Queen & Slim
Once Upon a Time In Hollywood
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Interesting, if scant, conclusions are afforded to the societal effects of "The Blip" (creating a weak foil in a certain character), and Mysterio serves as a interesting, if dubious, point of satire regarding today's blockbusters, but otherwise the film provides an entertainment in the moment it plays and nothing more, with post-credits scenes that either confuse or neglect aspects of the MCU™ writ large.
It's John le Carre (distilled, dark spy thriller) with 007 trappings (secret society vixens, weird gadgets, and a super assassin cleaner, to boot). It's in no hurry to conclude, and its twist is revealed as a last-minute infodump that refuses to sprinkle hints for mystery fans. Its saving grace is that of a parable about how people are trapped within their own circumstances, even when they "triumph". Lawrence's acting energy, the kind that was missing from her last two X-Men movies, is here in spades.
A better version of Rocky IV (the worst in this franchise), boasting fight cinematography and choreography equal to Rocky IV (now tied as the best fight scenes in the franchise), with its storytelling gears fully exposed and drawn out to justify a modern running time. It's only close to the climax, when the "sins of the fathers" parallel takes hold, that the film is allowed to shine.
There's an interesting premise here equating insanity and dimension hopping in the same vein, with an ending that could be construed as both a bittersweet coda and a bonkers continuity (well, to those who follow this franchise, perhaps). Its kitsch is matched, and suits, its boldness in approach, and Angus Scrimm (RIP) gives possibly his best performance.
A cogent parallel emerges between a seen-it-all hero with a lost identity fighting supposed enemies who can change their identity while still seeking a solution for their own. Marvel's usual plethora of plot holes emerges to justify the stakes-shredding overpowered convenience of the hero at the expense of whatever constitutes canon in this franchise, era-appropriate sexism is thrown in for good measure, non-diegetic Dad Rock infects the soundtrack because nostalgia, *ding* goes the microwave and out serves this steaming confection of above-mediocrity - as per Marvel's mission statement. Although I have to give it to Marvel to present a hero whose arc doesn't revolve about either one's fluctuating level of douchebaggery or one's need for acceptance.
And despite being a cat-lover who hates the use of this particular word: Goose is completely "overrated". He's basically an arbitrarily godlike mix between LOLcat memes and a Cthulhu-Groot mouth, that is when he's not just sitting there being OH SO CUTE YES HE IS YES HE IS.