![]() ![]() AND IT'S GOOD FOR ENGAGING AN AUDIENCE ON A BASIC LEVEL.īUT HULK WOULD ARUGE THAT AS THIS PARTICULAR BRAND OF DELIGHTFUL ENTERTAINMENT CONTINUES TO BE SUCCESSFUL WITH THE ESTABLISHED MARVEL FRANCHISE, EVERYTHING IMPORTANT TO TRUE-BLUE STORYTELLING HAS STARTED TO FALL BY THE WAYSIDE. BUT HULK HAS TO POINT OUT THAT THERE'S NOTHING ABOUT THE "BE DELIGHTFUL" MANTRA THAT INHERENTLY MAKES FOR GOOD STORYTELLING EITHER. WHEN FACED WITH THE TWO EXTREMES, HULK WILL TAKE THE "BE DELIGHTFUL" WITH CHARACTERS PATH EVERY TIME. THERE IS REASON PEOPLE GRAVITATE TOWARD THIS STUFF, ESPECIALLY IN THE WAKE OF CHRISTOPHER NOFUN AND THE CURRENT DC SYNDER-SMORGASBORD. WHICH HULK READILY ADMITS IS NOT AN EASY THING TO DO. AND THE HEART IS IN THE RIGHT PLACE. THEN YOU LET THOSE SITUATIONS PLAY OUT IN AS FUN AND DELIGHTFUL A MANNER AS POSSIBLE. ![]() YOU PUT IN THEM IN SITUATIONS WHERE THEY ALL HAVE TO INTERACT. HULK ONLY WISHES THE SAME COULD BE SAID FOR NOT ONLY THE REST OF THE MOVIE, BUT WHATEVER THE HELL MARVEL SEEMS TO BE DOING THESE DAYS.īECAUSE MARVEL STUDIOS SEEMS TO HAVE FIGURED OUT THE SECRET OF WHAT HULK WILL CALL "BASIC AUDIENCE PLACATION." I.E. SUCH ARE THE BENEFITS OF EMPLOYING GOOD STORYTELLING TACTICS! AND AS A RESULT, IN JUST 15 MINUTES, THE FILM DOES EVERYTHING IT NEEDS TO DO TO MAKE THE SCENE WORK LIKE GANGBUSTERS ON PRETTY MUCH EVERY LEVEL. HULK CALLS THIS " OCEAN'S 11 WRITING" BECAUSE ON THE SURFACE IT'S ALL FUN AND GAMES, BUT UNDER THE SURFACE IT'S ALL BUSINESS. ![]() IT KNOWS IT HAS TO GET YOU TO BUY INTO THE CHARACTER IN JUST A FEW MINUTES, SO IT FREAKING MOVES ON A PURE INFORMATION AND STORY LEVEL, WHILE SIMULTANEOUSLY LETTING IT HAVE ENOUGH TIME TO BREATHE AND FEEL LOOSE ON A TEXTURAL LEVEL. BUT MOST IMPORTANTLY, IT DOES ALL THAT WHILE BEING ECONOMICAL AS HELL. AND WHAT'S SO REFRESHING IS THAT THEY'RE MOVING TO OVERALL GOALS HERE: THE AUDIENCE MUST GET TO UNDERSTAND WHO THIS PERSON IS / WHAT THEY WANT / HOW THEY WILL FIT INTO THE NEXT SCENE. THERE ARE EVEN LITTLE SLIGHT REVERSALS IN THEIR POWER DYNAMIC. BUT IT'S EVEN MORE THAN THAT ON A WRITING LEVEL, FOR THE INTERACTION BETWEEN TONY AND PETER ACTUALLY HAS MEANING AND AN ARC OF UNDERSTANDING. THE PERFORMANCES ARE EARNEST AND PRESENT A RANGE OF CAPABILITY AND SUBTLE UNDERSTANDING OF EACH OTHER. TONY STARK AND PETER PARKER ARE ENDEARING AND SHOW AFFECTION FOR EACH OTHER. SO HULK WANTS TO ZOOM IN AND TALK ABOUT ALL THE THINGS GOING ON IN THESE TWO SPIDEY SCENES IN ORDER TO ESTABLISH THE FIRST KIND OF GOOD.įOR STARTERS, THE SCENES ARE GENUINELY FUNNY. IT'S ALL JUST A QUESTION OF WHAT KIND OF "GOOD" IT'S ACTUALLY WORKING TOWARD. THE FILM IS MADE BY FREAKING PROFESSIONALS WHO VERY MUCH WANT TO BE GOOD. NOW, IT'S NOT AS IF CAPTAIN AMERICA: CIVIL WAR ISN'T "TRYING," FOR IT'S OBVIOUSLY TRYING IN THE WAY THAT ALL BIG HOLLYWOOD MOVIES TRY. THAT MAY SOUND MEAN OR SIMPLISTIC, BUT IT ACTUALLY GETS TO THE HEART OF WHAT MAKES THESE LATER STAGE MARVEL MOVIES BOTH WORK AND. HULK THINKS IT'S BECAUSE THEY WERE ACTUALLY TRYING TO DO IT. FOR IT IS TRUE IN THE SENSE THAT EVERY MOMENT SPIDER-MAN OR PETER PARKER IS ON SCREEN IN THIS FILM, THEY GOT EVERYTHING "RIGHT" IN TERMS OF HIS CHARACTERIZATION. THERE IS A FAIRLY COMMONPLACE SENTIMENT AT THIS POINT AND IT GOES SOMETHING LIKE THIS: "WOW! IN JUST 15 MINUTES, CAPTAIN AMERICA: CIVIL WAR DID WITH SPIDER-MAN WHAT ALL OF THE MOVIES COULDN'T DO WITH THEIR ENTIRE RUNTIMES!"įIRST OFF, HOW DARE YOU ALL BESMIRCH THE GOOD NAME OF SPIDER-MAN 2! BUT DON'T WORRY, HULK GETS THE INTENT OF THE STATEMENT. ![]()
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