In 1996 when Scream first came out, it’s hard to explain to this new generation of teens just how much it changed the genre and the film industry. To say the horror genre was dead is an understatement. Sure, the early 90’s had a handful of good films, but when you look at where the genre was in the 80’s and earlier, you can see the difference. Then when you look at how the genre has evolved since the first film premiered, what Kevin Williamson and Wes Craven did has been emulated but not quite surpassed. Even with the three sequels that followed, they had the same spirit but just not quite as good. Sure, better horror films have come along in the 25 years since, and several have changed the genre for better or worse. We’ve seen horror go with the intense hyper realism and the re-boot which Scream 4 (2011) took its meta take on, but where could the series go next?
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I wanted to believe that it was possible. I really did. I wanted to believe that it was possible to make a quality addition to the iconic franchise despite nearly twenty years having gone by since the third film. But alas, here we are and it clearly wasn’t possible to make a quality addition to the franchise. I should have trusted my instincts. While the The Matrix: Resurrections may provide us with answer regarding the ultimate fate of Neo and Trinity, those answers come at the cost of entertainment. I am a firm believer in letting sleeping dogs lie, and I can honestly say that this franchise would have been better off without this latest installment, which in my opinion adds nothing to it. I’m honestly shocked at the fact of how disappointed I was with the film given that two-thirds of the main cast came back for the film. Trust me, we are also going to discuss the one-third that didn’t and the dishonorable way that they chose to continue the character.
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This is an origin story. That is the best way I can sum this movie up. I will repeat it again, so it is clear. This is an origin story. It was hinted at in the first film (Kingsman) how the Kingman intelligence agency was started; however, while it was excellently explained by Colin Firth, how the agency truly came to be was just sort of glossed over. With The King’s Man we get to experience the tale of the organization’s founder and his motivation for creating the organization. The story is informative and at times entertaining, but I must confess that it was missing the wit that the original film had. I would have to characterize this as a case of the original film being the best. In this instance, it is because of the wit and the manner in which the story flowed. I know what you are thinking, I’m disregarding the second film, and you are right; I am.
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“If you expect disappointment, you will never be disappointed.”

That’s the trouble with sequels. The filmmakers feel this great responsibility to give us more than they’ve given us before with no thought to the idea that more is often less. There has never been a truly great comic book hero film that had extra villains. It just doesn’t work. You can’t give enough time and back story to everybody, so you have to cheat somewhere and cut a few corners. Those corners are things like characterization and heart. But what if you could? I mean, seriously. What if it were possible to do a multi-villain comic book movie that was really good? Until just now, I would have thought it was impossible. But isn’t that what the Marvel Cinematic Universe (MCU) has been doing for over 20 years now?
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“Step right up and behold one of the unexplained mysteries of the universe! Is he a man or beast? This creature has been examined by the foremost scientists and pronounced, unequivocally, a man. I am prepared to offer you folks one last chance to witness this supreme oddity. Where did it come from? Begotten by the same and threat that got us all walking on this earth, but gone wrong somehow in maternal womb. Not fit for living. Is it a beast, or is it a man?” 

Guillermo del Toro knows how to deliver atmosphere. His love for the horror films of the 1930’s shows in his use of shadows and lighting to build a world that’s always uniquely belonging to each of his films. He makes these worlds a thing unto themselves while leaving all the familiar markers that keep his worlds from appearing too alien.
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You could say that West Side Story goes back to 1957 with the iconic collaboration of composer Leonard Bernstein and the very recently deceased lyricist Stephen Sondheim. But that isn’t exactly true. The play was a modern retelling of William Shakespeare’s equally iconic Romeo And Juliet. Instead of Capulets and Montagues, we have street gangs from 1950’s New York City. All of the beats are there and then some. The legendary Robert Wise adapted the play as a film in 1961, which has deservedly gone on to classic status. And there it all sits for 60 years outside of the expected revivals and local productions of the work. Along comes Steven Spielberg who wanted to create a film as homage to his father.
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