EPISODE IX - THE RISE OF SKYWALKER" (2019) Review
Despite its success at the box office, the second film in the Disney STAR WARS Sequel Trilogy, "STAR WARS: EPISODE VIII - THE LAST JEDI", proved to be something of a publicity disaster. Many film critics loved it. An even greater number of moviegoers disliked it. Many have attributed this schism within the STAR WARS fandom as a contributing factor to the box office failure of "SOLO: A STAR WARS STORY". To regain the universal love of the fandom, Disney Studios and Kathleen Kennedy of Lucasfilm brought back J.J. Abrams, who had directed "STAR WARS: EPISODE VII - THE FORCE AWAKENS", to handled the trilogy's third entry, "STAR WARS: EPISODE IX - THE RISE OF SKYWALKER".
Disney Studios and Lucasfilm heralded "THE RISE OF SKYWALKER" as not only the end of the franchise's Sequel Trilogy, but also the end of the Skywalker family saga, which began under George Lucas. The 2019 movie began a year after "THE LAST JEDI". The Resistance under Leia Organa has been hiding from the ever growing threat of the First Order, which has been ruled by her son, Kylo Ren aka Ben Solo. Leia has also been training Force acolyte Rey, while orchestrating the Resistance's attempts to rebuild the organization and form contacts with other worlds and factions throughout the Galaxy. However, the film's opening crawl reveals that Emperor Sheev Palpatine is still alive, despite being tossed down the second Death Star's reactor shaft by Anakin Skywalker aka Darth Vader, while being electrocuted in "STAR WARS: EPISODE VI - RETURN OF THE JEDI". Palpatine vows revenge against the Galaxy for its rejection of him and his power. Leia charges Poe Dameron, Finn and Rey to search for Palpatine and destroy him. Kylo Ren also seeks Palpatine with the intent to kill the latter and maintain his own supremacy of the First Order. Kylo Ren eventually manages to find Palpatine on the remote planet of Exegol. He learns that his former master, Snoke, had merely been a puppet of Palpatine. And the former Emperor wants him to find Rey and kill her in order to remove any possible threat to the resurgence of the Sith Order.
When I learned that J.J. Abrams would return to the "STAR WARS" franchise to conclude the Sequel Trilogy, my reactions were mixed. On one hand, I disliked his handling of "THE FORCE AWAKENS". On the other hand, I completely loathed what Rian Johnson had done with "THE LAST JEDI". And when Abrams had promised to do right by the Finn character, which had been so badly mishandled by Johnson . . . well, some part of me did not know whether to welcome Abrams' return or be leery of it.
There were aspects of "THE RISE OF SKYWALKER" that I liked. I was impressed by Dan Mindel's cinematography for the movie, especially in scenes that featured the planet of Pasaana. I thought Mindel did an excellent job of utilizing the country of Jordan for those scenes, as shown below:
I was also impressed how Mindel shot the visual effects for the last duel between Rey and Kylo Ren among the second Death Star ruins on the Endor moon. Some of the film's action sequences struck me as pretty memorable, thanks to Abrams' direction, Mindel's cinematography and stunt coordinator Eunice Huthart. I am referring to those scenes that feature the heroes' occasional encounters with the First Order on Psaana and aboard the First Order star ship. I was also relieved to see the trilogy's three protagonists - Rey, Finn and Poe Dameron - and Chewbacca spend a great deal of the movie together. The four characters managed to create a pretty solid dynamic, thanks to the performances of Daisy Ridley, John Boyega, Oscar Isaac and Joonas Suotamo and it is a shame that audiences never got a chance to experience this dynamic in the trilogy's other two films.
There was an aspect of the film's narrative that delivered a great deal of satisfaction to me. It is a small matter, but involved Rey's Jedi training. I am very relieved that Abrams finally allowed Rey to receive substantial training from a mentor, who happened to be Leia. A year had passed between "THE LAST JEDI" and "THE RISE OF SKYWALKER". Rey's first scene established that Leia had been training her during that year. The movie also established in a flashback that Leia had received her training from her brother Luke Skywalker. Why did I find this satisfying? Most of Luke's own Jedi training had also occurred during the period of a year - between the events of "STAR WARS: EPISODE V - THE EMPIRE STRIKES BACK" and "RETURN OF THE JEDI". And during this period, he had received his training from . . . you know, I have no idea on how Luke managed to complete his training. Even after so many years. To this day, it is a mystery. And this is why I am grateful that Abrams and co-writer Chris Terrio had made it clear that Leia had continued Rey's training between "THE LAST JEDI" and "THE RISE OF SKYWALKER".
The performances featured in the movie struck me as pretty solid, especially from the leads - Ridley, Boyega, Isaac and Adam Driver. The movie also featured solid, yet brief performances from returning cast members such as Kelly Marie Tran, Domhnall Gleeson, Mark Hamill, Harrison Ford, Billie Lourd, Lupita Nyong'o, and the late Carrie Fisher. Dominic Monaghan, Naomie Ackie, Keri Russell and Richard E. Grant all made nice additions to the trilogy. It was great to see Billy Dee Williams reprise his role as Lando Calrissian. He was one of the bright spots of this film. Hell, it was even nice to see Denis Lawson as Wedge Antilles again, despite his brief appearance. But if I must be honest, I was not particularly blown away by any of them - including the usually outstanding Boyega. Actually, I take that back. There was one cast member who provided a moment of superb acting. I refer to Joonas Suotamo, who did an excellent job in conveying a true moment of grief and despair for Chewbacca's character in the film's second half.
But I do have a complaint about one particular performance. And it came, from all people, Ian McDiarmid who portrayed the surprisingly alive Emperor Palpatine. How can I put this? This Palpatine seemed like a ghost of his former self. No. Wait. That was phrased wrong. What I meant to say is that McDiarmid's portrayal of Palpatine in this film seemed like an exaggeration in compare to his performances in the Original and Prequel Trilogy films. Exaggerated . . . ham-fisted. I found McDiarmid's scenes so wince-inducing that I could barely watch them. However, aware of McDiarmid's true skills as an actor, I finally realized that his bad performance may have been a result of J.J. Abrams' direction. The latter's failure as a director in Palpatine's scenes and failure to visualize the character as a subtle and manipulative villain really impeded McDiarmid's performance.
Unfortunately, McDiarmid's performance was not my only problem with "THE RISE OF SKYWALKER". I had a host of others. Many film critics have bashed J.J. Abrams for trying to reject what Rian Johnson had set up in "THE LAST JEDI". I find this criticism ironic, considering that Johnson had rejected a great deal of what Abrams had set up in "THE FORCE AWAKENS". Not that it really matters to me. I disliked "THE FORCE AWAKENS". I disliked "THE LAST JEDI". And if I must be brutally honest, I disliked "THE RISE OF SKYWALKER". Like the other two films, I thought the 2019 movie was pretty bad.
My first problem with "THE RISE OF SKYWALKER" was its main narrative. Basically, the entire story revolved around the heroes and the First Order's search for the now alive Palpatine. The film's opening crawl pretty much announced to movie audiences that Palpatine was alive without bothering presenting this revelation as a surprise. It is simply the old case of "tell and not show" that has hampered a great number of fictional works throughout time. I believe this narrative device especially does not suit a plot for a motion picture or a television series, because it comes off as a cheat. It is lazy writing. Worse, most of the main characters spend a great deal of the movie searching for Palpatine. And when they finally discover him, no one bothered to ask how he had escaped death after being allegedly killed by Anakin Skywalker aka Darth Vader in "RETURN OF THE JEDI". How did Palpatine survive being tossed to his death, while being electrocuted by Force lightning? Well, STAR WARS fans finally learned the truth in the film's novelization written by Rae Carson. The only major character who immediately managed to find Palpatine was Kylo Ren, who used a Sith wayfinder . . . or compass. Meanwhile, Rey, Finn, Poe and Chewbacca had to resort to following clues to lead to first a Sith dagger, and later, a Sith wayfinder - traveling from one planet to another at a dizzying speed. This whole search for a wayfinder and Palpatine struck me as unnecessarily rushed. I do not think it is a good thing when a person complains about the fast pacing of a movie with a 142 minutes running time. For me, this exposed the hollow nature of the movie's narrative.
As I had earlier stated, the majority of the film's narrative is centered around the protagonists' determination to find Palpatine. A part of me wonders how did the Resistance and the First Order had planned to kill him, once he was discovered. And yes, the First Order's leader, Kylo Ren, also wanted Palpatine's dead. But how did any of them plan to kill him? The movie never conveyed any of the other characters' plans. Worse, this search for Palpatine had transformed the movie into some space opera version of both the INDIANA JONES and NATIONAL TREASURE movie franchises. Was that why Abrams had decided to expose Palpatine's return or resurrection in the film's opening crawl? So he could have his major characters embark on this "Indiana Jones" style hunt for Palpatine from the get go? Or relive the whole "map to Luke Skywalker" search from "THE FORCE AWAKENS" that proved to be so irrelevant? Well guess what? The "Search for Palpatine" proved to be equally irrelevant. Watching Rey, Finn, Poe and Chewbacca hunt down artifacts that would lead them to Palpatine was one of the more ridiculous aspects of this film. I felt as if I had watched a hybrid STAR WARS/INDIANA JONES/NATIONAL TREASURE movie. It was fucking exhausting.
Returning to Palpatine, I was unpleasantly shocked to learn that during the thirty years he was missing, he had created a new fleet of Star Destroyers, each ship equipped with a planet-killing laser. Thirty years. Is that how long it took Palpatine (or his clone) to create a fleet of planet killing Star Destroyers? Is that why he had taken so long construct these ships? If one Star Destroyer can destroy a planet, why did he bother to wait so long to use any of them to re-take the Galaxy? Three decades? I wish I could say more, but I do not see the point. Is a Star Destroyer strong enough to be used as a "base" for a laser powerful enough to destroy a planet?
I have also noticed that the lightsaber duels featured in "THE RISE OF SKYWALKER" . . . well, they were bad. Quite a travesty, if I must be honest. I have never been that impressed by the lightsaber duels in the Sequel Trilogy, but even I must admit that Kylo Ren's duels with both Finn and Rey in "THE FORCE AWAKENS" were somewhat better than the Obi-Wan Kenobi/Darth Vader duel in "STAR WARS: EPISODE IV - A NEW HOPE". But after the 2015 movie . . . dear God. Rey and Kylo Ren's fight against Snoke's guards in "THE LAST JEDI" struck me as something of a joke. But Rey and Kylo Ren's duels in "THE RISE OF SKYWALKER" were simply abysmal. Dan Mindel's cinematography and the movie's visual effects team could do nothing to hide the laughable nature of the duels. Both Daisy Ridley and Adam Driver seemed to spend a great deal of their time slashing at each with no semblance of swordsmanship whatsoever. Where is Nick Gillard when you need him?
Not surprisingly, "THE RISE OF SKYWALKER" revealed a number of Force abilities that appeared for the first (or second time) in the STAR WARS franchise. The Force bond between Rey and Kylo Ren, which was created by Snoke in the previous film; allowed the First Order leader to snatch a necklace from the Resistance fighter's neck in a violent manner - despite the fact that the pair was thousands of miles from each other. And in another scene, while Rey faced Palpatine and Kylo Ren faced the Knights of the Ren, she was able to hand over a lightsaber to him - despite being miles apart. How did they do this? I have not the foggiest idea. I do not even understand how Abrams and Terrio managed to create this ability in the first place. And frankly, I find it rather stupid and implausible. Force healing. For the first time in the history of the franchise, a Force user has the ability to heal. How did this come about? I have not the foggiest idea. If this had been the case during the events of the Prequel Trilogy, chances are Anakin Skywalker would have never become a Sith Lord. The Force healing ability made its debut in the Disney Plus series, "THE MANDALORIAN" . . . I think. However, Kylo Ren had the ability to use Force healing. So did Rey. I do not know who taught them or how . . . fuck it! I will just treat this as another plot device that came out of Lucasfilm's ass. "THE RISE OF SKYWALKER" also revealed that the "resurrected" Palpatine had the ability to transfer one person's essence into the body of another. How? More contrived writing.
Speaking of contrivance, there is the matter of one Leia Organa. Although a part of me still believes Lucasfilm should have killed off Leia Organa in "THE LAST JEDI", in the wake of Carrie Fisher's death a year before the film's release; I must admit that Abrams did an admirable job in utilizing old footage of the actress from "THE FORCE AWAKENS", digital special effects and Billie Lourd as a body double for some of Leia's scenes. But I hated the way Leia was finally killed off. It was similar to Luke's ludicrous death in "THE LAST JEDI". I HATE how Disney Studios and Lucasfilm portray the Force as some kind of energy that can kill an individual if it was used too long or too hard. As if the Force user was some kind of goddamn battery. I really hate that. And this is why I dislike Leia's death just as much as I disliked Luke's.
In fact, this movie seemed to be filled with contrived writing. As for the Rebel Alli . . . I mean the Resistance, I noticed that their numbers had grown since the end of "THE LAST JEDI". Had Leia managed to recruit new members for the Resistance's cause during the year between the two films? If so, "THE RISE OF SKYWALKER" did not hint one way or the other. I mean there were barely enough Resistance members to crowd the Millennium Falcon in the last film's finale. And the narrative for "THE RISE OF SKYWALKER" seemed to hint that aside from Maz Kanata, hardly anyone new had bothered to join the Resistance during that year between the two films. So . . . if this is true, why did the number of Resistance members seemed to have tripled during that year between the two movies? Among the new members is one Beaumont Kin, portrayed by "LOST" alumni Dominic Monaghan.
Speaking of characters - the arcs for the major characters have proven to be as disastrous as those featured in "THE FORCE AWAKENS" and especially "THE LAST JEDI". I was surprised to see Maz Kanata as a member of the Resistance. Her recruitment into the organization was never seen on screen. Even worse, the former smuggler and tavern owner was basically reduced to a background character with one or two lines. Actress Lupita Nyong'o's time was certainly wasted for this film. Although I thought Rose Tico was a promising character, I never liked how Rian Johnson had used her as a very unnecessary mentor for Finn in "THE LAST JEDI". However, my hopes that J.J. Abrams would do her character justice in "THE RISE OF SKYWALKER" proved to be fruitless. In this film, Rose had been reduced from supporting character to minor character, who spent most of her appearances interacting with Monaghan's Beaumont Kin in three or four scenes. What a damn waste! Speaking of waste . . . poor Domhnall Gleeson. His character, General Armitage Hux, was another character whose presence was wasted in "THE RISE OF SKYWALKER". Audiences learned in the film's second half that he had become a mole for the Resistance, supplying the group information on the First Order's movements. The problem with this scenario is that film had Hux explained that he was simply betraying his leader, Kylo Ren. But his reason for this betrayal was never fully explained, let alone developed. Harrison Ford returned in a brief cameo appearance as the ghost of Han Solo. Wait a minute. Let me re-phrase that. Ford returned as a figment of Kylo Ren's imagination . . . as Han Solo. How was his performance? Unmemorable.
"THE RISE OF SKYWALKER" also featured a good number of new characters. Probably too many. I have already mentioned Resistance fighter Beaumont Kim. Abrams and co-writer Chris Terrio also introduced Jannah, a former stormtrooper who had deserted from the First Order like Finn. When she was introduced, I had assumed that Finn's background would finally be explored. Never happened. Worse, Abrams only allowed Jannah - a new character - to speculate on her background in one line spoken to Lando Calrissian. And nothing else. Next, there was Zorri Bliss, a smuggler and former paramour of Poe Dameron's, who provided the Resistance with information on how to interpret the Sith dagger in their possession. Aside from this task, Bliss managed to miraculously survive the destruction of Kijimi, her homeworld to participate in the final battle against Palpatine and the First Order. Through her, audiences learned that Poe was a former spice smuggler . . . a drug smuggler. More on this, later. And finally, we have Allegiant General Enric Pryde, who came out of no where to become Kylo Ren's top commander. It occurred to me that Pryde turned out to be the Sequel Trilogy's General Grievous. I love the Prequel Trilogy, but I never liked Grievous. He should have been introduced a lot earlier than the Prequel Trilogy's last film. And Enric Pryde should have been introduced earlier than "THE RISE OF SKYWALKER". It would have made his brief conflict with Hux a lot more believable.
I read somewhere that the character of Kylo Ren aka Ben Solo is the most popular in the Sequel Trilogy. I am a firm admirer of actor Adam Driver and I thought he gave a solid performance as Kylo Ren. But . . . the character has never been a favorite of mine. I could complain that Kylo Ren is bad written, but I can honestly say the same about the other major (and minor) characters. Yet for some reason, Lucasfilm, a good number of the STAR WARS and media seemed to think the stars shined on Kylo Ren's ass. I hate it when the glorification of a story or character is unearned and then shoved down the throats of the public. In "THE RISE OF SKYWALKER", Kylo Ren's character arc proved to be just as rushed and full of writing contrivances as his relationship arc in "THE LAST JEDI". Honestly. Unlike Anakin Skywalker in the Original Trilogy, Kylo Ren's redemption was never properly set up in "THE RISE OF SKYWALKER". It merely sprung up in the film's last third act so that Abrams (the unoriginal storyteller that he is) could allow him to mimic his grandfather's arc. Looking back on Kylo Ren's character, he should have continued his arc from the end of "THE LAST JEDI" - as the main villain. Instead, Abrams and Lucasfilm brought back Palpatine so they could have Kylo Ren repeat Anakin's arc and avoid dying as the film's Big Bad. This decision only brought about bad writing. And then we have Poe Dameron. In some ways, Poe proved to be the worst written character in this trilogy. It almost seemed as if Lucasfilm, Abrams and Rian Johnson did not know what to do with him. His death was initially set up in "THE FORCE AWAKENS" and he spent most of that film off-screen, only to make a miraculous re-appearance near the end, with no real explanation how he had survived the crash on Jakku. In "THE LAST JEDI", Johnson had transformed Poe into some hot-headed Latino stereotype, who questioned the decisions of the Resistance's two female leaders - Leia and Admiral Holdo. And "THE RISE OF SKYWALKER" made another revision to Poe's character. The movie revealed that Poe had a past romance with the smuggler Zorri Bliss and was a spice runner (drug smuggler). How quaint. Abrams and Terrio took the only leading character in the Sequel Trilogy portrayed by a Latino actor and transformed him into a drug lord. Where the two writers watching "NARCO" or old reruns of "MIAMI VICE" when they made this decision to Poe's character? God only knows. I do know that in my eyes, this was another mark of racism on Lucasfilm's belt.
Speaking of racism . . . what on earth happened to Finn? Following Rian Johnson's shoddy treatment of his character in "THE LAST JEDI", J.J. Abrams had assured the franchise's fans that he would do justice to Finn. And he failed. Spectacularly. Did Finn even have a character arc in "THE RISE OF SKYWALKER"? The former stormtrooper spent most of the film either participating in the search for Palpatine, while keeping one eye on the constantly distracted Rey, like some lovesick puppy. He seemed to lack his own story in this film. "THE RISE OF SKYWALKER" could have provided the perfect opportunity for Lucasfilm to further explore his background as a former stormtrooper. With the creation of Jannah, I thought it would finally happen. Instead, the movie focused more on Jannah's questions about her origins. And Lucasfilm and Abrams wasted the chance to even consider at subplot regarding Finn and the First Order's stormtroopers. Boyega also spent most of the film hinting that he had something important to tell Rey. Many believe he was trying to confess that he loved her. That is because the movie DID NOT allow him to finally make his confession. Even worse, audiences learned that he wanted to confess his suspicions that he might be Force sensitive. And Lucasfilm confirmed this. Why on earth could they NOT confirm Finn's Force sensitivity on film? Why? What was the point in keeping this a secret until AFTER the film's release?
I also noticed one other disturbing aspect about Finn . . . or John Boyega. I just discovered that John Boyega had been demoted by Disney Studios and Lucasfilm from leading actor to supporting actor. Only this had happened a lot sooner that I thought. In the studio's Academy Awards campaign for "THE FORCE AWAKENS", it pushed Boyega for a Best Actor nomination. But in both "THE LAST JEDI" and "THE RISE OF SKYWALKER", the studio pushed him for a Best Supporting Actor nomination. Yet, for all three movies, Lucasfilm and Disney also pushed a white actor for Best Actor. They pushed Harrison Ford (along with Boyega) "THE FORCE AWAKENS". They pushed Mark Hamill for Best Actor in "THE LAST JEDI". Yet, both Ford and Hamill were clearly part of the supporting cast. And they pushed Adam Driver for Best Actor for "THE RISE OF SKYWALKER". Hmmmm . . . Driver went from supporting actor to lead actor, while Boyega was demoted from lead actor to supporting actor. A few more notches in Lucasfilm/Disney's racist belt. God, I am sick to my stomach. And poor John Boyega. He was poorly misused by Lucasfilm, Disney Studios, Rian Johnson and J.J. Abrams.
As for Rey . . . I am completely over her as a character. Although I found her Mary Sue qualities annoying, I found her arc in "THE RISE OF SKYWALKER" a complete mess. The only good that came from her arc was the fact that Leia had trained her in the ways of the Force for a year. Otherwise, I had to grit my teeth and watch her behave in this chaotic manner throughout the entire film. Every time she and her friends were in the middle of some situation, she would get distracted by Kylo Ren's presence and break away. Why? So she could kill him . . . I guess. Apparently, killing Kylo Ren was more important to her than completing a mission for the Resistance. Why? I have no idea. The movie's narrative never explained this behavior of hers. And it gets worse. Rey eventually learns that she is Palpatine's granddaughter. Granddaughter. Palpatine managed to knock up some woman years ago and conceive a son after he had become Emperor. That son conceived Rey with her mother before dying. Palpatine, who had been alive all of these years, never bothered to get his hands on Rey . . . until this movie. Why? I have no idea.
During Rey and Kylo Ren's final duel, she managed to shove her lightsaber blade into his gut. And then she used the Force to heal him. Why? Perhaps she felt guilty for nearly killing him. Who knows? Later, she is killed by Palpatine (who could not make up his mind on whether he wanted her alive or dead) before Kylo Ren Force healed her. And then she planted a big wet kiss on his pucker. Lucasfilm and Disney claimed that the kiss was an act of gratitude on her part. I did not realize that gratitude could be so sexual. Nevertheless, Lucasfilm and Disney ensured that the only leading male that Rey would exchange bodily fluids with was one who shared her white skin. Despite the fact that this . . . man had more or less abused her - mentally and physically - since "THE FORCE AWAKENS". There was no real development that led to this sexual kiss of gratitude. But I guess Disney and Lucasfilm were determined that Rey would not exchange a kiss with the two non-white men. Another notch on Lucasfilm/Disney's racist belt. Oh . . . and by the way, the film or Lucasfilm had established that Rey and Kylo Ren were part of some Force dyad. What is a Force dyad? Two Force-sensitive people who had created a Force bond, making them one in the Force. And this happened because Rey and Kylo Ren were grandchildren of Sith Lords. I have never heard of anything so ludicrous in my life, especially since it was established in "THE LAST JEDI" that Snoke - a creation of Palpatine, by the way - had created their mental bond. How he did that I have no idea.
You know what? I could go on and on about "STAR WARS: EPISODE IX - THE RISE OF SKYWALKER". But I now realize it would take a goddamn essay to explain why I dislike this movie so much. I should have realized that J.J. Abrams' promises that he would fix the problems of "STAR WARS: EPISODE VIII - THE LAST JEDI" was worth shit in the wind. He, Chris Terrio, Disney Studios and Lucasfilm only made the Sequel Trilogy worse . . . as if that was possible. Not only was "THE RISE OF SKYWALKER" a waste of my time, so was the entire Sequel Trilogy. And it wasted the acting skills of its talented cast led by Daisy Ridley, John Boyega, Oscar Isaac and Adam Driver for so many years.
Tuesday, April 7, 2020
“GAME OF THRONES”: Revenge Is Not Female Empowerment
The following article
contains massive spoilers for HBO’s “GAME OF THRONES”.
If you have not seen the entire series, I suggest you refrain from reading this
article:
"GAME OF
THRONES": REVENGE IS NOT FEMALE EMPOWERMENT
David Benioff and D.B. Weiss’ attitude that seeking revenge is some form of empowerment for women really makes me wonder about them. Or perhaps they were only willing to utilize this questionable theory in regard to the Stark family in “GAME OF THRONES”.
In the Season Eight
episode, (8.05) “The Bells”, the two show runners had
Sandor Clegane aka the Hound try to stop Arya Stark from going after Queen
Cersei Lannister. He did this when he saw the Red Keep in flames and to
prevent Arya from indulging in her desire for revenge against the Lannister
queen. I found this laughable.
Did Benioff and Weiss
really try to convince television audiences that Arya seeking revenge against
Cersei would have been a step too far for her by Season Eight? I find
this laughable, when I remember that back in the Season Six episode,
(6.10) “The Winds of Winter”, Arya had already inflicted revenge against
Walder Frey and two of his sons in one of the most gruesome ways possible when
she chopped up two of Walder’s sons, baked them into a pie, and served them to
the aging landowner before killing him with a knife to the throat.
Initially, I found this rewarding, considering how Walder had arranged the
deaths of Catelyn and Robb Stark. But when I re-watched Walder’s death
again, I found it brutal, sick and very disturbing. Then in the Season
Seven episode, (7.01) “Dragonstone”, Arya topped
her acts of vengeance when she poisoned more members of the Frey family.
What made this worse is that the series’ two show runners and especially the
media had labeled Arya as a “badass” after
her killings.
I eventually came to the
conclusion that Benioff and Weiss were trying to portray Arya as this innocent,
yet traumatized young girl who was on the verge of being driven to her worst
impulses by Season Eight. This is laughable to me because I feel that
Arya had already passed the “point of no return” when
she killed the Freys The two show runners ended the series with Arya
leaving Westeros to explore unknown lands in the west. What was the
message here? She had finally given up her murderous desires and impulses
to do something more laudable? Seriously?
In series
finale, Yara Greyjoy had demanded that the new Small Council allow Jon
Snow aka Aegon Targaryen to legally suffer the consequences for his murder of
Daenerys Targaryen. I suspect that Yara’s demand was tainted with a touch
of vengeance, since Daenerys had previously promised the independence of the
Iron Islands for her assistance. But Yara had never considered exacting
revenge with her own hands. She wanted Jon to pay the price . . .
legally. Being banished to Wall did not suffice in her eyes. It
certainly did not in mine. And what did Arya do after Yara had expressed
her demand? Threaten the Ironborn leader’s life. Apparently, the
Hound’s lesson had fallen on deaf ears. I suspect that no journey will
ever wipe away Arya's murderous tendencies or her past crimes. That
little exchange with Yara only told me that she had not learned a damn thing.
Not by the end of the series. Why did Benioff and Weiss had tried
to push this message that she had? Because she is a Stark?
Honestly, I believe that
is the correct answer. Arya was a Stark. Her past crimes were whitewashed
by the show runners. Benioff and Weiss wanted to give Arya a pass, just
as they had given the other members of her family a pass because they had
suffered a great deal of loss during the recent wars. They were not the
only characters that suffered, but as far as Benioff and Weiss (and I suspect,
Martin) were concerned, the Starks was the only family that really
mattered.
Arya was not the only
member of the family given a pass, moral or otherwise by the writers.
Instead of facing the consequences of his murder of Daenerys Targaryen, Jon
Snow (who is a Stark on his mother’s side) was banished to the Wall by
Westeros’ Small Council, a political group that no longer had the authority to
do so. Instead of remaining with the now useless Night Watchers, Jon went
further north and happily joined the Freefolk, where he would not have to be
executed or imprisoned for murder, or live with the reputation of being a “queenslayer”, as Jaime Lannister had live with
the “kingslayer” monniker for such a long time.
The Small Council also allowed Sansa Stark to declare the North independent of
Westeros and herself as the new Queen of the North. Neither the Small
Council, led by Sansa’s first husband, Tyrion Lannister and her brother King
Brandon, the new monarch of Weseros, bothered to prevent or argue against this.
Then again, I should not
have been surprised, considering how Benioff and Weiss had ended Sansa Stark’s
own story arc. They also painted Sansa’s revenge against her second
husband, Ramsay “Snow” Bolton for rape as “female empowerment”.
In other words, the show runners gave Sansa's gruesome murder of Ramsay a moral
pass. She was a heroine (a Stark heroine at that) who had suffered a lot
and he was a villain. Yet, the manner in which he was killed reeked of
murder, cruelty, and revenge. Ramsay and his father Roose had allowed the
Northern realm to suffer a great deal when Roose became Warden of the North,
following his murder of Robb Stark back in late Season Three. Sansa and
Jon could have easily had Ramsay executed for treason, following his defeat at
the Battle of the Bastards. Instead, Sansa, in a fit of vengeance and
cruelty, lowered herself to her husband's level and allowed him to be eaten
alive by his dogs.
Some fans of George R.R.
Martin have pointed out that facing the consequences of one’s actions was the
theme of his literary saga. Yet, I have noticed that after Season Five,
Benioff and Weiss were only willing to allow any characters who were not
members of the Stark family to face the consequences of their actions . . .
Daenerys Targaryen being the last example. But the show runners had
allowed good fortune to shower upon the remaining members of the Stark family
without them paying any real consequences for their actions. I find this
attitude of Benioff and Weiss very hypocritical. And I especially took
umbrage at the idea that Arya and Sansa Stark enacting revenge upon those who
had wronged them or their family via violent murder should be regarded
as “female empowerment”. I find this concept to be
disgusting, hypocritical and very offensive.
Thursday, April 2, 2020
"THE COUNT OF MONTE CRISTO" (1975) Photo Gallery
Wednesday, April 1, 2020
"DISTRICT 9" (2009) Review

"DISTRICT 9" (2009) Review
I had been looking forward to "DISTRICT 9" for nearly two months before it finally hit the American movie theaters in the late summer of 2009. When I had first heard that Peter Jackson had produced a film that was directed and co-written by Neil Blomkamp about aliens living on Earth, I wondered if I would finally see a movie about aliens being oppressed or victimized by humans. Then I remember that I have seen similar concepts in other movies like "ALIENATION", "E.T." and "DISTRICT 9".
However, "DISTRICT 9" was also supposed to be allegory about the apartheid system that Blomkamp had lived under, during his youth. In the film, aliens found themselves stranded on Earth - namely around Johannesburg, South Africa in the early 1980s. The South Africans forced the aliens to live in housing districts that practically resemble slums for over twenty-five years. When Wikus van de Merwe, a bureaucrat from a private company (Multinational United "MNU") that has been contracted to deal with the aliens, is exposed to their biotechnology, he begins to transform into an alien. Wikus eventually finds himself being hunted by MNU so that he can use the weaponry they had confiscated from the aliens on their behalf.
I must admit that Blomkamp had created a great concept. And I also thought it was clever of him to use documentary-style film making to describe the aliens' arrival on Earth. Also, he was fortunate to hire actor/writer Sharlto Copley for the leading role. I thought Copley gave an excellent and complex portrayal as the unfortunate bureaucrat, Wikus van der Merwe. I also enjoyed the film's special effects and some of Trent Opaloch's cinematography. But in the end, I believe that Blomkamp had tripped himself with some questionable plot lines and his portrayal of the Nigerian gangsters.
There are some aspects of the plot that bothered me. One, how did the South Africans managed to board the mother ship from helicopters? And two, how was the mother ship able to hover over Johannesburg for nearly three decades without any liquid fuel or command module (which had dropped from the ship years earlier) to move it or keep it up in the skies? I also found the action sequences featured in the movie's last half hour to be rather over-the-top at times. Blomkamp seemed to have read Michael Bay's handbook on filming action sequences. And then there were the Nigerians.
Blomkamp's allegory about apartheid was certainly given full support from his portrayal of the white and black South Africans' intolerance toward the stranded aliens. But he had undermined his message with an offensive portrayal of Nigerian gangsters who lived in Johannesburg. The gangsters are led by a wheelchair-bound Nigerian, who is told by his shaman (called "witch doctor" in the film) to consume the flesh of aliens in order to regain his health. In fact, an early scene in the film featured a white South African female in the movie's mockumentary who commented that the Nigerians harbored a "superstition" that the aliens' flesh would be able to cure many of humanity's ailiments. And the only females willing to have sex with another species - namely the aliens - are Nigerian women. It was quite clear in the film that no white or black South African females were willing to commit such an act. Considering the South Africans' (both white and black) negative views of Nigerians, I am not surprised. As I had stated earlier, the Nigerian gangster's shaman is referred to as a "witch doctor" - a term that many non-Christian or non-Muslim Africans would find offensive. In fact, I found the movie's portrayal of the Nigerians to be very offensive. Judging from the terms they used and their accents, I suspect they were portrayed by South African actors. And as a relative of mine had pointed out, the Nigerians portrayed in "DISTRICT 9" may have regressed the motion pictures' portrayal of blacks a good five hundred years.
I wish I could say that I liked "DISTRICT 9". As I had earlier pointed out, Blomkamp's decision to use the relationship between the stranded aliens and their South African hosts could have served as a perfect allegory to apartheid. But the the drawn-out action sequences in the movie's last half hour and its portrayal of the Nigerians turned me off. In the end, I found "DISTRICT 9" to be a disappointing film.