BOOK: The Force Doth Awaken (2017)

William Shakespeare’s the Force Doth Awaken Year: 2017 Author: Ian Doescher Length: 123 minutes / 2.05 hours As I’ve been working my way through Ian Doescher’s Shakespearean adaptations of pop culture movies, I think I’ve hit the point where the novelty has worn off. For whatever reason, I didn’t feel like The Force Doth Awaken had the same charm as other entries in this quirky mash-up series. I have a sneaking suspicion that this may be due to one of two factors: 1. The newer movies have more “modern” dialogue that seemed as if it was directly plopped into the Shakespearean format, or 2. The original trilogy had more time to be ingrained in my psyche, and the translation to Shakespearean felt appropriate. I don’t want to downplay the novelty of this adaptation, though. The voice acting is still superb, and the sound effects add a little something extra that immersed me as I listened to this audiobook. Plus, it’s not like these books are that lengthy...
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BOOK: Get Thee…Back to the Future! (2019)

William Shakespeare’s Get Thee…Back to the Future! Year: 2019 Author: Ian Doescher Length: 215 minutes / 3.58 hours Having already listened to the audiobooks for the Shakespearean versions of the original Star Wars trilogy, I was curious to see how another beloved pop culture film would fare with the treatment. Get Thee…Back to the Future! had a bit more of a challenge when compared to the Star Wars stories. First, as the plot is set in (relatively) modern times, much of our technology had to be “explained” in Shakespearean format (e.g., a car is “a horseless carriage born on fumes of gas and flame”). At least the Star Wars stories seemed to fit in the Shakespearean timeframe a little better. Despite this clash of modern and medieval, the transformation into Shakespearean form does end up working. I’d probably compare this to some of his comedies like Taming of the Shrew, 12th Night, and Much Ado About Nothing, if for no other reason than the comedy...
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BOOK: Shakespeare’s The Jedi Doth Return (2014)

William Shakespeare’s The Jedi Doth Return Year: 2014 Author: Ian Doescher Length: 204 minutes / 3.40 hours Of the original Star Wars trilogy, Return of the Jedi has been my favorite for as long as I can remember. I enjoyed how there was some finality to the stories started back in A New Hope, and Empire Strikes Back. Plus, there were a ton of neat creatures (like the Rancor and Sarlacc) and machines (like the Speeder bikes and AT-STs) that grabbed my attention from a young age. Sure, I can understand the depth of Empire Strikes Back now that I’m an adult, but Return of the Jedi always holds that element of nostalgia for me. So, how does the Shakespearean version of my favorite Star Wars story stack up? If anything, Shakespeare’s The Jedi Doth Return is consistent with its predecessors, Verily, a New Hope and The Empire Striketh Back. I enjoyed the voice acting and the little changes that made the audiobook more than...
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BOOK: Shakespeare’s The Empire Striketh Back (2014)

William Shakespeare’s The Empire Striketh Back Year: 2014 Author: Ian Doescher Length: 205 minutes / 3.42 hours I said it for my review of Shakespeare’s Star Wars, and I’ll say it again: this combination of old verbiage and meter with popular science fiction is a match made in heaven. The follow-up to the first part of the original trilogy, Shakespeare’s The Empire Striketh Back continues to be an amusing exercise that anyone who loves Shakespeare and/or Star Wars will enjoy. Some consider Empire to be the best part of the original trilogy, and its adherence to the plot won’t disappoint. Additionally, the audiobook version continues to use music, sound effects, and voice acting to recreate an experience as close to the source material as possible. While the audiobook did provide a robust experience of the text (especially the voice actors who recreated Han Solo and C-3PO’s speech patterns), the author’s explanation at the end made me realize there were some aspects that weren’t quite as...
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BOOK: Shakespeare’s Star Wars (2013)

William Shakespeare’s Star Wars: Verily, a New Hope Year: 2013 Author: Ian Doescher Length: 209 minutes / 3.48 hours Much like Pride and Prejudice and Zombies took a classic and fused it with something entirely opposite from its original intent, William Shakespeare’s Star Wars: Verily, a New Hope manages to take something modern and combine it with the classic styling of William Shakespeare. It’s no wonder these two kinds of books are both from Quirk Classics. While Pride and Prejudice and Zombies essentially forces the reader to read Pride and Prejudice, but with zombies added in, Shakespeare’s Star Wars is the re-telling of the original Star Wars (1977) screenplay, but in iambic pentameter. To be honest, if someone were to stage this version of Star Wars, I’d pay to see it in a heartbeat. Not only does the basic plot from the movie transfer over almost flawlessly, but the addition of the Shakespeare dialogue and verbiage made this way more entertaining than it had any...
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MOVIE: Aquaman (2018)

Aquaman Year: 2018 Rating: PG-13 Length: 143 minutes / 2.38 hours Now that Marvel’s 10-year behemoth of its cinematic universe is starting to pay off, it’s becoming more and more obvious that DC is trying desperately to catch up. There’s no doubt that DC has interesting characters, considering how often Superman has been rebooted and how successful Christopher Nolan’s Batman trilogy was. Even Wonder Woman (2017) had its great moments, despite also feeling derivative influences from movies like Thor (2011) and Captain America: The First Avenger (2011). Aquaman (2018) seems to continue this trend, despite again having a strong leading character (both physically and in backstory/lore). I will give DC credit for their casting decisions here. For decades, Aquaman has been the butt of the joke amongst many superhero aficionados. The fact that Jason Momoa is a badass, snarky, and overall entertaining actor to watch in the role speaks to their awareness of “image management.” Perhaps featuring him in previous films like Justice League (2017) also helped to get audiences interested in seeing this superhero in a standalone movie....
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MOVIE: Mortal Engines (2018)

Mortal Engines Year: 2018 Rating: PG-13 Length: 128 minutes / 2.13 hours If I were to look at Mortal Engines (2018) critically, I’d notice a number of flaws. From fairly flat characters to a string of movies and directors that it tries to imitate, this film should be terrible. And yet, given that I’d already suspended my disbelief by entertaining the idea that an apocalypse would result in cities mounting up on enormous machines and scavenging smaller towns for fuel, I found this movie incredibly entertaining. Perhaps the base plot isn’t too original, but the execution felt fresh and new. Somehow, I was able to turn off my critical brain and just enjoy this movie for what it is: pure, unadulterated fun. As someone who appreciates film as an art form, there is plenty of it on display here. The look, feel, and aesthetic of Mortal Engines is so bold and consistent that the core concept of the plot naturally follows. The visuals and soundtrack merely accentuate the action...
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MOVIE: Solo – A Star Wars Story (2018)

Solo: A Star Wars Story Year: 2018 Rating: PG-13 Length: 135 minutes / 2.25 hours Most superhero franchises start with an origin story. Sure, sometimes the franchise gets to this foundational plot after its first set of films (a la X-Men Origins: Wolverine (2009)), but these movies are usually pretty rare. Unfortunately, they’re also hampered by the source material that preceded them. While not necessarily “prequels,” these films need to fit within the canon of the franchise while also telling a story that expands the canon as well. Star Wars is not a superhero franchise, but it has its fair share of prequels and origin stories. Solo: A Star Wars Story (2018) is the first to focus on a specific character, though. With Han Solo being such an iconic and fan-favorite character, there was plenty to pull from to expand out his backstory. Unfortunately, most people will only recognize Harrison Ford as the “true” Han Solo, and this film gives them some ammunition for that. Sure, Alden Ehrenreich does a...
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MOVIE: Star Wars: Episode VIII – The Last Jedi

Star Wars: Episode VIII – The Last Jedi Year: 2017 Rating: PG-13 Length: 152 minutes / 2.53 hours After the success of Star Wars: Episode VII – The Force Awakens (2015), director Rian Johnson had to strike a fine balance in the following sequel, Star Wars: Episode VIII – The Last Jedi (2017). Since The Force Awakens was essentially a flashy, rehash of Star Wars: Episode IV – A New Hope (1977), The Last Jedi needed to separate itself from the predictable path already laid out in Star Wars: Episode V – The Empire Strikes Back (1980). Unfortunately, the formula employed in Empire Strikes Back has become so integral to sequels that deviating from it could prove to be disastrous. While I’m curious where Episode IX will go from here, I hope it builds upon what Johnson has done here. The tensions of war helped drive the characters into interesting moments of growth, defiance, and desperation, but much of the story was well wrapped up by the time the credits rolled. The real balance of this film came from paying homage...
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MOVIE: Valerian and the City of a Thousand Planets (2017)

Valerian and the City of a Thousand Planets Year: 2017 Rating: PG-13 Length: 137 minutes / 2.28 hours When it comes to the films of Luc Besson, it’s often hit or miss. Sure, he’s directed many successful films, like Nikita (1990) and Léon: The Professional (1994), but some of his recent fare like The Family (2013) have left me disappointed. One of his best films is the sci-fi space opera (literally, even), The Fifth Element (1997). When I learned that he would be returning to this genre with Valerian and the City of a Thousand Planets (2017), I certainly had high hopes for it. After viewing it for the first time, I can unquestionably say that my expectations were certainly met. Because Valerian has a French comic book series as its source, some of my qualms with this film might lie with the source material, and not the director. Some may recall the originality that came from another French comic book adaptation in the form of...
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