Joker is Modern Cinematic Perfection, and Here's Why

Joker may be unfairly controversial, but it’s also an excellent movie

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By: Keaton Marcus

PREFACE:

Since this film released in 2019, it has been quite the topic among the film community, and moviegoers in general. There wasn’t any consensus in the people’s overall opinion. Plenty thought it was horrible, some said mediocre, and a vast number of viewers claimed that it was one of the best films in recent years. It took three watches, but on the third, I realized that Joker is unparalleled cinematic perfection. One of the greatest movies of all-time and ultimately perfect in almost every respect. I will try my best to address some of the criticisms in this hopefully condensed analysis.

PREMISE:

Set in 1981, it follows Arthur Fleck, a failed clown and stand-up comedian whose descent into insanity and nihilism inspires a violent counter-cultural revolution against the wealthy in a decaying Gotham City.

MY OPINION:

Just to begin, I would like to voice my general opinion on the film. Joker is a brilliantly directed, crafted, structured, and especially acted movie. A compelling, haunting drama about a character’s descent into madness and violent revenge against a world that ignored and malnourished him his whole life. The quick and entertaining pacing, the dialogue, the score, and the cinematography perfectly capture a city in decay. It’s understated and without any big special effects that comic book movies normally have. The film is always solely focused on its main character, his journey, and the actor who plays him.

JOAQUIN PHOENIX’S PERFORMANCE:

Speaking of the performance, Joaquin Phoenix is chillingly phenomenal. He keeps your eyes glued to the screen from start to finish. He’s evidently lost plenty of weight for the role, and it pays off. His gaunt face and weirdly misshapen body help, but his mannerisms are what really drives this home. His movements and whole being are something to focus on. I’ve never seen an actor play so many facets of a character simultaneously like this. It’s truly incredible to witness, and Phoenix deserved his Best Actor award. He easily goes from vulnerable, weak, and pathetic to devastated to threatening, murderous and psychotic. One thing you must focus on is his eyes. He doesn’t solely change the look of them, but their very essence is altered multiple times in one moment. The rage, frustration, depression, vulnerability, and vengeance is all in this glorious spotlight of a performance.

THE CHARACTER:

This movie constantly pulls the rug out from under you, catching you off guard, asking viewers to reevaluate and examine who this man really is. It asks you to consider his perspective of the world and society’s view of him. This character is written and crafted so well that even at his most insane and psychotic moments, there’s a core of pain and sadness for him. The fact that you’re able to feel sympathy for this maniac is commendable by itself. When he dances in the bathroom, raves about how society has treated him, he isn’t some calculated, smart psychopath. He’s a wounded, deeply hurt soul taking his issues out on a world he doesn’t yet understand, and which doesn’t understand him.

INCITING VIOLENCE:

This brings me neatly along to not understanding this movie. Upon its release and even leading up to it, some of the social media pounced on the fact that they thought this movie glorified and could possibly incite future violent crimes. Plenty of people who simply don’t grasp this movie or horror films, in general, have claimed that it has glorified violence, inspiring people similar to Arthur Fleck to hit back at society and the world. There have also been issues with his supposed “weird sexual relationship” with his neighbor, but there isn’t anything odd about it. He occasionally fantasizes to be with her, but there isn’t necessarily anything sexual about their encounters. He’s simply longing for human connecting, a companion, a light in his grim world. The revolution incited in the film is the story of the poor and marginalized rising up against their capitalist overlords. No violence in this is actually justified or even glorified in the movie. Both sides, meaning the rich and the poor, are terrible in their treatment of each other. It’s a vicious cycle that eats itself until the city eventually collapses. The people who join Arthur’s revolution are portrayed as angry, murderous thugs who use this uprising as an excuse to spread mass destruction throughout Gotham. They are never once put on a pedestal. On the other hand, the more fortunate people of the city are depicted as arrogant, self-centered, dismissive, and detached from the horrible reality they’re living in.

DERIVATIVE OR INSPIRED?

Joker has also been heavily criticized for being derivative off of Martin Scorsese’s Taxi Driver and The King of Comedy. I’m really only half-qualified to address this because I have only seen The King of Comedy at the moment, but let’s give it a whirl from that perspective. First of all, I think Joker is a far superior film, with better writing, acting, and directing. It’s also just more entertaining. While I thought The King of Comedy was a great movie, it dragged in places and wasn’t nearly as appealing to the eye. Robert De Niro was good, but his performance wasn’t anything special. I also think Joker was more inspired than a deliberate copy of this film. It has a few really similar elements, such as having a comedy show, De Niro starring in the film, and Phoenix portraying a character who wants to be famous. In no way, shape or form does that justify actual quality, however. We all take from someone. Scorsese was probably derivative himself. It’s practically impossible to create a wholly original work nowadays. The age of creativity is gone. However, I do believe that Todd Phillips has invented some sort of art-house comic book movie, and it really works.

IN CONCLUSION:

This movie is just simply glorious overall. People argue that it glorifies depravity, the character writing is one-dimensional (I laughed at that criticism) and it blatantly stole from past movies. Hopefully, my arguments have allowed readers to see things from a new perspective despite likely not convincing them to switch sides. Again, the purpose of this was to analyze one of my favorite movies, not tell people to agree with me.

The Importance of Visual Storytelling

dialogue is overrated. so here’s a more memorable, appealing alternative.

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By: Keaton Marcus

I’ve been really wanting to cover this topic for a while and today is the day I’m doing it. Visual storytelling in cinema is actually a very important thing in film and can actually convey all of a character’s feelings and emotions without any actual dialogue. It is time to stop criticizing movies with little-to-no dialogue as lifeless, cynical, and pretentious and read this thing. Through framing, composition, symbolism, and more techniques, a filmmaker can portray more emotion than some drawn-out dialogue scene with incredibly irritating exposition. Remember, just because a screenplay has a whole lot of words doesn’t mean it’s smart or developed.

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  1. COMPOSITION - How we put a subject in the frame

    To really make a fantastic shot, the subject matter is possibly the most important thing. To make a generally pleasing, even beautiful image, it’s almost all about where we put the focal point in the frame. Is it a man/woman? Is it an animal? An object perhaps? It doesn’t matter as long as you’re trying to draw attention to it. There are many different ways to make a shot that stands out of the crowd, and the most common is putting your subject on an intersecting point. This is called the Rule of Thirds. In a wide shot, you can easily convey how the subject feels in their surroundings. Are they full of joy? Are they thinking? Are they depressed? It can be any emotion. In a close-up, it helps draw tension in the shot. We are literally closing in on the subject’s face and their face only to make a far more intimate and tense experience. A filmmaker who uses this technique a lot is Terrence Malick, who commonly uses wide-angle lenses while focusing on a person’s face. This is often used in his movie A Hidden Life. This shot draws our attention to the eyes and nothing else, even if we have to sacrifice other things, like the bottom or top of somebody’s head. What about their entire face? An example of this is the opening shot of Blade Runner 2049, where cinematographer Roger Deakins started on an extreme close-up of someone’s eyeball, giving the viewer an intense, intimate and tense experience once again. One last thing that I wanted to talk about is the wide shot, which can be used to put a feeling of isolation in a viewer. This is also used in the most iconic shot of 2049, which sees K walking through the dead city of Las Vegas. It may seem uninvolved and simplistic, but it really does effectively bring a sense of loneliness, and maybe even dread to the audiences watching it. Overall, the composition is extremely important for bringing emotions without dialogue.

  2. fRAMING - The presentation of visual elements in relation to other objects

    Let’s get into deeper detail about the different types of shots. One of the most important ones is the establishing shot, which is typically the first one an audience sees. Take a really famous one, which is the first shot of the original Blade Runner film. This shot allows audiences to witness the gist of the world being introduced in only a matter of seconds. There can be several establishing shots in one sequence if necessary, but if you want convenience, this is the way to go. Secondly, we have the extreme wide shot, commonly used in The Lord of the Rings to convey the sheer scope and impress audiences. A prime example of this is when Gandalf is riding on his horse through the vast setting on way to a massive castle. Everything is big and grandiose in scale. Thirdly, we have the wide shot or the long shot, which is used effectively in Mad Max Fury Road when Tom Hardy’s character is standing with his car, looking off into the distance. Similar to the extreme wide shot, this depicts scope, distance, and location to the viewers. It can look really beautiful if used correctly. Fourthly, there is the medium shot, which doesn’t look nearly as appealing, but can be useful to show a combination of facial expressions and body language. A good example of this is Creed, where the cinematographer Maryse Alberti uses a medium shot to convey Adonis’ fighting position and facial expression. Another example of it would be in Nicolas Winding Refn’s infamous Only God Forgives when Julian stands in a fighting stance, ready to challenge the supernatural Chang. In these two shots we get all the emotions the characters are feeling: confidence with violent intentions. Number five is the close-up, which I briefly covered in the previous section, although that was to an extreme level. These are typically used to convey a character’s emotions from just their face, which is the only focus in the frame. However, they could also be used to depict a specific action, such as picking up a weapon, a drink, etc. Three fabulous examples of this would be both the “Here’s Johnny!” moment in Stanley Kubrick’s The Shining, the final scene of The Revenant, and almost every shot in The Lighthouse. The former gives off an easy sense of madness and insanity, while the second gives a feeling of completion and fulfillment. The Lighthouse is simply a better film than The Shining, and one of the many reasons why is its close-ups. Literally, every single shot gives off dread, bleakness, depravity, and insanity with the utilization of flawless framing. All without words.

  3. SYMBOLISM - Adding visual subtext to the film

    The third thing I wanted to cover is symbolism, which is now commonly used as a visual metaphor or motif for something important to the story. However, different from the last two sections, I will also explain how you can get this completely wrong. The colors orange and black are commonly used in Frances Ford Coppola’s The Godfather, but the most important color of those two is the orange, which is actually used to symbolize imminent death. In fact, the actual fruit foreshadows a character’s demise. Taking a look at a modern gangster flick, Martin Scorsese’s The Departed, we see that this filmmaker was inspired by the 1972 classic? Why? Because throughout the movie, an X is used as a metaphor for death instead of the color orange. Perhaps my favorite example of this would be in 2019’s Portrait of a Lady on Fire. The fable of Orpheus and Eurydice is a very essential aspect of this film’s symbolism working, and it effectively uses the tale by making one character’s vision of another character one of the people from that story. Heloise (one of the leads in the film) is portrayed as Eurydice, and the other woman is Orpheus. This is used when Heloise/Eurydice asks Marianne/Orpheus to turn around at the end of the film. This is just like when Eurydice asks Orpheus to turn around at the end of the book. Wait but how about that scorpion jacket in Nicolas Winding Refn’s Drive? Isn’t it just a cool touch to an even cooler film? No, it means something. Basically, The Driver is metaphorically carrying around a scorpion, driving around criminals, and giving in to his violent tendencies. This ultimately stings his relationship with Irene, completely destroying his life. Ok, but how do you do this in the wrong way? Well, to fail at visual symbolism you’ve got to be overly pretentious. You’ve got to throw symbols in there with no meaning or significance to the story. Although it’s mainly a mixed bag, Only God Forgives is a mash of gorgeous filmmaking and some of the most meaningless, pretentious, and obnoxious dream sequences I’ve ever seen. Remember, just because you’ve got some pretty camera movements and neon lighting doesn’t mean the film is brilliant.

  4. SHOW AND DON’T TELL - the art of complete silence

    In my penultimate paragraph, I will be explaining one of the most essential things when it comes to visual storytelling…Silence. When trying to tell stories or convey emotions through cinematography, you DO NOT want long, drawn-out dialogue scenes filled to the brim with exposition. The big thing is that readers want to take away from this is to convey how a character is feeling through framing and composition. For example, Kubrick’s 2001: A Space Oddysey is a mostly-silent film, and absolutely has no dialogue in the beginning 25 minutes, which chronicle the routines of ancient humans. Through color palettes and incredibly gorgeous and smart cinematography that convey emotion without dialogue, this is visual storytelling done right. In another example, we have the opening sequence of Paul Thomas Anderson’s There Will Be Blood, in which we literally just watch Daniel Day-Lewis’ character, Daniel Plainview, go through his day-to-day routine of mining. In what could have been the most boring beginning of all-time, cinematographer Robert Elswit’s beautiful, meditative camera work saves it and makes the experience infinitely better. Also, not a single word was spoken. Drive and The Thin Red Line are also great examples of this. The former uses different camera angles and hidden metaphors to keep things incredibly interesting while set to a backdrop of vibrant, enjoyable music. The latter is not only Terrence Malick’s masterpiece, but it’s also a thrilling journey through hell with some of the best cinematography and action I’ve ever seen. And it doesn’t have a lot of words. There are so many examples of this that it’s too difficult to get deeper into all of them. There’s the Bathroom Dance in Joker, the opening car-chase in Baby Driver, the crop-duster sequence in North by Northwest, the entire final act of Children of Men, the radiation walk-in Blade Runner 2049 and so many more that give off more feelings than a casual dialogue sequence. That’s not to say that a wordy script cannot be good, because more often than not they are, but what’s wrong with a little flash?

  5. USE LIGHTING TO YOUR ADVANTAGE - why color palettes and visual muteness are important

    Although this final technique may seem relatively unimportant compared to the rest, this is actually also pretty essential if a filmmaker is willing to go deeper by making the literal lighting of their movie have significance to the story. The Coen brothers’ Inside Llewyn Davis is a prime example of this, as it uses a sort of visual muteness and melancholy that enhance its depressing, meditative story about a musician getting rejected in a highly commercialized world. In fact, one of the earlier films from the Coen brothers, Barton Fink, also has exquisite lighting. This is especially conveyed in the hotel showdown between John Goodman’s character, who’s currently going on a rampage, and the two foolish detectives who have come to investigate Barton. The dark, ominous contrast of Goodman and the fire in the background is simply glorious. Wong-Kar Wai’s In the Mood For Love is probably my absolute favorite example of fantastic lighting. The film was so leisurely and voyeuristically shot and lit that it almost felt ethereal or otherworldly. It brings a great sense of placidness and calms to the viewer. Otherwise, the colors also absolutely pop off the screen in that film. Smaller examples of this are large in numbers as well. For example, the ending of Moonlight, the rain-drenched sequence of Prisoners, literally everything in Drive, Han Solo’s death in The Force Awakens, the Ghost in Portrait of a Lady on Fire, the helmet reflection shot in A Space Oddysey, the hellscape of 1917, the gliding scene in The Dark Knight, the palettes in The Grand Budapest Hotel, the neon-drenched lighting of Only God Forgives and The Neon Demon among many more great examples.

Enemy Analyzed & Explained

cracking the clues for arguably the most complex movie of all-time

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By: Keaton Marcus

I recently had the gift of watching the only English-speaking film from Denis Villeneuve that I hadn’t seen, and that was Enemy. I glossed over it in the past because it was known as his weakest movie, and only decided to watch it days ago. WHAT. THE. HELL. I wrote that for two reasons. One: this is a fantastic movie with great performances, an eerie score and hauntingly beautiful imagery. Two: It has to be the most confusing film I have ever seen, and that is a hard bar to surpass considering what my brain has witnessed. Enemy is almost like if Only God Forgives focused less on violence and more on interesting characters while providing all the necessary visual storytelling. It combines both scarring visuals with a narrative that’s too rarely seen in cinema. Despite not being his greatest movie, it certainly is not his worst, and I’d even go as far as to call it a masterpiece. Then again, basically all of Villeneuve’s films are. This film is too much for just a simple review, and calls for an in-depth analysis.

To start this whole thing off, I’d like to make a note that I’ve never done before. Previous analyzed articles that I’ve done have all been open to interpretation. Take Portrait of a Lady on Fire…Me explaining that film was strictly opinion and not fact. On the other hand, with Enemy, there are correct and incorrect interpretations. Buckle up and saddle up readers, because this film is truly bonkers. According to Chris Stuckmann’s analysis, many different articles have tried to analyze this movie with complete failure, claiming that spiders were taking over the world and that Jake Gyllenhaal’s character has an identical twin. WRONG! I will elaborate more on this later, but the two Gyllenhaals in the film are the exact same person. Again, more on this soon. Let’s start with a quote from director Denis Villeneuve, who actually provided his thoughts on explaining the film. In two interviews, the filmmaker explained that this is a documentary of sorts about the main character’s subconscious, to which I completely agree with. The entire movie is not about a doppelgänger, but an all-out war between two halves of the character’s subconscious. Take note that this came from the mouth of the man who made the film, and not solely from myself. The real question is: What would cause Jake’s character to start a battle with his own mind, and what’s going on with that spider imagery? It’s time to dive in.

Just so readers didn’t realize, there are two versions of Jake in this movie, a history teacher, and an actor. From now on, I will differentiate the two by calling them Nerdy Jake and Fancy Pants Jake. All caught up? Good. While watching, it’s reasonably simple to tell the difference between the two Jakes. Nerdy Jake always appears unkempt, messy and wearing cheap clothing. In direct contrast to this, Fancy Pants Jake has on expensive clothes, his general appearance is tidy, clean and he wears a wedding ring. Enemy opens with a voiceover from Jake’s mother (Isabella Rossellini), who sounds concerned about the state of his apartment, and it’s clear she’s saying this from a voicemail. We then quickly cut to Helen Bell (Sarah Gadon) nude and pregnant before the words “Chaos is order yet undeciphered” appear on screen, a quote from the source material of the movie. Another cut to black brings audiences to seeing Fancy Pants Jake holding a key entering a seedy sex club of some kind as men watch women pleasure themselves off camera in total silence. He then watches another woman present a large spider on a platter before moving her high heels towards it, seemingly ready to squash it. However, we cut to black before anything happens. Next, we see Nerdy Jake teaching his class. His first words are, “Control. It’s all about control.” This is before he begins to discuss dictatorships and how they censor any means of individual expression. This is important for the end of this article, so keep that sentence in mind. He then says, “And it’s important to remember this, that this is a pattern that repeats itself throughout history.” That quote is also severely essential to what happens later on, but unfortunately, you’ll have to keep reading this madness. Next, he states, “It was Hegel that said that all the greatest world events happen twice, and then Karl Marx added: the first time it was a tragedy, the second time it was a farce.”

Continuing to show us ambiguous, spidery imagery are shots of the wires above Toronto, which appear just like spider webs. As Nerdy Jake walks through a tunnel back to his apartment, he sees a mural of a man presenting a Roman fascist symbol. Keep in mind that defiance against rule, dictatorships and fear of commitment are all prominent themes in the movie. Enemy has these topics woven throughout its odd core, and it has the perfect blend of both dialogue and visuals to convey this. The next few scenes make it obvious that Nerdy Jake’s life is largely repetitious. He teaches lectures that seem memorized, sleeps with his girlfriend, Mary (Melanie Laurent) and his apartment is quite literally devoid of anything. All the man seems to have is a bed and a computer. Soon later, a co-worker recommends a film to him out of nowhere, without any lead-up or a real conversation that has any relationship with this. Nerdy Jake decides to rent the movie at a local store. It took me a few times to decipher the hidden meaning of this scene, but I realized that the song playing in the background, dubbed “The Cheater”, does have significance to the story. The lyrics are telling the tale of a man who has absolutely no business being with women because he simply cannot control his urges to sleep around, or cheat. After watching the film, he attempts to have sex with his unwilling girlfriend, forcing himself on her without success before falling asleep. In the depths of his mind, he recalls the movie he just saw, and notices a person who looks exactly like him. He suddenly wakes up and quickly skims through the film to see if all of this is real, and he finds him. It’s a literal copy of Nerdy Jake, and it’s completely mind-boggling for the character. He will soon become obsessed with meeting this actor.

He then compares a noticeably torn photograph of himself with the actor, or Fancy Pants Jake, with likely a post break-up picture, confirming that they are identical. Nerdy Jake then begins to do research about the actor, finding more films he’s had a part in. When he goes to rent the other movies, notice the movie poster in the background with the title Attack of the 50 Foot Woman. This then leads him to the talent agency of Fancy Pants Jake where he has a conversation with the security guard, who immediately recognizes him. The guard says, “You haven’t been around here for ages.” Nerdy Jake goes along with the conversation, and responds with: “Yeah, I don’t know how long it’s been.” The guard then states, “Six months I’d say.” Take note of the amount of time that the guard assumes he’s been away, as it’s important for later. I know I’m leaving readers with unanswered questions, but I do promise everything will be explained later. After, he is given a package meant for Fancy Pants Jake, and finds his address and phone number. However, when he tries to call, Fancy Pants Jake’s wife, Helen, answers the phone instead. She recognizes his voice (because him and Fancy Jake are the same person) thinking that Nerdy Jake is her husband. Following a series of awkward calls, Nerdy Jake eventually reaches Fancy Pants Jake and attempts to convince him that they need to meet.

It’s only now that we fully meet Fancy Pants Jake and see what the gist of his life is like. He’s healthy, wears nice clothes, loves blueberries, and his wife is almost unfairly suspicious that he’s cheating on her. She even questions him about the phone call he just had with Nerdy Jake and accusing him of lying about the person on the other end, claiming that it was a woman. She asks, “Are you seeing her again?” This implies that Fancy Pants Jake has cheated on her in the past. Naturally, he goes ballistic on her, screaming that it was a man. So although Fancy Pants Jake is living a better life overall, he’s dealing with the fear of commitment to women, similar to that song playing in the film rental store. It clearly makes him feel that his freedom has been removed by his pregnant wife, almost feeling controlled by the scenario. Reverting back to the “cheating in the past” point, this explains why Fancy Pants Jake was in that sex club at the beginning of the movie. He’s terrified of the responsibility of starting a family and staying with one woman in a committed relationship. To understand this theme is vital to comprehending the movie itself, prominently the spiders. Then, Nerdy Jake and Fancy Pants Jake agree to meet at a hotel room, suddenly feeling that they have a need to see each other. Helen appears at Nerdy Jake’s school, and her look upon seeing him is of extreme pain and sadness. Sure it’d be odd to see an identical man to your husband, but what’s with the overreaction? Nerdy Jake asks her, “How many months are you?” She explains that she is six months pregnant. HAH! Coincidence? I think NOT. Remember when the security guard said he was gone from the talent agency for six months? Well that’s the exact same time period when compared to the amount of months Helen was pregnant. This obviously backs up my point about Fancy Pants Jake’s feelings of captivity in his current marriage. He hasn’t even been to his talent agency since his wife got pregnant. He is dictated by a woman and child. The next moment could simply be a coincidence, but it does leave me to wonder. It’s when Helen picks up her phone to call Fancy Pants Jake, and right before Nerdy Jake walks out of the frame, he picks up his phone. This would re-affirm the director’s thoughts on the two being the same person.

Later, when Helen is sitting on the couch at home, Fancy Pants Jake returns from a run…Supposedly. He complains they are out of his favorite organic blueberries. She can’t say anything, simply staying in her position, afraid and depressed before explaining that the man she saw at the school looked exactly like Fancy Pants Jake. She even says, “What’s happening?” When he explains that he is oblivious to what she is talking about, she responds with, “I think you know.” She is slowly but surely discovering that her husband’s mind has split, desiring for him to come to terms with the fact that this has happened. This is why she appears in such emotional distress. This is when we get one of the more haunting spider visions. It shows Fancy Pants Jake walking down a hallway as a woman with a spider head passes by him casually. This is after his wife questioned him about his motives and tried to get him to explain everything to her. Almost identically, we cut to Nerdy Jake standing in a similar hallway as we see two shots of a scantily dressed woman resembling the spider lady. Next, after all of this gorgeously constructed, brilliant set-up, the two finally meet. The two initially compare themselves, noticing that they have an identical scar on each other’s chests. Nerdy Jake leaves out of pure terror, but he gives the talent agency package to Fancy Pants Jake shortly before. The next two shots are also parallels of sorts, focusing on the two dealing with this situation, and after something inside him cracks, Fancy Pants Jake decides to follow Nerdy Jake. He takes notice of Nerdy Jake’s girlfriend, and follows her as well. You may be questioning how would Fancy Pants Jake know how to find the other one? Isn’t it obvious? I mean they share the same damn conscious so I bet it’s quite simple. While on the train following Nerdy Jake’s girlfriend, Fancy Pants Jake has a quick moment in which he ogles at her head-to-toe. He quickly turns around trying to deal with the temptation of sleeping around. He has obvious issues with being faithful to his wife. Before anything else happens, the scene ends with a shot of Fancy Pants Jake in deep thought in his apartment, sitting on a chair. Did he dream that entire scenario up? Was he roaming the depths of his mind attempting to learn about the other version of himself? Perhaps.

Nerdy Jake visits his mother, explaining this precarious situation to her. His mother simply says, “The last thing you need is to be meeting strange men in hotels. You have enough trouble sticking with one woman don’t you do this.” This, once again, adds to my assumption (and fact) that Jake overall, as one person, has trouble being faithful to women. His mother offers him some blueberries to which he reluctantly rejects, stating that he doesn’t like them. “Of course you do,” his mother says. Although it may seem quite vague, it seems like Nerdy Jake is attempting to forget the memories of his other self, Fancy Pants Jake, seemingly repressing them. She explains that he has a nice apartment, a respectable job, and that he should quit his fantasy of being an actor. WHAT!!?? Isn’t this Nerdy Jake, the history teacher? Not Fancy Pants Jake, the actor? No, you fools! THEY ARE THE SAME PERSON. That’s not it, though. If you recall that in the beginning of the movie his mother actually states that she doesn’t like the state of his apartment, but now she is suddenly saying it’s nice. Since she also said that he has a respectable job and should quit his acting fantasy, this has lead me to assume that his acting job has gone no where. The small roles he was in didn’t amount to anything, and he never got that one breakout performance. So he’s just a history teacher, right? The fact that his mother said this could also be related to the fact that Helen explained that she went to his work. This concludes that Helen was just realizing the true magnitude of her husband’s psychosis, desperately trying to connect with him, to try and help him by going along with his mental illness. Possibly one of my favorite shots of all-time then appears, and it adds to the crazy spider imagery. We get a wide, beautiful shot tinted with the movie’s yellow-green color palette that’s almost nauseating. It shows a giant, otherworldly spider roaming Toronto, which has also left many people perplexed, as it did for me. No, spiders are still not taking over the world. I’ll explain more later.

Next is the scene that further confirms Jake Gyllenhaal should have won the Oscar in 2013. Seriously, this man was in Enemy and Prisoners in the same year and didn’t even get nominated. Up yours, Academy. It showcases Fancy Pants Jake practicing a question that he’s going to ask Nerdy Jake in the mirror with himself. He’s asking in the mirror over and over again if he’s had sex with his wife. Yeah, out of the blue. Fancy Pants Jake then actually confronts Nerdy Jake and asks him, “Did you f…k my wife?” In one of the most iconic moments of the film. He does this again and again, but Nerdy Jake can’t even bring himself to say anything. A heated argument ensues and a deal is made. Fancy Pants Jake will take Nerdy Jake’s girlfriend on a romantic get-away, sleep with her, and call it even, disappearing from his life forever. At least I believe that he’s intentionally starting a war with his subconscious so he can eliminate the negative parts and be with his wife forever. Nerdy Jake decides to go to Fancy Pants Jake’s wife as this battle occurs in his mind. I believe that this is the real-life Jake, the one who has gone back to see his wife. This is while the narcissistic, unfaithful Jake takes another woman out to have sex. The real Jake gets the doorman to let him in to the apartment door. The doorman just so happens to be a man who was in the club at the beginning. He mentions to Nerdy Jake that he wants to go back to this club, and explains that the lock for the place has changed, stating that new keys have been sent out. Since Nerdy Jake doesn’t know what he’s talking about, he just goes along with the conversation. When the doorman lets Nerdy Jake in, he seems to be discovering things in the apartment for the first time as he attempts to resemble Fancy Pants Jake. Nerdy Jake then notices a photograph, and it’s the same one from his apartment, except not torn. It shows himself with his wife. When Helen arrives home he continues to nervously try and become Fancy Pants Jake. During this, we cut to Fancy Pants Jake with Nerdy Jake’s girlfriend entering their hotel room. We cut back to Nerdy Jake getting into bed with Helen, nervous about taking his clothes off. She looks at him with desire and places his hand on her pregnant belly, seemingly reminding him of his responsibility. Remember, she is desperately trying to figure out her husband’s mental dilemma. The next bit is really important as she asks if he had a good day at school. This adds to my other assumption about her knowing that he is really a history teacher, explaining why his mother said he has a respectable job.

Meanwhile, Fancy Pants Jake and his other self’s girlfriend are in the middle of having sex when she notices something. He has a wedding ring mark on his finger. She gets extremely upset and immediately jumps out of bed, flustered by the discovery. Weirdly, Nerdy Jake wakes up at that exact moment, with Fancy Pants Jake’s wife sleeping by his side. Quickly, we cut back to Fancy Pants Jake and Nerdy Jake’s girlfriend, who suddenly wants nothing to do with him. They are driving on their way back to Toronto and a terrible argument begins. This is spliced with scenes of Nerdy Jake walking back and forth before eventually crying. His wife comforts him, and their hands interlock as he says through tears that he’s sorry. During this, Melanie Lauren’t character and Fancy Pants Jake continue arguing, but back in Toronto, his wife tells Nerdy Jake that she wants him to stay as they embrace on the couch, kissing. Fancy Pants Jake and Melanie’s argument gets worse with her insulting him, claiming that he’s not a real man. This truly makes Fancy Pants Jake snap and he swerves the car, crashing it in violent fashion. We get more spider imagery when the camera zooms on the cracked window of the car, representing a spider web. I feel that in this moment Jake has successfully used his subconscious war with himself to effectively eliminate the negative self. The next morning, we hear a radio broadcast explaining the car crash incident. Since Fancy Pants Jake, or the negative side of this character, has been killed, I will refer to Nerdy Jake as simply Jake. Jake turns off the radio while his wife is in the shower. He finally opens the talent agency package that’s been shown throughout the film. In it, there is a key to the club. He stares at it with a look of temptation and lust, still struggling to resist the urge of being unfaithful despite eliminating Fancy Pants Jake. His wife says his mother called as he continues to stare at the key. He asks if she has anything to do tonight because he has to “go out”. This clearly implies that he wants to go back to the club, unfaithful once again. Some people have called this the scariest ending of all-time in cinema. It’s after Helen doesn’t answer and Jake goes into the room where she’s in. A massive spider suddenly crawls up in the corner of the room in fear and anxiety, squeaking in terror at Jake’s presence. Right! Readers still don’t know what all this spider imagery means! Time to finally spill the beans.

This ending had audiences screaming three words…What the f..k!!?? And I get it, I had a similar reaction. But there is a real meaning behind the conclusion. The spiders in the film represent women. I mean, at least in the ways that Jake views women. In the real world, spiders entrap their prey in their webs, entangling them. Oftentimes when mating, the female spider actually kills the male one right after and occasionally even before they mate. The film is basically saying that Jake’s character has been devoured, lost his freedom in the spiders that are the women in his life, trapped in the web that is his marriage. The references to dictatorship and being unwillingly ruled obviously has to do with Jake feeling this way about the responsibility of having a child and being faithful to his wife. In the beginning of the movie, Fancy Pants Jake watches a woman about to squash a spider at a sex club. Principally, through his unfaithfulness, he almost longs to “squash” his wife. Metaphorically, of course. This is why he goes somewhere where love doesn’t exist, where men can watch their fantasies being acted out for them, free of responsibility. The woman in the hallway with the spider head supports this, and the scantily clad one that Nerdy Jake sees resembles that woman. But what about the giant one roaming Toronto? The scene took place seconds after he met with his mother, so it’s only reasonable to assume that this spider represents his mother. Then, of course, there’s the final spider in the closing scene. Why did his wife turn into a massive spider? And why did such a big creature react in fear? And why was his look after he sees the spider almost one of acceptive disappointment and not shock? It was almost like he has come to terms with what his life is now like. Going back a bit, when Jake finds the new key to the club, he gets a look of temptation on his face, an urge to watch his deepest desires. He immediately decides that he’s going that very night, and when his wife is revealed to be a spider, she backs up quickly in fear of “getting squashed”. In other terms, his general unfaithfulness and lack of responsibility towards their relationship. This is why Jake is watching a woman squash a spider, because that’s what he really wants…To kill true love. After having eliminated his unfaithful side of himself, but at the first sign of temptation, he gives in with no extra thought. He goes back to his adulterous ways, which explains why his wife reacted in terror. Jake is the spider killer, not being able to control his urges and commit to a healthy relationship. He gives in too easily to sleeping with other women, and that prevents him from having a good life with his wife, or to the eventual family that he will have. He views all of this as a dictatorship, which we know is something that he is defiant to. The Attack of the 50 Foot Woman poster, along with the song “The Cheater”, and his torn photo of him and his wife all support his fear of women, unfaithfulness, and attempts to ruin his marriage.

Then there’s that look of acceptive disappointment on his face. Remember when I pointed out that Nerdy Jake explained that “This is a pattern that repeats itself throughout history.” It may seem like a stretch, but I believe that Jake is realizing that he’s starting the same pattern again despite having eliminated the negative portion of himself. Repeating his mistakes almost instantly after the first sign of temptation. Intriguingly, the film truly ends with him missing a call from his mother, and begins with the voicemail of the call. Take note that earlier in the movie, Nerdy Jake pointed out that Hegel said something about all of history’s greatest events happening twice, and that Karl Marx explained that the first time it was a tragedy and the second time it was a farce. I believe that after him getting over his adultery, he realizes that this repeating process is going to become a joke eventually, a farce. He’s just going to have to deal with this unavoidable negative about his life. As humans, when an issue repeats itself and never goes away, we tend to accept it, and perhaps even find the humor in it, or the farce. This explains the look on his face. In conclusion, what does the film’s title mean? Who is this Enemy? The only right answer is himself. It’s his desires, fears, and inability to have a normal relationship. This will inevitably lead to the carnage of his sanity, marriage, and maybe his life. Perhaps he does actually work things out, and it can be depressing to think that he will eventually kill himself. But this is only the implied ending of his life. Who really knows. Overall, this is a grand filmmaking achievement, thrilling, sharply directed, extraordinarily acted and beautifully filmed. It’s an underrated future classic, and Denis Villeneuve has further established his filmmaking genius.

One Perfect Lightsaber Duel: Kylo Ren vs. Rey in The Force Awakens

The Importance of symbolism and visual poetry: the force awakens

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One thing I cherish about Star Wars are the lightsaber battles. The original trilogy may have dated effects and the prequels over-utilized CGI and the green screen, but the sequels definitely had the perfect combination of grounded realism and updated special effects. I am here to today to analyze my personal favorite lightsaber duel from Star Wars: The Force Awakens as the next part of my little sequel trilogy appreciation month. This one pits Kylo Ren against Rey for the very first time in a freezing backdrop, and although as an action sequence it looks incredible, there is some deeper meaning that I have come to discuss. If readers aren’t aware of this fight, it takes place right after Finn is injured by Ren and Rey finally takes the lightsaber to defend her friend.

So, like I mentioned, Finn has been defeated by Kylo Ren, and is currently laying down injured and bleeding out from a lightsaber wound. Kylo Ren, also injured from Chewie’s weapon, attempts to use the force to acquire Luke’s saber and escape. Unexpectedly, instead of coming to him, it flies directly to Rey, who was using the force as well. This is somewhat of a callback to the interrogation scene between the two in which Rey discovers Kylo’s true weakness, failing to meet the legacy of Darth Vader. Kylo, already flustered that she realized this, cannot even overpower her when it comes to using the force. The first weapon of Vader does not call to him, rather Rey, and it absolutely infuriates him. Enraged, the two begin their fight. As we can see with Rey’s facial expression as she takes up the lightsaber, this moment plays as another callback of sorts to when she refused to even go near the saber when Maz Kanata told her to take it. She is conquering those fears despite her reluctance, and much unlike a Jedi, she goes right on the attack. Ren, on the other hand, seems to be toying with her almost, curious to see the potential without attempting to kill. Then, something ticks inside him, and he almost rages with destruction, constantly trying to throw Rey off of her balance with his saber techniques.

Then, Kylo has nearly defeated her as he gets their lightsabers locked together as Star Killer Base begins to crumble, splitting the landscape in two as Rey gets pushed closer and closer to the edge. Then, as a last resort of some kind, Kylo says: “You need a teacher. I can show you the ways of the force,” which is an interesting line. Why wasn’t it “I can show you the ways of the Dark Side?” I interpret this as more Kylo talking to himself. For one, he is in no shape or form capable to be a teacher or master, and second of all, it seems like this is in his own self-interest. He wants to discover all there is to know about both the Light Side and the Dark. When Kylo mentions the word “force”, Rey taps into her abilities, closing her eyes, relaxing, letting the force flow through her body. Although on the surface it seems like she’s simply defending herself, look closely at her facial expression. It’s full of hatred and violence rather than fear, and it brings to question whether she was tapping into the Dark Side of herself to survive. This is only one interpretation, however, but an interesting one.

From here on out Rey is fully on attack mode, slashing at Kylo left and right, back and forth, never letting up. Kylo Ren is now fearing for his life, stumbling backwards and trying to maintain balance. She has clearly tapped into something more powerful than himself, and it shows. Eventually Rey gets a nice, clean stab at Kylo’s arm, giving him yet another wound to worry about as he keeps struggling to fight. As Kylo can do nothing but block, Rey attacks and kicks him down. In this moment, her facial expression and body language almost seems like she is a predator hunting prey, which in this case is Kylo. She grits her teeth like a tiger, and circles the fallen Ren. Kylo, nearly defeated, gets up for one last rodeo with a misguided attack, to which Rey easily blocks. Next, we get possibly the most iconic shot in the entire movie where it depicts Rey holding Kylo’s saber, and Kylo doing the same to her’s. Cinematographer Dan Mindel then cuts back to an establishing shot so that audiences get the full picture. Both JJ Abrams and Rian Johnson have stated that Kylo and Rey are like two sides of one protagonist, the dark and the light of one force. Here, it’s almost like the two are Yin and Yang, and this is a visually gorgeous way of depicting the light and the dark. However, to break it all up, Rey fiercely brings her lightsaber up and gives one final blow to Kylo, defeating him. In the novelization of the movie, Palpatine’s voice tells Rey to finish him off, fully turning her to the Dark Side for just a moment. This is a solid connection to The Rise of Skywalker, and makes his sudden return a little less out of left field. However, before this could happen, the force intervenes, and she rushes back to help Finn.

HBO Max Just Announced Something HUGE, and Here Are My Thoughts

the death or future of cinema: can theaters survive this cataclysmic decision?

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By: Keaton Marcus

In the past few weeks, I’ve devoted my time to this page for more interesting articles about less conventional topics. Why? I was trying to divert my attention from the same old film news that comes out each week. However, I really cannot ignore this, because WB just announced that they would be throwing their entire 2021 theatrical slate on to streaming platform HBO Max so that audiences can access them both in theaters and at home on the same day, until it leaves the platform 31 days after release. This all started when the studio reported that upcoming blockbuster Wonder Woman 1984 would hit streaming this December 25th along with being released in theaters. That was already a cataclysmic decision, but who was expecting this? All 17 WB films set to release next year, including Dune, The Suicide Squad, In the Heights, The Matrix 4, Godzilla vs. Kong and more will eventually stream starting this Christmas with the Wonder Woman sequel.

That introduction was more or less simply introducing the news, and I do really have plenty of thoughts on the matter. To start things off, I’d say my general consensus is ultimately conflicted. I’m excited to watch all these anticipated movies in the comfort of my home while having the option of seeing them in cinemas, but at the same time I feel guilty about the certain joy. I love the moviegoing experience, and there will never be anything even close to the magic of heading to the theater, the child-like happiness of watching your most anticipated movie in the entire year. Of course, 2020 didn’t let that happen. January and February started off somewhat normally, with films like Bad Boys for Life, Sonic the Hedgehog, and Birds of Prey taking charge of the box office, but as this mythic Coronavirus and its cases started to spread like wildfire across the US, everything changed. Universal sent releases such as The Hunt, Trolls World Tour and The Invisible Man after the films had only been in cinemas for a matter of weeks for premium prices on VOD services.

Back then, that was considered nearly historic, so imagine the reaction, and backlash, Warner Brothers is receiving now for their controversial actions. Theater chains, such as AMC, Regal and more, must be infuriated, and I cannot help but feel that this studio acted selfishly. I do realize that WB needed to do something to stop the constant delays of their biggest movies, but the company was acting solely for their own self-interest. Dropping next year’s entire slate of potential box office smashers onto HBO Max will surely drive subscriptions for the service, but this is a total cheap shot. That brings me to my next point…Is this a cheap way to get more people to pay the platform? Of course it is. Warner Bros. has capitalized on the fact that they quite literally have their own streaming service, and finally came to a realization that profits would be made if their films released both in theaters and at home. It was the perfect plan, and the win-win for HBO and WB that the two needed, but what about all the cinemas? Hopefully some of the country will be vaccinated sometime next year, which will sit more butts in the theaters, but many chains could run out of business by then.

The Warner Bros. Group Picture chairman, Toby Emmerich, argued that this could be potentially good for theater chains. “We think where theaters are open, and consumers can go, that a lot of people will choose to go to the theater, especially for big movies.” This is fundamentally true, and it is a total overreaction to think that this is the death of all cinema itself. The big question is, will other streaming services work with studios to do similar things? I really do think so. Disney has already done it with their live-action adaptation of Mulan, which hit homes for an expensive price of 30 dollars to watch. The studio then did it again with Pixar’s animated film Soul, planned to stream this Christmas, so what’s stopping them from pulling the plug on Black Widow, most likely their most anticipated upcoming movie? Virtually nothing. I am guessing that the Marvel project should hit Disney+ by next year like the WB films, and that will unfortunately be another big jab towards cinemas. In terms of more studios, Amazon and Netflix have chances with Universal’s Fast & Furious 9 and MGM’s No Time to Die, both of which have struggled severely with the constant delays. Other big films like A Quiet Place Part II are on the line as well. Heck, HBO Max could easily take The Batman, but when that releases, we will likely be in the norms once again.

Now let’s take a look at that sexy line-up WB sent to streaming. As mentioned, the whole thing will kick off with Wonder Woman 1984, which will stream December 25th. Later on in 2021, Mortal Kombat will hit on January 15, The Little Things on January 29, Tom and Jerry on March 5, The Many Saints of Newark on March 12, Reminiscence on April 16, Godzilla vs. Kong on May 21, The Conjuring: The Devil Made Me Do It on June 4, In the Heights on June 18, Space Jam: A New Legacy on July 16, The Suicide Squad on August 6, Dune on October 1, Elvis on November 5, King Richard on November 19 and The Matrix 4 on December 22. The other three movies: Judas and the Black Messiah, Malignant and Those Who Wish Me Dead don’t have a release date yet. This is a massive line of potential hits. From DC movies to the third Conjuring installment, the next movie in the MonsterVerse, and even a surprise Mortal Kombat video-game adaptation. As long as this vaccine process works out, this will be a one-year thing, but it’s certainly insane. One thing is for sure: 2021 will be a goldmine for moviegoers after the desolated shit show that was this year.

In conclusion, it will be interesting to see how HBO and WB’s plan plays out and if they will be successful or not. If their first few releases do well, other streaming services and studios may pair up and follow, but if all fails, what will be the future of cinema? Until the pandemic eventually quiets down, I’m thinking we’ll see some sort of a symbiotic relationship between studios and streaming platforms, as we have noticed throughout 2020. The downside is: theaters will have to hold on as long as possible without completely shutting down, which will likely not be the case. The box office has more-or-less survived thus far, and I am confident that moviegoers will see these massive movies in the theaters as well as at home.

The Force Awakens: The Familiar Burst of Nostalgia Filled With Energy

Enthralling, Entertaining and Gorgeous, The Force Awakens brought back everything we loved about star wars

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By: Keaton Marcus

Around half a decade ago, the entire world was in desperate anticipation for one of the most hyped movies of all-time, Star Wars: The Force Awakens, which promised to inject the franchise with new characters while bringing back a couple of classic ones. Despite both critics and audiences praising this as the grand return for the saga in 2015, the trilogy went on to be one of the most divisive topics in cinema, especially after it ended with The Rise of Skywalker at the end of last year. However, no matter what your thoughts are on the three films as a whole, the first, which I shall be reviewing today, truly brought back the energy and life after George Lucas’ disastrous prequels. This is a visually gorgeous, action-packed, fast-paced and entertaining movie with interesting, intriguing new characters with promising starts. Of course, it relies on heavy nostalgia to get the fans back in the game, and audiences can’t help but draw comparisons between this and A New Hope, but in terms of enjoyment and spirit, I was enthralled watching it in IMAX five years ago, and re-watching it on simply a computer recently.

In the first 15 minutes, JJ Abrams cleverly introduces several main characters without wasting any time, because remember, the man directs rollercoasters, not contemplative slow burns. For better, or for worse. The most important one we meet is Rey, a resourceful scavenger living on the planet Jakku. She eventually runs in to Finn (John Boyega), a former stormtrooper from The First Order, which is a new Empire of sorts. He decides to leave that organization because of his refusal to kill for evil, and then meets Rey on Jakku. The two start an adventure together that leads them to Han Solo (Harrison Ford) and Chewbacca on the iconic Millenium Falcon. While this is happening there’s also a new villain on the rise who has taken great inspiration from Darth Vader, and his name is Kylo Ren. He is basically second-in-command of the First Order under Emporer Snoke (Andy Serkis), who plays a Palpatine-type part in the movie. Unfortunately, Snoke was one of my least favorite aspects of this film, but more of that later.

Pretend that we are all back in 2015 right after seeing The Force Awakens. In the six Star Wars films that had come out, I had only really loved two: A New Hope and The Empire Strikes Back despite enjoying watching all of them. Well, it just became three. Now back to the present and I still absolutely adore this movie, from the fantastic use of practical effects to the refreshing blend of new and classic characters and the relentlessly fast-paced direction. I do have a few issues with the film too, so it’s not all rainbows and butterflies, but it’s shocking how nearly flawless it is with the expectations being through the roof. First of all we have never seen a defected stormtrooper before, which makes Finn a creative and promising characters. Second of all, I am invested in the other ones. Poe Dameron, portrayed by Oscar Isaac, oozes cool with the actor’s Harrison Ford-like charisma that brings me back to the glory days of the franchise. Daisy Ridley is fierce and committed as Rey, stealing the entire show in my opinion She’s also a character that makes audiences want to know more for future films, giving her an ambiguous backstory full of deep-dive potential. Kylo Ren is an utter badass. Scary, evil and intimidating while also motivated, we understand the point of all his actions…To live up to Darth Vader. Don’t worry, I’m not forgetting about the icons, either! The chemistry between Han Solo and Chewbacca is completely there, and Harrison Ford brings back the goods in a more mature Solo. His scenes with Princess Leia brought tears to my eyes and joy to the heart, but they were also tinged with a sense of remorse and regret for the past that I truly felt.

Not only is this a terrific Star Wars film, but it’s also one of the most entertaining movies I’ve ever seen. JJ Abrams gave this film real action sequences, engaging characters, true performances, and deft filmmaking craft…All things that we hadn’t seen in a Star Wars movie since the originals. The Force Awakens is invigorating to witness, jam-packed with story and action that never seems to bore. Another thing that George Lucas seemed to forget for his trilogy was humor! This film is absolutely brimming with jokes that legitimately land! Seriously, some scenes are laugh-out-loud funny which are seamlessly infused and blended with the exciting battle sequences without feeling out-of-place or too modern for the universe. As I’ve mentioned briefly several times, on a technical level, the movie is an utter masterpiece. Hearing John Williams’ resounding and magical musical cues coupled with Dan Mindel’s killer cinematography makes for a feast for both the eyes and ears. Unexpectedly, we also get a surprising amount of breathing room with slower moments that bring more depth to the movie as well as a little break from the chaos. However, the plot is always moving, the wheels never stop turning, and I greatly respect when a film goes there. This is rollercoaster directing done right, and for that reason, I was always at the edge of my seat, unlike the boring, remarkably mediocre prequels burdened with superfluous characters, exposition and an unbearable amount of space politics that nobody wanted. The nostalgia is handled in more of a loving way than a derivative one, and despite the fear that the callbacks would be too overbearing, I felt the homages worked towards the film’s benefit.

Now to get into some of the issues I have with this movie. Kicking things off were the two motion-capture characters: Snoke and Maz Kanata (Lupita Nyong’o). Not only do they fail to influence the plot enough, but the CGI was also disappointingly mediocre. Kanata was in a few moments, but her entire character was glossed over and the VFX looked subpar. Similarly with Snoke, his artificiality unfortunately stands out in a bad way amongst all the realism and practical effects in the film. Both of them do, and it’s disappointing that Abrams didn’t make more use of them. The second big flaw came with Star Killer Base, which felt too similar and in the vein of A New Hope’s Death Star. The film blandly resorted to the planet-killing plot, and it reminded me of when Return of the Jedi used a second Death Star. It felt generic and derivative, almost unnecessary. Don’t get me wrong, the look of the base is cool and all, but I didn’t need it. Other than that, The Force Awakens successfully revitalizes everything we loved about the originals and blends them with refreshing new characters in a mash of hilarious humor, gorgeous action and authentic direction with small problems along the way.