I've already hit a wall... Quick thoughts on Candyman and Shang Chi

I've enjoyed reviewing films the past couple of months, but once again I found myself in a situation where I felt like I *had* to review every single new film I was seeing in great detail. I became my own editor and thus my own enemy.

And then I remembered I can do what I want! This is just my silly blog. So things may be a bit more informal, and then I may feel inspired to write an essay or a more formal review here and there. That's the beauty of writing only for one's self...

Anyways, here are some quick thoughts on two new recent releases.

Nia DaCastoa's Candyman is an elegant and intellectual horror film, dealing more with psychological terror and building dread as opposed to jump scares, though there are some great bits of shocking violence and gore. Working well as its own film or as a sequel to the 1992 original, DaCaosta and her DP John Guleserian have crafted some truly arresting imagery, with lingering shots and framing that elevate suspense. Their handle on the form is impressive, with gorgeous expository scenes using shadow puppetry. The cast is uniformly game, with Yayha continuing to prove that he's one of this new generation's greatest talents and Colman Domingo all but walking away with the thing. Where the film excels is in its exploration of heady social issues, notably the way white voices have coopted Black stories and Black trauma and the frequently negative impact of gentrification. There's also plenty of slasher movie thrills if one is more interested in that. Robert Aiki Aubrey Lowe's score is stunning, paying homage to Philip Glass' iconic original while also setting its own course. Where the film "fails" is in its rushed ending, which nearly eschews the good will the prior 80 minutes build. This is the rare time where a film is definitively too short, with the climax arriving with almost no notice and ending with a whisper instead of a bang. It almost does a disservice to the film's loftier goals, choosing an obvious and somewhat clumsy denouement. It's not enough to ruin the film (the good is really good) but it does stop this new Candyman short of being the really good new work that the film's better elements hinted at. 

Let's keep this simple. Shang-Chi and the Legend of the Ten Rings is one of the very best films the MCU has released since it began back in 2008. Every element of the film is perfectly calibrated to craft a magical, joyous, martial arts infused superhero origin story that pays love to wuxia films and Chinese fantasy with aplomb. The DNA of Hero and Crouching Tiger Hidden Dragon is lovingly weaved throughout this film, not to mention the work of Jackie Chan (one of his frequent stunt coordinators, the recently and tragically deceased Brad Allan worked on this film - more on that later.) Destin Daniel Cretton, who's Short Term 12 is one of my favorite, proves to be the perfect choice for this film. His prior work is often about family (whether blood or found) and the heart of Shang-Chi exists in the relationship between Tony Leung's Xu Wenwu (one of the absolute best MCU villain's, gorgeously performed with soulful pathos) and his children, the titular Shang-Chi and Shang's sister Xialing. As the film unfolds with surprises and delights (the trailers only hinted at what's to come in this film) with lovely cinematography by the great Bill Pope and a stunning score by Joel P West, this is one of the most visually sumptuous superhero films with a distinct vision and identity. Simu Lu is a legitimate action hero, with his prior stunt training and physicality coming to great use, not to mention his easy charisma. I mentioned Brad Allan earlier, and between him and fight coordinator Andy Cheng, the action in this film is sensational. It's amazing what happens when you hire a team that can plan, perform, shoot, and execute stunts and fights in a way that is clean and efficient, where the cinematic geography is clear, where you can feel the hits and the punches and actually see them in a way that you wish was the case in all action films. I have fallen deeply in love with this film, with Awkwafina's wry humor, with Meng'er Zhang's truly badass work as Xialing, with the iconic Michelle Yeoh, with the use of Asian culture and pop songs, with the heavy fantasy elements that I won't even begin to spoil here. Although the film is clearly in the MCU and it hints how Shang and his family/team will fit into future entries, part of what is so great about this first Shang-Chi adventure is how it doesn't quite feel like a superhero film and very much works and exists in its own context. This is a grand slam for the MCU, and I can't wait to watch it again and again.