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Last year, a new film adaptation of The Three Musketeers came out. (French, Part 1, Part 2)
I watched Part 1 first; the fight scenes are amazing. The scene of the arranged duel between D'Artagnan and the three musketeers that turns into a brawl with the Cardinal's men is particularly fantastic. The style has a flavor of Cinéma vérité in that it's a continuous and somewhat shaky take from a point of view of an unseen witness who keeps turning to catch the action while ducking away from danger, but it deviates from Cinéma vérité in that everyone fighting is super-competent. In this seemingly-continuous shot, one catches glimpse of feats of martial arts moves, all geared towards dispatching the enemy, none are for show. It's very cool and impressive, and worth watching for that scene alone.
Every film adaptation makes decisions about how much of the original material to use, and how closely to stick to the plot. When it does, that's a deliberate choice on the part of those who made the film. Sometimes it's a little change: Porthos is bi; Constance is not married and yet runs a hostel while working in the queen's chambers. It's annoying to have such present-day sensibilities undermine the portrayal of a society very different from mine, but I figured that at least these changes didn't utterly contradict an essential part of the story.
And then I watched Part 2.
Milady from the book is one of my favorite villains. She is smart, adaptable, ruthless, resourceful, flawed, vicious, and above all feminine. She wields femininity as a weapon far more effective then mere swords and muskets. Why dirty your hands, when you can manipulate men to do it for you?
In this adaptation, Milady is a sword-wielding girl-boss.
When an otherwise-good adaptation takes an awesome feminine villain and replaces her with someone who might as well be a man, that's a deliberate choice. That choice dismisses the idea that femininity can be dangerous to one's enemies or efficacious for achieving one's goals. It's therefore ironic that the people who made this choice consider it a feminist move.
Fiction is not associative: strong (female character) != (strong female) character.
There is no good reason to ever watch or read anything made after 2012 and doubly so after 2016. There's enough great material to last you a lifetime from before then.
Huge exaggeration, in my opinion.
I think it’s unlikely that you’d find a triple A piece of media produced after 2012. Indy stuff can still be okay, but if you’re looking at big companies producing art, you aren’t going to find much worth the effort. I dunno, so much of it just feels like people ticked off boxes in a spreadsheet and had ChatGPT produce the script. It’s boring, predictable, politically correct, and generally lacks things like plot, characters, or charm. Indie stuff is better simply because you can still find stuff that genuinely creates characters and situations that you actually care about, plots that don’t feel like long setups for the cool action sequence to follow, or contrived “will they won’t they” love interests (who totally will).
I really liked Beau is Afraid, which had a budget of 35 million. And I liked Beetlejuice Beetlejuice. Top Gun: Maverick was solid. Joker was a good experience in the theater, although it may not be a work of pure genius.
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