the triumph of
imperfect humanity and film art
the perfect but inhuman
CGI enhanced super satirical blockbuster beast
in the twilit and allegorical film art
of Jason Reitman
by Gary W. Wright
Like most film artists in the dread allegorical Zone Wars, Jason Robert Reitman implicitly strove to bust audiences, film art, film artists and the Temple Theatre free from the twilit shadow of John Landis and the helicopter crash that killed Renee Chen, Myca Le and Vic Morrow around 2:20 am in the early morning of July 23, 1982 on the George Folsey jr. produced Landis set of the twilit, allegorical, computer generated imagery (CGI) enhanced, Frank Marshall executive produced, Kathleen Kennedy associate produced and Landis and Steven Spielberg co-produced Landis, Spielberg, Joe Dante and George Miller film TWILIGHT ZONE: THE MOVIE (1983). Significantly, however, and unlike most film artists of the dread allegorical Zone Wars, Reitman was the son of successful film artist Ivan Reitman, and, like Sofia Carmina (SCC) Coppola, soaked up the world of film art like a human sponge as a youth, allowing him to create seasoned, experienced, knowing, confident, brash, edgy, innovative, intelligent, satirical and shrewd twilit and allegorical film art of a higher quality right from the beginning when he embarked on his own career in film art.
In addition, and also unlike many film artists of the dread allegorical Zone Wars, young Reitman did not embrace CGI enhanced film art as a way to triumph over or escape the Zone, preferring instead to create small, low budget, down to Earth, intimate and mostly CGI free indie docufeature film art. Significantly, Reitman was also born and initially raised in a Canada that signed into law a bold new Constitution on April 17, 1982 that made all citizens equal under federal law. This important constitutional, legal and historical milestone made young Reitman, like James Cameron and Sarah Polley, an inspiration for other Canadian film artists and all other Canadians in Canada’s new constitutional era.
Tragicomically, and last but not least, young Reitman and his small and slightly CGI enhanced indie docufeature film art were also more intertwined with beastly and CGI enhanced blockbuster super satirical animaction film art than any other film artist for the simple reason that he and his father were implicitly roasted in two allegorical Marvel Cinematic Universe (MCU) films before he appeared on the scene with his own film art starting when Columbia Pictures and Marvel Comics teamed up on the twilit, allegorical, CGI enhanced and implicitly Reitman jr. and Reitman sr. roasting and David Cronenberg toasting Sam Raimi super satirical animaction film SPIDER-MAN (2002), a film released on April 30, 2002 and based on a hero created by Smilin’ Stan Lee and Sturdy Steve Ditko with help from Jolly Jack Kirby for Marvel Comics who was originally implicitly linked to narrative artist Wallace “Wally” Wood.
“Don’t ever be ashamed of who you are.”
Indeed, Reitman sr. and Reitman jr. were implicitly linked to Oscorp CEO Norman “Green Goblin” Osborn and his son Harry-played by Willem Dafoe and James Franco, respectively-throughout the film. And given that young Harry was traumatized and vowed revenge when the shy, geeky, radioactive CGI spider powered and implicitly Cronenberg linked teen Peter “Spider-Man” Parker-his implicit link to Cronenberg affirmed by the film’s allusions to the twilit, allegorical and implicitly Spielberg roasting Cronenberg indie docufeature film THE FLY (1986), and played by Toby Maguire-triumphed over the Evil Green Goblin Dark Side of Norman, in the end, Raimi implied not only that Cronenberg and his mostly CGI free indie docufeature film art for film art’s sake would triumph over the beastly and CGI enhanced blockbuster loot lusting Hollywood studio film art of the elder Reitman but that young Reitman would continue in his father’s beastly and CGI enhanced blockbuster loot lusting footsteps when he set out on his own career in film art. Which was an ironic implicit hope indeed given that the film was released by the blockbuster loot lusting tag team of Columbia Pictures and Marvel Studios.
At any rate, SPIDER-MAN was a classic example of how by scanning film footage into computers and using CGI to enhance the filmed footage, CGI enhanced film art freed film artists from the constraints of cameras and allowed them to create film art closer to that of the imagination than of reality. Indeed, the sight and sound of Spidey bouncing and webslinging around any which way he wanted dramatically affirmed that CGI enhanced film art could also move in any direction it wanted. A CGI enhanced freedom that was clearly popular with audiences, as the super satirical film was a huge success, implying that audiences at least had left behind the TZ disaster and the dread allegorical Zone Wars in the twentieth anniversary year of the TZ disaster. Not surprisingly, given the popularity of the irrepressible and gleefully heckling SPIDER-MAN, the young and implicitly Reitman linked Osborn-played again by Franco-returned two years later along with Dafoe, Maguire, Kirsten Dunst-who played Parker’s implicitly SCC linked crush Mary Jane “M.J.” Watson in SPIDER-MAN-J.K. Simmons-who put in a pitch perfect performance as the exuberantly tyrannical J. Jonah Jameson, publisher of the DAILY BUGLE, a character who was originally implicitly linked to DC Comics editor F. Whitney Ellsworth-and SPIDER-MAN visual effects wizard John Dykstra, composer Danny Elfman, costumes designer James Acheson and production designer Neil Spisak when Columbia, Marvel and Raimi teamed up again on the twilit, allegorical, CGI enhanced and implicitly SCC and Cronenberg toasting and David Lynch roasting super satirical animaction film SPIDER-MAN 2 (2004), a film released on June 25, 2004 whose allusions to the twilit, allegorical and CGI enhanced Cronenberg indie docufeature film eXistenZ (1999) affirmed its implicit interest in Cronenberg and whose allusions to the twilit, allegorical and implicitly Cronenberg toasting Lynch film DUNE (1984) affirmed its additional interest in Lynch.
“I’m in charge here!”
Significantly, while young Osborn had a smaller role in the film, it was noticeable that he took over as CEO of Oscorp after his father died trying to kill Spider-Man at the end of SPIDER-MAN. It was also noticeable that the insidious and vengeful ghost of the implicitly Ivan linked Norman Osborn-played again by Dafoe-persuaded him to track down and triumph over the implicitly Cronenberg linked young adult Peter “Spider-Man” Parker-played again by Maguire-while Spidey in turn battled the implicitly Lynch linked Doctor Otto “Dr. Octopus” Octavias-played by Alfred Molina. In fact, Harry eventually teamed up with Doc Ock to trap and try to kill the hated “Spiderbug”, but was defeated by Parker after webhead conquered his doubts that he had nothing to offer the people of New York and redonned the Spidey suit to defeat the dastardly duo, a denouement that implied that hope of Raimi that Cronenberg would continue to believe that he had something to offer in the neo eon of exuberantly CGI enhanced blockbuster beasts.
As for Harry, the film ended with young Osborn discovering his father’s secret cache of Green Goblin goodies back at the Osborn NY penthouse. Thus, Raimi implicitly reaffirmed his belief that young Reitman would not head off on his own indie film art path but would instead succumb to beastly blockbuster lusts and take over as head of his father’s film production company, the Montecito Picture Company, and unleash rabid CGI enhanced blockbuster beasts on mostly CGI free indie film art for film art’s sake film artists like Cronenberg. An implicit belief that young Reitman defied when he donned the writer/director hats and teamed up with Simmons to release a small, low budget, down to Earth and intimate film that was in all respects the complete opposite of the beastly, boffo, big budget and CGI enhanced blockbuster SPIDER-MAN films and that implicitly roasted those super satirical animaction MCU films and came to the defence of Lynch in his first twilit, allegorical and slightly CGI enhanced indie docufeature film THANK YOU FOR SMOKING (2005), released on September 9, 2005 and inspired by the twilit and allegorical Christopher Buckley novel Thank You For Smoking (1994).
“They like to use cartoons and symbols
to hook our kids.”
Fittingly, for a first feature film that implicitly roasted MCU films, the film began with a slightly, ironically and almost mockingly animated opening titles sequence to the fittingly mordant sound of the allegorical and Merle Travis and Tex Williams written Williams and The Western Caravan tune “Smoke, Smoke, Smoke That Cigarette!” (1947) featuring the names of the most significant cast and crew members, producers and even the writer/director woven into various colourful and eye catching cigarette packages. Significantly, one of those first opening titles identified the film in bold all caps as “…A JASON REITMAN FILM”, implicitly affirming the confidence that young Reitman had in his first feature film. Then the film kicked off on the “live” set of the Joan Lunden tv talk show with the bald and Professor X evoking teen cancer sufferer Robin Williger aka “Cancer Boy”-played by Eric Haberman-facing off against the gleefully shameless, brash, handsome, idiosyncratic, indie, BS and cigarette luving single parent and Washington, DC tobacco lobbyist Nick Naylor-his alliterative name and his film long voiceover (VO) evoking that of Pete Parker in SPIDER-MAN and SPIDER-MAN 2, and played by Aaron Eckhart-Vice President of the Academy of Tobacco Studies (ATS), a crass character whose luv of cigarettes and brash, handsome, idiosyncratic and indie ways evoked and implicitly linked him to Lynch. Indeed, the film’s allusions to such twilit and allegorical Lynch moving paintings as BLUE VELVET (1986), TWIN PEAKS: FIRE WALK WITH ME (1992), LOST HIGHWAY (1997) and MULHOLLAND DRIVE (2001), the resemblance of Naylor’s friend Polly Bailey-played by Maria Bello-of the alcohol promoting Moderation Council (MC) to Betty Elms aka Diane Selwyn-played by Naomi Watts-in MULHOLLAND DRIVE and the sight and sound of everything going wrong for Naylor as the film went on like everything fell apart for Lynch after the release of TWIN PEAKS: FIRE WALK WITH ME affirmed the implicit link of Naylor to Lynch.
Significantly, Naylor triumphed over Cancer Boy on the Lunden show, a hilarious triumph that brought him to the attention of the wealthy head of Winston-Salem, the legendary, rags to riches southerner known to all only as the Captain-played by Robert Duvall. Just as significantly, the Captain’s resemblance to the equally legendary, rags to riches and acronym and alliterative name luvin’ personification of Marvel Comics, Stan “the Man” Lee, implicitly linked addictive cigarettes with colourful packages to equally addictive super satirical narrative art with colourful covers and interior pages in THANK YOU FOR SMOKING. To affirm the implicit link of cigarettes and comics in the film, Naylor even wound up in Los Angeles at one point, trying to convince Hollywood via the Los Angeles talent agency Entertainment Global Offices (EGO) to have their stars smoke in films again as in the old days so as to promote and increase sales of cigarettes, a tragicomic sight and sound that reminded us that Lee and Marvel were trying to break into Hollywood at the time with films based on their superheroes and superheroines like SPIDER-MAN.
In fact, the appearance of Simmons as another exuberantly tyrannical boss named B.R., the President of ATS and the boss of Naylor, the brief cameos by the Franco and Maguire resembling and implicitly linked EGO employees Jack and Neal-played by Adam Brody and Timothy Dowling, respectively-and the voice of a ATS flunky named Peter-played by Robert Malina-that Naylor listened to on the phone near the end of the film openly linked the film to SPIDER-MAN and SPIDER-MAN 2, affirming the implicit SPIDER-MAN 2 roasting intent of THANK YOU FOR SMOKING. The film’s fearless fondness for mysterious Washington based “Merchant Of Death” aka “MOD Squad” lobbying organizations with names and acronyms like ATS, the MC, and the Society for the Advancement of Firearms and Effective Training for Youth (SAFETY) and for EGO in LA also implicitly affirmed that Lee and Marvel were the targets of the film, for Lee created such organizations as Advanced Idea Mechanics (AIM) and Supreme Headquarters International Espionage Law-enforcement Division (SHIELD) for Marvel Comics. Indeed, the MC reaffirmed the film’s implicit interest in Lee’s brand of super satirical narrative art, for its MC acronym was shared by Marvel Comics. The acronym of the Pulmonary Council also affirmed the film’s interest in super satirical narrative art, for PC evoked DC aka Detective Comics, the chief rival of Marvel Comics.
The film long stern opposition of the sinister and Brian Linehan evoking and possibly linked Vermont anti-smoking crusader Senator Ortolan Finistirre-played by William Macy-to Naylor and his shameless cigarette promotion reaffirmed the film’s implicit interest in super satirical narrative art. For Sen. Finistirre’s anti-smoking crusade evoked the anti-comic crusade of the good Doktor Fredric Wertham in the Fifties, a well meaning but silly crusade expounded upon in his salaciously entitled book Seduction Of The Innocent (1954), which led Smilin’ Stan and Jolly Jack Kirby to implicitly roast Dr. Wertham in the form of the insidious Space Phantom who possessed the perfidious power to send unsuspecting superheroes and superheroines to politically correct Limbo-!!NOOOOOO!!-in the second allegorical issue of Avengers in November 1963. Indeed, Dr. Wertham’s perfidious anti-super satirical narrative art campaign was evoked by the Captain when he reminisced about leading Big Tobacco’s fight against an anti-smoking campaign championed by Reader’s Digest in the Fifties. Significantly, given that the anagram “Lantis” was hidden in his names, sinister Sen. Finistirre also evoked Landis, who was also a stern anti-smoking crusader who did not allow anyone to smoke on his film sets.
Significantly, however, and despite Sen. Finistirre’s best tragicomic efforts, the likably unlikable and gleefully roguish Naylor and his ironic and mordant film long VO which fit well with his liberated lobbyist life fittingly triumphed over the sinister Finistirre at a Senate hearing in Washington like Lynch eventually triumphed over his many critics with MULHOLLAND DRIVE, in the end, leading to a victory of the imperfect but human Naylor over the perfection obsessed but inhuman Finistirre, implying that Reitman preferred outrageous, cigarette smoking and imperfect but human film artists like Lynch and their equally outrageous, cigarette filled and imperfect but human indie film art to the champions of perfect but inhuman and beastly CGI enhanced blockbusters. Indeed, Sen. Finistirre even evoked this development and promotion of CGI to cure film art of all ills by his tragicomic advocacy of the use of CGI to remove cigarettes from old films, in the embittered end. Of course, George Lucas had for decades been the leading advocate of the CGI cause, a cause that had been spurred by a new digital hope that CGI would be used to pull off dangerous on set effects in order to avoid more fatal film set disasters. Thus, it was fitting that Lucas was implicitly symbolized in the film by Sam Elliott’s Lorne Lutch, who, despite dying of cancer after a lifetime of smoking and portraying the Marlborough Man for Winston-Salem still accepted a million dollar payout to stop speaking out against cigarettes, implying that Reitman felt that Lucas was a sellout who preferred perfect and safe and sanitized but inhuman and fake looking CGI enhanced film art to imperfect but human and CGI free or only slightly CGI enhanced film art.
And so Naylor also triumphed over duplicitous WASHINGTON PROBE reporter Heather Holloway-played by Katie Holmes, who, given the film’s implicit interest in responding to SPIDER-MAN 2 and even, arguably, SPIDER-MAN, fittingly also played Rachel Dawe that year when DC and Warners decided to kick off their own line of CGI enhanced super satirical films known as the DC Extended Universe (DCEU) with the twilit, allegorical, CGI enhanced and implicitly Cameron toasting and Lucas roasting Christopher Nolan super satirical docufeature film BATMAN BEGINS (2005). And so, with the support of his son, Joey-played by Cameron Bright-the irrepressible, eccentric, indie, human, imperfect and likably unlikable Naylor also broke free from the control of the Captain, B.R. and the rest of the tobacco industry and founded his own spin doctoring firm Naylor Strategic Relations (NRS), in the end. Thus, Reitman also implied that he was confident that the equally irrepressible, cigarette luving, eccentric, indie, human, imperfect and likably unlikable Lynch and his quirky indie moving paintings would triumph over Columbia, Lee, Marvel and Raimi and their beastly CGI enhanced super satirical animaction blockbusters, in the end.
Significantly, and no doubt to affirm that commitment to breaking the world free from the twilit and disastrous July of ’82 and the CGI that was implicitly perfected to prevent further film set disasters, young Reitman often alluded to the eerily prescient and twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas addressing Sir Ridley Scott indie docufeature artbuster BLADE RUNNER (1982) in THANK YOU FOR SMOKING. The link was fitting, as THANK YOU FOR SMOKING featured the same battle between imperfect humanity and perfect replicant seen in BLADE RUNNER. Indeed, Naylor’s film long and exuberantly shameless VO evoked the film long voiceover in the ’82 release of BLADE RUNNER of Harrison Ford’s implicitly Lucas linked LAPD Replicant hunter Rick Deckard. Of course, the initials of Naylor’s full throttle and Vietnam War vet boss, B.R., evoked BLADE RUNNER, and the man himself evoked Deckard’s equally crusty LAPD boss Bryant-played by M. Emmet Walsh.
In addition, the uber rich cigarette baron and ATS founder, the Captain, evoked not only Lee but Joe Turkel’s equally uber rich Tyrell Corporation head Eldon Tyrell, while Holloway evoked Tyrell’s Replicant “niece” Rachael Tyrell-played by Sean Young-throughout the film. The fact that Naylor’s first and only in-person meeting with the Captain evoked Deckard’s only in-person meeting with Tyrell and that his first meeting with Holloway evoked his first meeting with Rachael reaffirmed Reitman’s implicit interest in BLADE RUNNER. Naylor’s fondness for wines from 1982 like a fine red ’82 Margaux and the 332 house number of his Linda Hamilton resembling ex-wife, Jill-played by Kim Dickens-also reaffirmed Reitman’s implicit interest in the fateful and fatal July of ’82 and in breaking free from the rictus grip of CGI spawned by the TZ disaster.
Humourously, the implicit link to Cronenberg of the mysterious and tobacco addiction disproving German “scientist in residence” Erhardt Von Gruepten Mundt to Cronenberg, and the resemblance of Naylor’s ex-wife’s new beau Brad-played by Daniel Travis-to Cameron, of Senate hearing participant Doctor Meisenbach-played by Michael Mantell-to Spielberg and of Senator Lothbridge-played by Spencer Garret-to Oliver Stone also implied that Reitman was eager to skewer other main players in the dread Zone Wars in his allegorical film art, film art that, after growing up with Ivan, was already unusually brash, confident, assured and knowing, with a natural artistry, intuitive framing and a noticeable flair for hip montage. Alas, and last but not least, Holloway’s seductive comment to Naylor during their first interview that she’d “…like to see where the devil sleeps”, the expressed fear of Jill that Nick’s job could lead to accusations that he was “…the devil”, Naylor’s comment to Joey that “…I proved that you’re wrong-and if you’re wrong, I’m right” and Sen. Finistirre’s insistence that his campaign to digitally remove cigarettes from old films was “…the right thing” also again unfortunately and ominously anticipated the arrival of the poor ol’ Gardevil (POG) as did similar ominous comments in SPIDER-MAN 2.
However, and despite these unfortunately garish intimations, THANK YOU FOR SMOKING was a fine and successful film that pleased and inspired audiences, particularly Canadian audiences who needed inspiration to succeed with their own new Constitutional aims and ambitions. Significantly, THANK YOU FOR SMOKING also implicitly impressed DC and Warners, for no doubt also inspired by the super success of BATMAN BEGINS, SPIDER-MAN and SPIDER-MAN 2 they decided to continue the DCEU by implicitly linking Reitman to Clark/Kal-El aka “Superman” Kent-played by Stephan Bender as a teen, and by Brandon Routh as a young adult, respectively-in the twilit, allegorical and CGI enhanced Bryan Singer super satirical animaction film SUPERMAN RETURNS (2006), released on June 21, 2006 and based on a character created by Jerry Siegel and Joe Shuster for DC Comics.
you really shouldn’t smoke,
Indeed, DC, Singer and Warners immediately affirmed their commitment to CGI enhanced super satirical animaction film art by starting the film with a spectacular CGI enhanced sequence that saw the doomed planet Krypton destroyed by the expansion and explosion of its sun. Fittingly, given that Christopher Reeve had died in 2004, this literal and CGI enhanced blast to the past prologue was narrated by Marlon Brando’s Jor-El and taken from the allegorical and implicitly Stanley Kubrick toasting Richard Donner super satirical docufeature film SUPERMAN (1978). While CGI enhanced, the opening title sequence was also lifted from the Reeve SUPERMAN Quartet, a link to that famous quartet enhanced by the soaring sound of the SUPERMAN Main Theme by Maestro John Williams. Curiously, after six years away from Earth visiting the exploded remains of Krypton, Kal-El then returned in another crashing spacecraft to Smallville and the luving embrace of Martha Kent-played by Eva Marie Saint. Soon after returning, Kal-El returned to his job as a reporter at the DAILY PLANET in Metropolis and found that the Natalie Portman resembling Lois Lane-played by Kate Bosworth-was in a common law relationship with the implicitly Richard Kelly linked assistant editor Richard White-played by James Marsden-that had produced a sickly boy named Jason-played by Tristan L. Leabu.
Thus, the sight and sound of Supe winning Lois back to his cause-including saving her and her fellow passengers when their passenger plane went out of control soon after he returned to Metropolis in anther spectacular CGI enhanced sequence-and triumphing over the implicitly Sir Peter Jackson linked Alexander “Lex” Luthor-played by Kevin Spacey-after his plans for taking over the world failed to crystallise implied the hope of DC, Singer and Warners that the return of a new Reitman to the Temple Theatre would win audiences back to the cause of film art and that young Reitman’s indie film art for film art’s sake would triumph over beastly CGI enhanced blockbuster film art obsessed film artists like Sir Jackson, which was an ironic latter implication, given the spectacular CGI enhancement of the equally beastly and blockbuster SUPERMAN RETURNS. Indeed, the sight and sound of Lane kissing Supe alive in the reverse Snow White end after Supe had almost been killed by a shard of green Kryptonite stabbed into him by Luthor implicitly affirmed the hope of DC, Singer and Warners that Reitman would triumph over Sir Jackson and that a lust for deadly greenbacks would not kill the film art of SuperReitman. At any rate, like SPIDER-MAN and SPIDER-MAN 2, SUPERMAN RETURNS was another classic example of how the new CGI enhanced film art was able to move in any direction and do anything it wanted like the imagination unlike previous eras of film art, due to not being held back by the constraints of physical cameras.
Curiously, but fittingly, given the allusions to BLADE RUNNER in THANK YOU FOR SMOKING, not long after Sir Scott also implicitly roasted the brash and cocky Reitman in the form of the equally brash and cocky English financial wizard “Mad” Maximilian “Max” Skinner-played by Russell Crowe-and implicitly urged him to create indie film art and avoid creating beastly CGI enhanced blockbuster beasts for Hollywood in the twilit and allegorical Scott Free indie docufeature artbuster A GOOD YEAR (2006), released on September 9, 2006. As for Columbia, Marvel and Raimi, they teamed up again with Acheson, Dafoe, Dunst, Elfman, Franco, Maguire, Simmons, Spisak and SPIDER-MAN 2 director of photography Bill Pope and brought the SPIDER-MAN Trilogy to a tumultuous trimax by implicitly toasting SCC and Cronenberg again and roasting Reitman jr., Reitman sr. and newcomer Richard Kelly in the twilit, allegorical and CGI enhanced super satirical animaction film SPIDER-MAN 3 (2007), a film released on April 3, 2007 whose implicit interest in Kelly on one level was affirmed by the film’s allusions to the twilit, allegorical, CGI enhanced and Ozian themed Kelly indie docufeature films DONNIE DARKO (2001) and SOUTHLAND TALES (2006).
she needs us.”
Significantly, the film began with the implicitly Reitman linked Harry Osborn-played again by Franco-living up to the sinister implication at the end of SPIDER-MAN 2 by donning the Green Goblin suit and glider and waylaying the implicitly Cronenberg linked young adult Peter “Spider-Man” Parker-played again by Maguire-in the skies above New York. However, a head injury suffered by Osborn soon into the fight robbed him of his memory and turned him into a Good guy, implying the hope of Columbia Pictures, Marvel and Raimi that THANK YOU FOR SMOKING meant that young Reitman had chosen the indie film art for film art’s sake path rather than the path of CGI enhanced Hollywood studio blockbuster beasts like his father. Curiously, however, the sight and sound of the insidious and vengeful ghost of the implicitly Ivan linked Norman Osborn-played again by Dafoe-persuading Harry to don the Gobby suit again while Parker struggled with his own venomous and symbiotic Dark Side-perhaps due to the displeasure of Columbia, Marvel and Raimi over the violence in the all too fittingly entitled, twilit and allegorical Cronenberg indie docufeature film THE HISTORY OF VIOLENCE (2005), released the year before-then implied that Columbia, Marvel and Raimi were still worried that young Reitman and even Cronenberg might fall prey to their beastly blockbuster Dark Sides.
Thus, the fact that Harry and Pete freed themselves from their Dark Sides and teamed up to save the implicitly SCC linked M.J.-played again by Dunst-by defeating the implicitly Richard Kelly linked Flint “Sandman” Marko-played by Drew H. Church-when the Sandman towered in size like the Stay Puft Man at the end of the twilit, allegorical, CGI enhanced and Ozian themed Reitman film GHOSTBUSTERS (1984) implied the hope of Columbia, Marvel and Raimi that Cronenberg and Reitman would also work together to save and advance the cause of indie film art for film art’s sake. In fact, the sight and sound of Harry then dying to save Pete from a potentially fatal blow from Topher Grace’s Edward “Eddie” Brock jr. aka “Venom”-implicitly linked to Justin Timberlake, who played Pilot Abilene, the VO narrator of SOUTHLAND TALES-at the trimatic end of the film even implied that Columbia, Marvel and Raimi also believed that THANK YOU FOR SMOKING had indeed signalled that Reitman had killed off his beastly blockbuster side, was committed to being a successful indie film artist and was now worthy of being implicitly reborn in a super satirical incarnation like Cronenberg. Or did the ending imply that Columbia, Marvel and Raimi believed that THANK YOU FOR SMOKING had killed off any hope of Reitman succeeding as a film artist, and that the indie film art of Cronenberg would ultimately triumph over that of young Reitman? Time would tell.
Eerily, before his death, Venom also said to Spidey’s face “…you’re so right”, ominously anticipating a time when Wright would be implicitly linked to webhead and Reitman would indeed be implicitly linked to another marvelous superhero. An implicitly garish turn of events just as eerily anticipated earlier in the film when a director or producer-played by either Tim Maculan or Marc Vann-of a play that M.J. had been performing in until she was fired said “…well, Gary was supposed to call her agent”. At any rate, SPIDER-MAN 2 had no implicit effect on Reitman for he again avoided beastly, boffo, big budget and blockbuster CGI enhanced super satirical animaction films and created another small, low budget, down to Earth, and intimate film when he donned the director hat and returned to the Temple Theatre along with Simmons and THANK YOU FOR SMOKING editor Dana E. Glauberman and production designer Steve Saklad to implicitly address Lucas in his next twilit, allegorical, brash, idiosyncratic, knowing, original, shrewd, montage luvin’, satirical and slightly CGI enhanced indie docufeature film JUNO (2007), released on September 1, 2007.
Curiously, the film began with a short live action prologue set in October involving a dimunitive brunette teenaged girl-played by Elliot Page who, like Simmons in THANK YOU FOR SMOKING, immediately linked the film to super satirical film art in general and that of the MCU in particular by way of her appearance the year before as Kitty “Shadowcat” Pryde in the twilit, allegorical and CGI enhanced Brett Ratner super satirical animaction film X-MEN: THE LAST STAND (2006). This nameless teen was drinking from a bottle of Sunny D, pondering a discarded furniture set that included a living room chair on the front lawn of a suburban house and thinking about a recent sexual encounter with on a similar living room chair with an equally nameless teenaged age boy-played by Michael Cera. Then the film morphed into a wistfully and mostly hand animated and possibly rotoscoped opening title sequence that evoked the slightly CGI animated opening title sequence of THANK YOU FOR SMOKING to the quirky indie folk sound of the allegorical and Kimya Dawson and Adam Green written The Moldy Peaches tune “Anyone Else But You” (2001), an opening title sequence filled with falling maple leaves that immediately and fittingly linked the film and the nameless teen girl to indie Canadian film art. Indie Canadian art like JUNO, one of whose first titles cockily and proudly announced again in all caps that it was “…A JASON REITMAN FILM”.
When the animated opening titles finished, the film revolved around the teenaged girl met in the opening prologue, who turned out to be another likably unlikable and film long VO gushing character, in this case the quirky, irrepressible and Carrie Fisher resembling lower middle class Minnesota teen Juno MacGuff, who soon after the opening titles ended discovered that she was pregnant. Significantly, not wanting the baby, the fecund but poor and eponymous Juno decided to give the literal MacGuffin of a baby boy-played by Matthew Sanders and A.I. Smithee, respectively-she conceived in that briefly glimpsed in the prologue sexual encounter with her teen geek boyfriend-who turned out to be the Mark Hamill resembling Paul “Paulie” aka “Bleek” Bleeker-to a wealthy but barren young couple comprised of television commercial music composer Mark Loring and his wife Vanessa-played by the Ewen McGregor resembling but implicitly Lucas linked Jason Bateman and the Kathryn Bigelow resembling and implicitly linked Jennifer Garner, respectively, who also openly linked the film art of Reitman to superheroic narrative art again by way of Mark’s love of old comics like MOST FRUITFUL YUKI, which fittingly revolved around a pregnant Japanese superheroine, and by Garner’s appearance as the Bigelow resembling and implicitly linked legendary warrioress Elektra Natchios in the twilit, allegorical and CGI enhanced Mark S. Johnson super satirical animaction film DAREDEVIL (2003) and the twilit, allegorical and CGI enhanced Rob Bowman super satirical animaction film ELEKTRA (2005).
Curiously, however, the marriage of the wealthy but boring Lorings still fell apart despite receiving the baby, in the end, implying that Reitman believed, like most audiences at the time, that Lucas had failed to reboot his film art career or reconnect with audiences with the 1999-2005 STAR WARS Tragic Tragedy, and that Lucas should have stuck with lower budget but better indie docfeature films like THX 1138 (1971) and AMERICAN GRAFFITI (1973). Indeed, the Bleek pregnancy of Juno reminded us that Hayden Christensen’s implicitly Cameron and Scarecrow linked Anakin Skywalker impregnated Portman’s implicitly Dorothy linked Padme Amidala in the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Cameron and Spielberg roasting Lucas film STAR WARS EPISODE III: REVENGE OF THE SITH (2005), affirming the implicit Lucas and STAR WARS Tragic Trilogy roasting intent of JUNO. In fact, given the resemblance of Juno and Bleek to Fisher and Hamill, Reitman also implied his belief that the STAR WARS Classic Trilogy was better than the STAR WARS Tragic Trilogy. At any rate, the fact that the school colours of Dancing Elk High School, the high school that Bleek and Juno attended, were the same as those of the University of Southern California (USC) where Lucas and Reitman attended film school, also affirmed the implicit interest in Lucas in the film.
The resemblance and implicit link to SCC of MacGuff’s older man and Woody Allen liking bestie, Leah-played by Olivia Thirlby-reaffirmed the film’s implicit interest in Lucas and the STAR WARS Tragic Trilogy, reminding us that the storied Coppola clan were longtime friends of Lucas and that SCC had a cameo as a handmaiden named Sache in the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Cameron and Spielberg roasting Lucas film STAR WARS EPISODE I: THE PHANTOM MENACE (1999). Indeed, the film’s allusions to the twilit, allegorical and Toronto created SCC indie docufeature film THE VIRGIN SUICIDES (1999) and the exuberant nods to Japan that reminded us of the Tokyo setting of the twilit, allegorical, slightly CGI enhanced, Ozian themed and implicitly Lucas roasting SCC indie docufeature film LOST IN TRANSLATION (2003) affirmed that Leah was implicitly linked to SCC. An implicit link of Leah to SCC and her indie film art that linked her friend Juno to indie film art as well, an implicit link reaffirmed by the fact that the Juno was the name of the Canadian film art award at the time and that Canadian film art was synonymous with indie film art, thus making Juno the literal implicit embodiment of Canadian indie film art and making it fitting that Page and Cera were both Canadian actors and that JUNO was created in the Greater Vancouver Area (GVA).
Thus, the sight and sound of Bleek and Juno pledging their eternal luv to each other in Juno’s hospital room as she recovered from the climatic childbirth and ending the film back together again in front of the MacGuff house strumming acoustic guitars and singing “Anyone Else But You” in the summer sun to bring the film full circle implied the hope of Reitman that indie Canadian film art in general and the indie Canadian film art of young Reitman in particular would triumph over that of Lucas. Making it also all too fitting that Juno handed over her bambino to Vanessa for free, given that Canadian film artists were given little to no money to make film art in Canada, and made little money from their film art.
Curiously, seeing the poor, imperfect but endearingly human and likably unlikable Juno and Bleek give up their baby boy to the wealthy but implicitly inhuman and Replicant evoking Lorings-their inhumanity implicitly affirmed by the inability of Vanessa to conceive-reaffirmed the implicit interest in imperfect and slightly CGI enhanced humanity triumphing over perfect and CGI enhanced inhumanity in the indie film art of Reitman. In fact, Juno’s father, Mac MacGuff-played by Simmons-and her stepmother Brenda “Bren” MacGuff-played by Allison Janney-resembled the Replicants Leon and Zhora-played by Brion James and Joanna Cassidy, respectively-throughout the film, implicitly linking BLADE RUNNER to JUNO and reaffirming Reitman’s implicit commitment to flawed but human people and slightly CGI enhanced indie film art triumphing over perfect but inhuman people and beastly CGI enhanced blockbuster film art in JUNO. Alas, the two Canadian leads, the GVA locations of the film, a tiger rug that evoked the tiger mascot of Streetsville Secondary School (SSS) where I worked as a Library Technician at the time of the release of JUNO and the fact that Mac also resembled my father also affirmed that the sophomore Reitman film eerily and presciently anticipated the arrival of the poor ol’ Toronto born and GVA raised Gardevil again as in THANK YOU FOR SMOKING.
Not surprisingly, given that the STAR WARS Tragic Trilogy had failed to excite audiences, popular was the implicit Lord Stinkious dissing and dismissing point of JUNO and again inspirational was the film for world audiences and the Canadian audiences who needed inspiration for their own new Constitutional aspirations. Curiously, the august Academy of Motion Picture Arts and Sciences agreed, awarding the film’s screenwriter, Brook Maurio aka the sneakily pseudonymous and diabolic Diablo Cody, an Academy Award for Best Screenplay. Ironically, Marvel Comics/Studios and Paramount were also implicitly impressed with JUNO and THANK YOUR FOR SMOKING and felt that Lucas needed another implicit roast and that Reitman was now worthy of being reborn in the MCU with a more heroic and headlining super satirical role. For Marvel and Paramount teamed up with Jon Favreau-already linked to the MCU via his role as Murdock friend and legal adviser Franklin “Foggy” Nelson in DAREDEVIL-in the twilit, allegorical and CGI enhanced super satirical animaction film IRON MAN (2008), released on April 14, 2008 and based on the character implicitly linked to tin can luving machine man wannabe Andrew “Andy” Warhol created by Kirby, Lee, Don Heck, and Larry Lieber for Marvel Comics.
“And what do you say
to your other nickname?
“The Merchant of Death”?”
For Favreau, Marvel and Paramount implicitly switched the link of the cocky and canny younger Reitman from a potential young supervillain in the implicit form of Harry “Goblin Jr.” Osborn who was head of a corporation inherited from his father Norman in the SPIDER-MAN Trilogy to a potential young superhero in the form of the Reitman resembling and implicitly linked and equally cocky and canny and additionally intuitively tech savvy, deep drinking, exuberantly womanizing, and rock n roll luvin’ party animal Anthony “Tony” Stark aka “Iron Man”-played by Robert Downey jr.-who was head of a corporation that was inherited from his father Howard Stark-played by Gerard Sanders. Not that there were much signs of that superheroic side in the beginning of IRON MAN, for Stark initially appeared in the film in Kunar Province in Afghanistan as the exuberantly conscienceless “Merchant of Death” head of the Oscorp evoking American military weapons manufacturer Stark Industries (SI) showing off some arms to customers in the American military.
Of course, Stark’s shameless shilling of the latest SI weapons tech evoked Naylor’s equally shameless initial promotion of cigarettes as a member of the Merchant of Death MOD Squad in THANK YOU FOR SMOKING, affirming the implicit Reitman addressing intent of IRON MAN. Curiously, the fact that he was first met in the film in the backseat of a Humvee in Kunar Province in Afghanistan accompanied by the rockin’ sound of the allegorical and Angus and Malcolm Young and Brian Johnson written AC DC tune “Back In Black” (1980) also affirmed Stark’s link to a Canadian film artist, for the classic tune reminded us that Canada was as much a part of the British Commonwealth as Australia.
Ironically, soon after the arms demonstration, Stark was almost killed by one of SI’s own mortar rounds in a terrorist attack. Waking up, he found that while he was being held hostage by a group of Islamic terrorists led by the implicitly Lucas linked Raza-played by Faran Tahir-his life had been saved by an implicitly Spielberg linked fellow hostage named Ho Yinsen-played by Shaun Toub-who had installed an electromagnet in his chest to prevent metal shrapnel fragments from moving around in his chest and piercing his heart. Forced to create a powerful explosive called Jericho for the terrorists, Stark instead created a mini and more powerful arc reactor to replace the electromagnet and to power an iron battle suit that he used to break free from the terrorists and return to the US, a grey and primitive Iron Man suit that resembled the Stay Puft Marshmallow Man seen at the end of GHOSTBUSTERS to reaffirm the implicit Reitman addressing intent of the film. Significantly, these battle scenes in the desert wastes of Afghanistan evoked the desert wastes of Tatooine in the allegorical, CGI enhanced, Ozian themed and implicitly Spielberg roasting Lucas film STAR WARS EPISODE IV: A NEW HOPE (1977) and the battles in the desertscapes in the eerily and presciently twilit, allegorical, Ozian themed, Lucas executive produced and implicitly William Friedkin roasting Spielberg docufeature film RAIDERS OF THE LOST ARK (1981), affirming the implicit links of Raza and Yinsen to Lucas and Spielberg.
Significantly, Stark’s life changing experience in Afghanistan caused him to switch SI from arms manufacturing to more peaceful and idiosyncratic technology like the various Iron Man suits for the Good of mankind, implying that Favreau, Marvel and Paramount were impressed with JUNO and THANK YOUR FOR SMOKING and hopeful that Reitman would succeed with his own equally idiosyncratic indie film art for the betterment of film art and mankind rather than simply follow in his father’s beastly blockbuster footsteps. This implication was reaffirmed by the sight and sound of Stark triumphing over Raza and the equally insidious character who aided and abetted his twisted machinations, the implicitly Irvin Kershner linked SI Deputy CEO Obidiah Stane-played by Jeff Bridges-for the triumph over the implicitly CGI enhanced and blockbuster beast linked pair in a climatic end that evoked the end of RAIDERS OF THE LOST ARK implicitly symbolized a triumph of the slightly CGI enhanced indie film art of Reitman over Lucas and his two beastly and CGI enhanced blockbuster STAR WARS trilogies, in the end. Which was as ironic an implication as the implication that the triumph of Spidey over Norman and Harry Osborn at the ends of SPIDER-MAN and SPIDER-MAN 3 symbolized the triumph of Cronenberg and his indie docufeature film art for film art’s sake over that of the more commercial film art of Reitman father and son, given that IRON MAN was made by the blockbuster loot lusting tag team of Marvel and Paramount.
At any rate, the film’s additional allusions to AMERICAN GRAFFITI, the eerily and presciently twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas roasting Sir Scott indie docufeature artbuster ALIEN (1979) and the eerily and presciently twilit, allegorical, CGI enhanced, Ozian themed, Lucas executive produced and implicitly Spielberg roasting Kershner film STAR WARS EPISODE V: THE EMPIRE STRIKES BACK (1980) reaffirmed the implicit Lucas and affirmed the additional Kershner roasting intent of IRON MAN. In addition, given the fact that the story arc of IRON MAN, which saw a wealthy heir apparent return from the “dead”, take his really dead father’s company in a new direction as its CEO and moonlight on the side as an Evildoer battling superhero evoked that of BATMAN BEGINS, Favreau, Marvel and Paramount also implied that they wanted to take on and take out Nolan and his BATMAN Trilogy with the far more CGI enhanced and over the top IRON MAN, which at times seemed to anticipate a future when film and video game morphed into one. Last but not least, a sequence midway through the film set in the Disney Concert Hall in L.A. and the appearance of Clark Gregg as the implicitly Disney CEO Bob Iger linked and intrepid Agent Phil Coulson of SHIELD-an acronym that, in the post-911 era, now stood for the Strategic Homeland Intervention, Enforcement and Logistics Division-also presciently anticipated the takeover of Marvel by Disney the following year.
In addition, the appearance of Favreau as Stark’s long suffering and Saklad resembling bodyguard/driver Harold Joseph “Happy” Hogan implicitly affirmed that a film artist was being addressed in the film. The presence of the irritatingly persistent and vaguely Garner resembling VANITY FAIR reporter Christine Everhart-played by Leslie Bibb-reaffirmed the implicit Reitman satirizing intent of the film, for she recalled the equally persistent and irritating NATIONAL PROBE reporter Heather Holloway in THANK YOU FOR SMOKING. Stark’s luvley, luving and always helpful human assistant Virginia “Pepper” Potts-played by Gwyneth Paltrow-and equally helpful digital assistant Jarvis-played by Paul Bettany-also affirmed Stark’s implicit link to the Toronto linked Reitman, for Potts resembled and was implicitly linked to Cody, while the name of Jarvis evoked Jarvis Street in Toronto. Significantly, the name of Potts also reminded us that Pepper Pot was one of the 32 types of soup featured in the first group of Campbell Soup cans painted by Warhol that appeared in July 9, 1962 at a gallery show in Los Angeles a year before the arrival of Iron Man in an implicit affirmation that Stark was implicitly linked to Warhol by Heck, Kirby, Lee and Lieber. Last but not least, the appearance of Samuel L. Jackson as the implicitly Spike Lee linked SHIELD Director Nicholas J. “Nick” Fury in the closing titles teaser cut scene that pointed the way to the next MCU film not only evoked the implicit roasting in THANK YOU FOR SMOKING of Stan Lee’s fondness for acronyms but also set the stage for the full arrival of SHIELD and the assembling Avengers in a MCU super satirical animaction film to come.
Curiously, Lucas and Spielberg teamed up with Kennedy and Marshall to implicitly roast Cody and Reitman in the implicit forms of the Wicked Irina Spalko and Mutt Williams-played by Kate Blanchett and Shia LeBeouf, respectively-in the twilit, allegorical, CGI enhanced and Ozian themed film INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008), released on May 18, 2008. Later that same year, after the escape of the implicitly Cameron linked Doctor Bruce “the Incredible Hulk” Banner-originally implicitly linked to Pablo Picasso by Kirby and Lee for Marvel Comics given that the exaggerated hands and feet of the Hulk evoked those seen in allegorical paintings by Picasso like “Guernica” (1937), and played by Ed Norton and voiced by Lou Ferrigno, respectively-Louis Leterrier also implicitly linked Reitman to the Avengers assembling Stark-played again by Downey jr.-in a cameo opposite the SI weapons tech luvin’ and implicitly Stan “the Man” Lee linked General Thaddeus “Thunderbolt” Ross-originally implicitly linked to ex-General Charles De Gaulle by Kirby and Lee in Marvel Comics at a time when De Gaulle had gone on to become the President of Picasso’s preferred country of France, and played by William Hurt-at the end of the twilit, allegorical, CGI enhanced and implicitly Cameron roasting super satirical animaction film THE INCREDIBLE HULK (2008), released on June 6, 2008.
For his part, Sam Mendes implicitly addressed and gently roasted the emergence of Cody and Reitman as a cinematic couple in the implicit form of the tragicomic young couple Verona De Tessant and Burt Farlander-played by Maya Rudolph and John Krasinski, respectively-in the twilit, allegorical, JUNO evoking and fittingly entitled indie docufeature film AWAY WE GO (2009), a film released on June 5, 2009 whose implicit Cody and Reitman addressing intent was affirmed by the presence of Janny as Verona‘s mother, Lily. As for Reitman, he implicitly responded to INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL with a film that was again in such complete contrast to beastly, big budget, boffo and CGI enhanced super satirical animaction fare as IRON MAN, the SPIDER-MAN Trilogy and SUPERMAN RETURNS that he and this essay deserved to be called Ironic Contrast Man when he donned the co-writer/co-producer/director hats and ironically teamed up with Paramount Pictures and his father’s Montecito Picture Company, created another small, low budget, down to Earth, and intimate film with Bateman, Elliot, Glauberman, Saklad, Simmons, JUNO director of photography Eric Steelberg and THANK YOU FOR SMOKING co-executive producer Michael Beugg, composer Rolfe Kent and costume designer Danny Glicker and returned to the Temple Theatre with the twilit, allegorical, brash, intelligent, original, shrewd, knowing, satirical, montage luvin’ and slightly CGI enhanced indie docufeature film UP IN THE AIR (2009), released on September 5, 2009 and inspired by the allegorical Walter Kirn novel Up In The Air (2001).
“Anybody who ever
built an Empire
or changed the world
sat where you are now.”
Fittingly, the film began up in the air flying through the cloud filled sky with another hip opening titles montage filled with artful landscape shots from airplanes that evoked the equally hip and artful landscape photography of Edward Burtynsky all to the allegorical, Woody Guthrie written and Sharon Jones & the Dap-Kings performed tune “This Land Is Your Land” (2005). Not surprisingly, given the success of JUNO and its Oscar for Best Screenplay, one of the first titles again confidently proclaimed the production “…a Jason Reitman film”, albeit not in all caps. Then the film began with a montage of a group of shocked and irate employees-three of whom evoked Kennedy, Spielberg and James E. Jones, affirming that the film was responding to INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL-being dismissed by someone who was eventually revealed to be the lonely, aging, peripatetic, order and routine obsessed, suit and tie favouring, Nayor evoking and equally likably unlikable but implicitly Lucas linked bachelor dismissal expert Ryan Bingham-played by George Clooney.
Tragicomically, these opening dismissals were the first of many seen in the film, for Bingham spent the film literally UP IN THE AIR flying around the U.S. gently but firmly dismissing people on behalf of a dismissals company euphemistically referred to as the Career Transition Company (CTC) headed by the experienced, callous and the implicitly Cameron linked stay at office boss Craig Gregory-played by Bateman-his implicit link to Cameron affirmed by the film’s allusions to the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas and Lynch roasting indie docufeature Zonebuster THE TERMINATOR (1984). Equally tragicomically, Bingham’s solitary, loveless but constantly on the move and oh so meticulously ordered and structured existence was soon threatened by a callously pragmatic plan conceived by the dimunitive, Fisher/Princess Leia Organna resembling and evoking and fittingly surnamed new CTC hire Natalie Keener-played by Anna Kendrick-to simply fire people over the computer while seated in a cubicle at the head office in Omaha, Nebraska instead of flying CTC dismissal experts like Bingham around the country firing people.
Thus, the fact that Bingham revolted against this callously pragmatic plan and proved that his in person dismissals were so superior to Keener’s that Gregory backed off the all computer plan, in the end, implied the hope of Reitman that Lucas would strike back and triumph over Cameron with another memorable and truly Skyrockin’ and slightly CGI enhanced film like STAR WARS EPISODE IV: A NEW HOPE or even more vitally human and CGI free film like AMERICAN GRAFFITI and reaffirmed the implicit conviction of Reitman that imperfect humanity would also triumph over all too perfect and CGI enhanced inhumanity in film art. Indeed, Bingham’s film long VO reaffirmed that implicit conviction, for it evoked the film long VO of Deckard in the 1982 release of BLADE RUNNER as much as the VOs of Nick and Juno in THANK YOU FOR SMOKING and JUNO. The lonely bachelor status of Bingham and the film’s allusions to AMERICAN GRAFFITI, the STAR WARS Classic Trilogy, THX 1138 and the fact that Bingham had three sisters also affirmed the implicit Lucas addressing intent of the film, for the trio evoked Anne, Kathleen and Wendy, the three sisters of the lonely bachelor Lucas.
And so UP IN THE AIR was another fine film that inspired and enfired audiences, particularly Canadian audiences. And so and alas, a dismissed employee who evoked film reviewer Roger Ebert, Keener’s obsession with finding “…the right guy”, the “Gary” hidden in the names of Ryan Bingham and his insistently solitary bachelor life, his small, empty and undecorated closet of an “apartment”, Polley evoking sister Kara-played by Amy Morton-Rita MacNeil evoking sister Julie-played by Melanie Lynskey, who, curiously, had a small role as Munch in AWAY WE GO-Sarah MacLachlan evoking cousin-played by Jennifer Nitzband?-lack of interest in the Cancer evoking “…the can, sir?”, SSS evoking ex-high school, love of backpacks and the Wright Brothers and the fact that UP IN THE AIR was a Right Of Way Films production eerily and all too presciently linked Bingham to myself. Eerie prescience, indeed, for I soon intruded upon the peaceful life of Reitman not long after the release of UP IN THE AIR. However, before Reitman could take on Wright, Disney celebrated its purchase of Marvel in 2009 by teaming up with Favreau, Marv and Paramount on the twilit, allegorical, CGI enhanced and implicitly Cody and Reitman roasting and toasting Favreau super satirical animaction film IRON MAN 2 (2010), released on April 26, 2010.
“You’re the wonder boy...
but this ain’t Canada.”
Curiously, the film began with a fittingly fiendish and opening titles filled prologue set in Moscow that saw the ambiguously linked hi-tech genius Ivan “Red Tsar” Vanko-played by Mickey Rourke-avenge the death of his forgotten and equally brilliant father Anton Vanko-played by Evgeniy Lazarev. For, inspired by the exploits of the brash, confident, cocky, intuitively tech savvy and implicitly Reitman linked Anthony “Tony” Stark aka Iron Man-played again by Downey jr. as an adult and as a boy by Davin Ransom in a reel blast from the past of Stark, respectively-Vanko perfected his own mini-arc reactor in his dishevelled apartment in Russia and used it to create his own electro-whip powering power suit. Leaving Vanko crowing in vengeful triumph, the film cut to an exuberantly boffo, brash, confident, cocky and super CGI enhanced sequence to the hard rockin’ sound of the allegorical and Brian Johnson and Angus M. Young written AC DC tune “Shoot To Thrill” (1980), reminding us that “Back In Black” kicked off IRON MAN to link the two films together, that saw Stark in his Iron Man suit leap out of the back of a military airplane and rocket down through the firework exploding nighttime sky above Flushing Meadows, New York before making a spectacular exfoliated landing on a stage at a revamped Stark Expo while a dancing chorus line of tall, beautiful, leggy, and Rockette evoking Ironettes showing off those long and beguiling American thighs high kicked on a stage behind Stark.
This was an ironic sight and sound that was far removed from the more modest and down to Earth film art of Reitman but which implicitly affirmed that Disney, Favreau, Marvel and Paramount were indeed using spectacular CGI sequences that the MCU not only allowed but needed to create the super satirical animaction adventures of its heroes and heroines to win audiences over to their Zonebusting cause. The Stark Expo and its nostalgic blast from the Seventies past film featuring a new Howard Stark played by John Slattery also immediately reaffirmed the implicit link of young Stark to a Canadian film artist, as the Stark Expo evoked Canada’s famous future themed Expo ’67. Just as humourously, this boffo beginning soon segued into the sight and sound of Stark being grilled in Washington by a Senate Arms sub-committee about his fighting suits, a political grilling that evoked the sight and sound of Naylor being grilled in Washington by a Senate committee headed by the sinister Finistirre that explored the possibility of putting explicit warnings on cigarette packages in THANK YOU FOR SMOKING, reaffirming the implicit link of the brash and confident Stark to the brash and confident Reitman.
Soon Stark was back at his swingin’ Malibu bachelor pad-a pop art evoking portrait of Iron Man hung by him on a wall evoking Stark’s initial implicit link to Warhol in Marvel Comics-and in an argument with the implicitly Cody linked Pepper Potts-played again by Paltrow-that ended to the surprised delight of Potts with Stark appointing her CEO of SI. Right after this surprise development, a boxing match between Stark and the Saklad resembling and possibly linked Happy Hogan-played again by Favreau-in a private ring set up in the same palatial Malibu manse led to…hello?!? Out of nowhere, a sultry red headed seductress dressed to truly thrill named Natalie Rushman aka ex-Russian assassin and SHIELD Agent Natasha “Black Widow” Romanoff-played by Scarlett Johansson-who had been hired to replace Potts as the PA of Stark given that he had promoted Potts to CEO of SI slinked into the makeshift arena and ended the boxing match as Stark rushed frantically off to scan her cyber resume.
Significantly, as the slinky and sexy Romanoff’s resume also revealed her to be able to speak Italian, fond of fashion and Japan and as the part-Italian SCC had emerged as an equally slinky and sexy cinematic ninjette who was so fond of fashion, Japan and Johansson that she had taken Johansson to Japan to create the twilit, allegorical, CGI enhanced and Ozian themed indie docufeature film LOST IN TRANSLATION (2003), the implication was that Romanoff was linked to SCC, an implication reaffirmed by the film’s allusions to the twilit, allegorical and implicitly Lucas roasting SCC indie docufeature film MARIE ANTOINETTE (2006), and the twilit, allegorical and implicitly SCC addressing Tony Scott indie docufeature film DOMINO (2005), which was openly linked to IRON MAN 2 by Rourke who played bounty hunter Ed Moseby in that film. And so a hero implicitly linked to the son of a famous and successful Canadian film artist fittingly welcomed a heroine implicitly linked to the daughter of a famous American film artist to the MCU.
Not surprisingly, given the ominous nature of the prologue, Hogan, Potts, Romanoff and Stark teamed up to battle and defeat the electro-whip luvin’ Black Tsar and his tragicomically twisted corporate benefactor and collaborator, the implicitly Mike Myers linked rival Hammer Industries CEO Justin Hammer-played by Sam Rockwell-with the help of the implicitly Lee linked SHIELD Director Nicholas “Nick” Fury-played again by Jackson-the implicitly Iger linked SHIELD Agent Phil Coulson-played again by Gregg-and Stark’s new ally, the implicitly Clement Virgo linked Lieutenant-Colonel James “Rhodey” Rhodes aka “War Machine”-played by Don Cheadle-the latter of whom reaffirmed Stark’s implicit link to Toronto linked Canadian film artists in general and Reitman in particular. Indeed, the sight and sound of Potts and Stark meeting and chatting briefly with Elon Musk at the Monaco Grand Prix-the blue and white colours of Team Stark evoking the blue and white colours of Toronto-before the first battle with Black Tsar also affirmed the film’s implicit interest in young Reitman as Musk was one of the executive producers of THANK YOU FOR SMOKING. Luckily for Stark, he was able to defeat Vanko and Hammer and their pesky and hemorrhoid evoking “Hammeroids” and solve his deadly palladium problem by cooking up a more powerful and life affirming element-digitinium? excelsiorinium? marvelinium? narcissusinium?-with the help of his father’s scale model of the ’74 Stark Expo and the implicitly Toronto linked digital assistant Jarvis-voiced again by Bettany-to power his chest mini arc reactor.
Not that Fury was impressed, for Stark was still turned down, in the end, by Fury and Romanoff for the dissembling Avengers in a not so subtle hint to Reitman to not get too cocky, kid. An implication made mostly meaningless, yet again, by the ironic contradiction that the blockbuster loot lusting Disney, Favreau, Marvel and Paramount would again implicitly link their American and Canadian superheroes to CGI wary indie film artists dedicated to the advancement of film art for film art’s sake like SCC and young Reitman rather than implicitly to American and Canadian film artists dedicated to film art for beastly CGI enhanced blockbuster loot’s sake. And also implicitly to Canadian film art for film art’s sake film artists whose CGI enhanced Zonebusting films made beastly blockbuster loot, for the teaser cut scene that followed the closing titles featuring SHIELD Agent Coulson driving a car with the fateful and twilit license 8RE 2Z1 into the desert of New Mexico and pondering a mysterious hammer found in a crater also anticipated the next MCU film which was also about a marvelous hero implicitly linked to another indie Canadian film artist. Alas, with a pit stop in Queens, NY to visit the home of Hammer Industries, IRON MAN 2 was another implicitly Reitman linked film that ominously anticipated the arrival of a marvelous hero implicitly linked to an indie Canadian film “scholar” who lived just off Queen Street in the Streetsville “town in the city” area of Mississauga, ON.
At any rate, an implicit link of Reitman to a more ironically and tragicomically hip and openly Canadian superhero continued in the Toronto set and fittingly brash, confident, montage luvin’, twilit, allegorical and CGI enhanced Edgar Wright indie super satirical animaction film SCOTT PILGRIM VS THE WORLD (2010), released on July 27, 2010, inspired by the possibly Cameron addressing narrative art series created by Bryan Lee O’Malley and inspiring a super side scrollin’ video game from Ubisoft with a cool retroclassic chiptunes soundtrack by Anamanaguchi that was released in conjunction with the film that also implicitly addressed Cody and Reitman.
“!They make films in Toronto?”
For Reitman and Cody were implicitly roasted in the implicit forms of indie rocker Scott W. Pilgrim-played by Cera, who openly linked the film to Reitman via his role as Bleek in JUNO-and his dream girl Ramona Flowers-played by Mary E. Winstead-who took on and took out the implicitly Smilin’ Stan Lee linked and wealthy music producer with the fittingly alliterative name of Gideon Graves-played by Jason Schwartzman-implying the hope of Wright that the indie film art of Cody and Reitman would triumph over the beastly and CGI enhanced blockbuster tag team of Disney and Marvel. Indeed, the film’s implicit allegorical intent was affirmed by allusions to IRON MAN, IRON MAN 2 and JUNO, the return of Routh as the vicious, vindictive and implicitly Cronenberg linked vegan Todd Ingram, third Evil ex- of Flowers, and by the fact that Pilgrim’s sister, Stacey Pilgrim-played by Kendrick, who also openly linked the film to Reitman via her role as Keener in UP IN THE AIR-resembled and was implicitly linked to Reitman’s sister Catherine Reitman and the fact that Pilgrim’s fake high school girl friend Knives Chau-played by Ellen Wong-resembled and was implicitly linked to Reitman’s then wife Michele Lee.
The sight and sound Johnny Simmons-no relation to J.K.-playing young Neil and Neil also affirmed the film’s implicit interest in Cody and Reitman as Simmons played Chip Dove in the twilit, allegorical, Cody written and executive produced, Reitman co-produced and possibly SCC and Polley addressing Karyn Kusama film JENNIFER’S BODY (2009), a film that also saw Simmons return as Mr. Wroblewski. The appearance of Chris Evans as the implicitly Clint Eastwood linked second Evil ex- Lucas Lee affirmed the film’s implicit interest in roasting the MCU, for Evans played the ambiguously linked John “Johnny” aka “the Human Torch” Storm in the twilit, allegorical and CGI enhanced Tim Story super satirical animaction film THE FANTASTIC FOUR (2005). The uncredited appearance of Thomas Jane as a Vegan Policeman also affirmed the film’s implicit interest in roasting Lee and Marvel, as Jane played Frank “the Punisher” Castle in the twilit, allegorical and CGI enhanced Jonathan Hensleigh super satirical animaction film THE PUNISHER (2006). The seven Evil exes of Flowers that Pilgrim had to battle and defeat also affirmed the implicit Reitman addressing intent of the film, for they evoked the seven cigarette companies that created the Academy of Tobacco Studies (ATS) in THANK YOU FOR SMOKING. Last but not least, the fact that the rockin’ soundtrack was mostly created by Toronto based film artists like Metric or the beautiful, beatific and half-Canadian Beck reaffirmed the implicit interest in a Canadian film artist linked to Toronto in SCOTT PILGRIM VS THE WORLD.
Unfortunately, the implicit link of young Reitman to an ironically and tragicomically hip Canadian superhero living and luving in Toronto and battling demented and fiendish foes in a film directed by an English film artist with the surname of Wright yet again eerily anticipated Reitman’s upcoming and Wrightmarish battles with the poor ol’ demented, fiendish and Toronto born and Greater Toronto Area (GTA) residing Gardevil. A garish encounter that quickly occurred, for soon after the release of SCOTT PILGRIM VS THE WORLD I accepted an invitation sent out in September of 2010 via newspapers to the world and to myself in my tiny and untidy closet of an “apartment” overlooking the Credit River in Mississauga, Ontario to attend the opening and christening of the new permanent headquarters of the Toronto International Film Festival (TIFF) at the corner of King and John streets in star linked Toronto. Things went well until I looked through the free TIFF souvenir magazine and pondered a list of what TIFF believed to be the One Hundred Essential Films. Noticing that TIFF had condescended to include only two and a half allegorical Canadian films-Cronenberg’s indie docfeature film VIDEODROME (1982), Michael Snow’s equally indie WAVELENGTH (1967) and John Huston’s implicitly Oscar roasting docufeature film THE MALTESE FALCON (1941)-on the “essential” list, I hit the roof, convinced that TIFF had deliberately snubbed Canadian film art, Canadian film artists, and the Toronto, Ontario and Canadian taxpayers who had mostly paid for the permanent TIFF Bell Frightbox. For where was Mary Pickford? Mack Sennett? Nellie McClung? Allan Dwan? Norman Jewison? Denys Arcand? Don Shebib? Allan Moyle? James Cameron? Sandy Wilson? Patricia Rozema? Alanis Obomsawin? Zacharias Kunuk? amongst many others.
Thus, later that night, when I returned to that tiny closet of an apartment in Mississauga, I wrote a furious and nasty letter signed by me and with my name and address on the return address of the envelope trashing TIFF, TIFF CEO Piers Handling, TIFF second in command Cameron Bailey, and Reitman jr. and sr., who had donated the land for the TIFF Bell Frightbox and some money to help build the edifice, for insulting Canadians with this infuriating One Hundred “Essential” Films (OHEF) list. In the months that followed, I also wrote and mailed several more righteously furious letters with spoof male and female names and return addresses on the various different sized and coloured envelopes that I mailed off, so that the receivers would not know who had really written them until they opened the envelope and read the letter.
I might have even used the name Mavis McCallion, a name taken from Mavis Street in Mississauga and then Mississauga Mayor “Hurricane” Hazel McCallion, as one of the spoof female sender names to give a mischievous heads up to the envelope opener that the writer was from Mississauga, a pseudonym that was implicitly not lost on Reitman. For Reitman implied that he read the letters and did not like them, given that, after years of ominously garish memories of the future in film art starting with SPIDER-MAN 2, an equally nasty and implicitly Gary Wright linked character named Mavis Gary finally made her corrosive and Wrightmarish appearance when he teamed up again with Paramount Pictures and Right Of Way Films and with Cody, Glauberman, Kent, Simmons, Steelberg, and co-executive producer Nathan Kahane and co-producers Lianne Halfon, John Malkovich, Mason Novick and Russell Smith-all back from JUNO-and Helen Estabrook-an associate producer on UP IN THE YEAR and now back as a co-executive producer-to implicitly return the nasty favour with yet another small, low budget, down to Earth, and intimate film that was in complete and ironic contrast to such big, boffo and CGI enhanced super satirical animaction films as IRON MAN 2 and SCOTT PILGRIM VS THE WORLD, the twilit, allegorical, brash, idiosyncratic, original, satirical, montage luvin’ and slightly CGI enhanced indie docufeature film YOUNG ADULT (2011), a film released on December 9, 2011 and implicitly inspired by the allegorical and implicitly Alfred Hitchcock and Arthur Penn addressing Francis Coppola indie docufeature film THE RAIN PEOPLE (1969).
“You’re better than this.”
Significantly, the film began on an unusual note without the usual confident, creative, smoothly edited and often animated and pop music accompanied opening title sequence. Instead, YOUNG ADULT began with the camera silently panning up a blah brown condo tower with a vertical banner advertising rentals with the contact number of 612-767-7446, immediately linking the film to ’67, the year that I was born. Then we found ourselves inside one of the condos with the sullen, solitary, lonely, embittered, brooding, frustrated, fragile, nasty, scheming, snobby, snotty, desperately self-obsessed, again likably unlikable and implicitly Gary Wright linked Waverley Prep young adult series writer Mavis Gary-played by Charlize Theron, who resembled a beautiful blonde extra played by Helena Mattsson in IRON MAN 2-waking up bedraggled and all alone in her tiny and untidy closet of an apartment in a building on Marquette Avenue overlooking the Mississippi River in the Mini-Apple of Minneapolis, Minnesota, evoking the Minnesota setting of JUNO and the equally sullen, solitary, lonely, embittered, brooding, frustrated, fragile, nasty and likably unlikable me in my one bedroom “apartment” closet near the Credit River in Mississauga, Ontario.
This implicit link of Gary to myself was reaffirmed by the email Gary soon pondered from her implicitly Reitman linked ex-Mercury High School flame Buddy Slade-played by Patrick Wilson, who ironically linked another Reitman film to big boffo CGI enhanced super satirical animaction films via his role as Daniel Dreiberg aka the new “Nite Owl” in the twilit, allegorical and CGI enhanced Zack Snyder super satirical animaction film WATCHMEN (2009). For the email announced that Buddy’s wife Beth-played by Elizabeth Reaser-had given birth to their first baby, a successful birth that affirmed the imperfect but endearing and enduring humanity of the Slades in contrast to the perfect but barren and inhuman Lorings in JUNO. Significantly, the email and its accompanying photo announced that the baby was a girl-played by Frieda Fricker-rather than a boy as in JUNO, making her an implicit symbol of the new age of digitally enhanced film art in general and of Reitman in particular. The email also invited Gary back to the town of Mercury, MN to attend the christening of the tot, evoking the invitation I received to attend the opening day of the new TIFF permanent HQ in Toronto in September 2010.
Thus, as the sight and sound of Gary accepting the invitation and driving with Dolce, her faithful Pomeranian, from Minneapolis to her Graeco-Roman God of Wisdom linked and Toronto cadenced hometown of Mercury in her red, white and true British Mini with the fittingly twilit license of X3N 2R9 while endlessly playing the twilit, allegorical and Norman Blake written Teenage Fanclub tune “The Concept” (1991)-which evoked the sight and sound of Shirley Knight’s Natalie Ravenna driving away from her problems in the Big Apple of New York and into the country at the beginning of THE RAIN PEOPLE-and while the opening titles finally appeared on the screen, making for another Reitman film that began with a pop tune accompanying the opening titles-including another early one not quite as confidently and proudly proclaiming the production “…a film by Jason Reitman”-and upon arrival in Mercury furiously blasting Slade for refusing to return to her, for fathering a baby girl and for being married to Beth reminded us that I accepted the invitation to attend the grand opening of TIFF and duly showed up, only to furiously criticize the spanking new HQ, its principal creators and its wrighteously infuriating TIFF OHEF list, the implication was that Gary was indeed linked to Wright by Cody and Reitman in YOUNG ADULT.
Indeed, there was quite a lot of evidence to implicitly affirm that Cody and Reitman were roasting me in YOUNG ADULT. For as already mentioned, the first name of Mavis was an actual significant street in Mississauga not far away from where I lived in the Streetsville area of Mississauga, a fact easily discovered by googling up a map of Mississauga, while the surname of Gary evoked my first name Gary. The name of Mavis Gary also evoked that of Quebec writer Mavis Gallant, reaffirming the implicit link of Gary to a Canadian writer. The red, white, red, white and red colour combination of the Mini that Gary drove from the Mini-Apple to Mercury reaffirmed her implicit Canadian links, as the red and white colour combination was the same as that of the Maple Leaf flag and national colours of Canada. Gary’s ironic preference for eating Kentucky Fried Chicken fare at the Kentaco Hut that she initially mocked when she arrived in Mercury but then fell tragicomically and voraciously prey to also reaffirmed her links to Canada and her status as a Canadian citizen, for the red and white colours of KFC again evoked the Maple Leaf flag and national colours of Canada. Of course, the English manufacturers of the Mini also reminded us of Canada’s famously weird but politically pragmatic affection for England, its protective armed forces and its monarchy, whose sovereign was still guaranteed by Canada’s Constitution to be the true ruler of Canada to this day, centuries after the United States won its freedom from the UK in the American Revolution.
In addition, nasty Gary’s father David Gary-played by Richard Bekins-looked, dressed, talked and acted like Cronenberg, while Gary’s mother Hedda Gary-played by Jill Eikenberry-resembled and evoked Toronto actress Jayne Eastwood, reaffirming Gary’s implicit link to Toronto film art, artists and “scholars”. The NHL signs seen near the front door when Gary and Slade walked individually into the bright and new Champion O’Malleys chain pub for their first “Mercury High reunion” reaffirmed the implicit link of Gary and Slade to Canada. Not surprisingly, an NHL logo was on the sinister and Evil left of Gary when she slinked seductively in, while a sturdy cardboard cutout NHL hockey player wielding a staunch sword evoking hockey stick to battle and defeat all comers that evoked the foamboard photo cutout cutups in UP IN THE AIR was on the Good right of Slade when the new father walked unsuspectingly but undauntedly and, fittingly, also under a “Bud Light” neon sign, into the pub. Champion O’Malleys also reaffirmed the link, as the Irish pub evoked Grace O’Malleys, located just up the street from TIFF at the corner of Ed Mirvish Way and Pearl in Toronto. Significantly, Slade’s revelation to Gary during this first “reunion” that he still worked with his father affirmed his implicit link to Reitman, reminding us that he still worked with Ivan in the same film art business as his father.
Of course, gruesome Gary’s tragicomic obsession with Hard Jack cider and the Mos Eisley Special Reserve “Star Wars juice”-aka aged bourbon hand crafted in the indie garage still of the chubby, avuncular, sad eyed and all too knowing Mercury geek Matt Freehauf-who looked, dressed and acted like a friend of mine at the time, and was played by Patton Oswalt-evoked my equally tragicomic obsession with the lives and films of Lucas and John “Black Jack” Landis, obsessions always on open display 247 at www.zonewarsonfilm.com. The fact that Gary preferred drinking Hard Jacks in Woody’s, a dark and cave-like indie bar in Mercury, rather than in a bright and shiney chain pub like Champion O’Malley’s also reiterated Gary’s implicit link to film art and TZ disaster obsessed me. For gloomy Woody’s evoked not just gloomy Gar but the life and film art of Woody Allen and also evoked Woody Harrelson’s character Woody Boyd on the twilit and allegorical NBC television show CHEERS, a television show that linked YOUNG ADULT to the twilit and disastrous year of 1982 as CHEERS arrived on television on September 30, 1982, a little over two months after the TZ disaster, no doubt with a tragicomic mission to soothe people, particularly young people like the POG, who were outraged by the disaster.
Heck, even Dolce the Pomeranian-played by Hummer-linked Gary to film art, as the dimunitive and Toto evoking dog’s name evoked the allegorical Federico Fellini film LA DOLCE VITA (1960) and also evoked my flippant assertion on an early version of www.zonewarsonfilm.com that I was a fifth dimensional being who manifested in this dimension as an unusually discerning and knowing Shi Tzu. And how fitting that Buddy and Beth’s “gaybysitter” was played by Rightor Doyle. Last but not least, how not surprising that on the day of the release of YOUNG ADULT and not long before the end of Reitman and Theron’s filmed December 9, 2011 interview with Charles McGrath of the NEW YORK TIMES that could be seen and heard on youtube Theron went off on a riff on the theme of right that revealed that her acting was based on “…what felt right”, a riff that prompted Reitman to opine “…that’s so smartly put”, reaffirming yet again the implicit Wright roasting intent of YOUNG ADULT.
Thus, with the cancellation of Gary’s Waverley Prep young adult series, her failure to woo Buddy to her cause, and her decision to give up on Buddy and Mercury and drive her now drunken crash battered Maple Leaf Mini back to the Mississauga linked Mini-Apple of Minneapolis and start anew, in the end, Cody and Reitman implicitly hoped that I would just grow up, stop complaining about TIFF “essential” film lists and Zone War films, and just get a life, okay mofu? Last but not least, the sight and sound of Beth, Mary Ellen Trantowski-played by Kate Nowlin-and two of their girlfriends-played by Rebecca Hart and Jenny D. Paulin, respectively-uniting as Nipple Confusion and performing “The Concept” at Champion O’Malleys along the tragicomic way also implicitly allowed Cody and Reitman to gently roast the indie rock antics seen and heard throughout SCOTT PILGRIM VS THE WORLD.
Well, touche. Write nasty letters and essays, get a nasty response. Enjoy your oh so withering and satirical in-joke, Cody and Reitman. As for me, I was shocked, surprised, amused, humbled, humiliated, dazed, confused but ultimately reassured that film artists were reading my letters and Zone War essays and were moved enough by what they were reading to reply in such an unusual, but somehow fitting, cinematic way. An implicit allegorical roasting of a critical film “scholar” that evoked the implicit roasting that film reviewers Ebert and Gene Siskel received in the form of the dreaded two-headed monster, the Siskebert, and that Pauline Kael also implicitly received in the form of the cruel and merciless General Kael-played by big Pat Roach-in the twilit, allegorical, CGI enhanced, Lucas executive produced and implicitly Sir Peter Jackson addressing Ron Howard docufeature film WILLOW (1988). Thanks for also proving my thesis that film art was allegorical, and for giving me a tragicomic implicit example that I was able to use to defend my thesis. Not just by the implicit intent of the film itself, but also by the sight and sound of the openly allegorical Waverly Prep young adult novel that Gary despondently wrote over the course of the film-to the impatient pleadings of her editor Jim, played by Simmons-in a desperate attempt to manipulate reality and win Slade back to her side in real life by having her literary alter ego Kendal Strickland win back her implicitly Slade linked ex-boyfriend Ryan Ashby, a name that evoked Ryan Bingham of UP IN THE AIR, only to kill off Ashby when Slade rejected her at the end of YOUNG ADULT. In fact, thanks for implying that screenwriters like Cody carefully followed the lives of film artists and tailored the allegorical messages they embedded in their screenplays so as to appeal to particular film artists and increase the likelihood that that film artist would option that screenplay and transform it into a film.
And in my defense, snubbing Canadian film art and film artists at the opening of the most significant shrine to film art in Canada was worth ranting about. Or, as my symbolic “twin sister” Mavis-Gary Wright would snarl with embittered and sarcastic fury, “…Gawd! Excuuuuuse me for living with my eyes, ears, nose, mouth, fingers, heart, mind and soul wide open instead of wide shut like the rest of the huvine herd, as Stanley Kubrick sarcastically noted in the title of his last twilit and allegorical film EYES WIDE SHUT (1999), and actually noticing and doing my best to understand the true meanings of allegorical fiction and film art, particularly the fiction and film art of the dread allegorical Zone War era, and noticing the failure of TIFF to acknowledge the quality and importance of allegorical Canadian film art in that infamous OHEF list.
Excuuuuuuuuuuuuse me for also thinking that the deaths of the Chen, Le and Morrow in the TZ disaster, the subsequent dread allegorical Zone Wars and some of the issues that were raised by that notorious conflict, particularly the recurring and guilt stricken implications of twilit wrongdoing seen in all of the post-1982 allegorical film art of Spielberg, were serious enough for me to write about and share that insight with the world via www.zonewarsonfilm.com. At least I had the courage to do it openly and not rush for the hills with my tail between my legs and launch oh so subtle and mysterious allegorical salvoes like YOUNG ADULT. In fact, if you had any guts and class, Cody and Reitman, you would simply have sent a letter or email to me explaining the reasons for TIFF’s infuriating OHEF list, reasons that I may have accepted, ending any flamewar before it started.
And what about that shot of Gary sitting in a cheap white plastic lawn chair on the balcony of her apartment in Minneapolis at the beginning of the film, a shot that evoked me sitting in my own cheap white plastic lawn chair on my apartment balcony, suggesting that it was taken from space via satellite cam, implying that you spied on me on my balcony from satellite cam before making the film-talk about creepy! And that noticeable resemblance of Oswalt’s Freehaus to a friend in Streetsville I had at the time, implying that you had my friend and I tailed by a private detective before creating YOUNG ADULT-talk about twice as creepy!! Who was the real pestilent pest who refused to grow up in this situation? Gawd!”
Ah well, luckily for Cody and Reitman, I am not always a diehard mean girl and “…psychotic Prom Queen bitch (PPQB)”, and it was so moving to be implicitly roasted in YOUNG ADULT that the film will always be one of my favourites and will always have a special place in my nasty heart, so I will content myself with this “enlightening” essay as a response. If I was truly mean, I would have struck back by writing an equally tragicomic, nasty and allegorical story that would liken you two and your perennial efforts to pitch and sell your ideas to investors and studios in order to get the money to make your allegorical film art to the efforts of two listless and lonely L.A. area Latina prostitutes-Diabla y Jacinta, respectively-and their perennial deserate efforts to sell themselves to male customers at Hollywood and Sunset in order to get the money to live their tragicomic “lives”. Instead, I will leave that tragicomic allegorical tale to real film artists, and instead note that in the triumph of the imperfect but endearing humanity of Buddy, Beth and their bambina over weird, despondent, lonely, nasty and sterile but likably unlikable Gary’s desperate longing for perfect marital bliss, Reitman implicitly reaffirmed his “Slade Runner” commitment to imperfect but endearing humanity triumphing over inhuman CGI enhanced perfectionism in film art in general and in his film art in particular. A triumph over inhuman and CGI enhanced perfectionism that returned along with the implicitly Cody linked Pepper Potts, the implicitly Reitman linked Tony “Iron Man” Stark and the implicitly Toronto linked digital assistant Jarvis-played again by Paltrow, Downey jr. and Bettany, respectively-when Disney, Marvel and Paramount teamed up with Joss Whedon on the twilit, allegorical and CGI enhanced super satirical animaction film MARVEL’S THE AVENGERS (2012), released on April 11, 2012.
That’s what we call ourselves.
We’re sort of like a team.
“Earth’s mightiest heroes”-type thing.”
Significantly, the film began with a prologue at the Joint Dark Energy Mission-Western Division that was home to the NASA Space Radiation Facility and SHIELD Accelerator Test Facility that jointly studied the mysterious and powerful blue Tesseract Cube recovered by the young Howard Stark-played by Dominic Cooper-at the end of the twilit, allegorical and CGI enhanced Joe Johnston super satirical animaction film CAPTAIN AMERICA: THE FIRST AVENGER (2011). A joint Project Pegasus study of the mysterious and powerful Tesseract Cube that could not help but notice to the dual dismay of NASA and SHIELD that the Tesseract Cube suddenly turned on either on its own or at the mischievous instigation of the implicitly Spielberg linked Loki-played by Tom Hiddleston.
Indeed, the latter was a distinct possibility given that Loki soon appeared and stole the Cube with the help of the zombiefied Clinton “Clint” Barton aka “Hawkeye”-initially implicitly linked to Roy Liechtenstein by Heck and Lee for Marvel Comics but implicitly linked in the film to Sir Scott due to Disney and Marvel being impressed by the twilit, allegorical, CGI enhanced and implicitly Bruce McDonald addressing Sir Scott film ROBIN HOOD (2010), and played by Jeremy Renner-and the implicitly Roger Corman linked Doctor Erik Selvig-played by Stellan Skarsgaard-despite the best efforts of the implicitly Lee linked SHIELD Director Nick Fury and the implicitly Iger linked SHIELD Agent Phil Coulson-played again by Jackson and Gregg, respectively-their Tonya Lewis Lee resembling and implicitly linked colleague SHIELD Agent Maria Hill-played by Cobie Smulders-and the rest of the frantic members of SHIELD to stop the theft in a desperate and action packed prologue filled with allusions to and quotations from RAIDERS OF THE LOST ARK to affirm the implicit link of Loki to Spielberg. Indeed, the fact that Loki blasted Director Fury and his pursuing helicopter out of the air at the end of the prologue reaffirmed the implicit link of Loki to Spielberg, reminding us that Spielberg was the overall head of TWILIGHT ZONE: THE MOVIE and that the TZ disaster happened on his watch.
Significantly, this theft of the McGufferact Cube inspired SHIELD to gather together the implicitly SCC linked Natasha “Black Widow” Romanoff-played again by Johannson-Dr. Bruce “the Incredible Hulk” Banner-implicitly linked not to Cameron as in THE INCREDIBLE HULK but to Lucas as in THE INCREDIBLE HULK [1977-82] tv series, voiced by Ferrigno again and played by Mark Ruffalo, respectively-the implicitly Eastwood linked Stephen “Steve” aka “Captain America” Rogers-the revived from hibernation WWII super soldier reminding us that Eastwood revived his career with the twilit, allegorical and CGI enhanced docufeature film FLAGS OF OUR FATHERS (2006), and played by Evans-and persuade Jarvis, Potts and Stark to leave behind the new headquarters of SI at Stark Tower in New York that was powered by a new and improved arc reactor and get the trio to assemble with the rest of the Avengers and eventually Loki’s brother, the lightstorm commanding, implicitly Cameron linked and always mighty Norse god of thunder Thor-perhaps originally implicitly linked to J.R.R. Tolkien by Kirby and Lee in Marvel Comics given that Thor luved Midgard as much as Tolkien luved Middle-Earth and Norse mythology, and played by Chris Hemsworth-to hunt down and defeat Loki and his insidious, extraterrestrial and beastly CGI enhanced Chitauri allies and take back the McGufferact Cube.
Curiously, Iron Man arrived on the scene to battle Loki in Stuttgart rocketing out of the sky to the sound of “Shoot To Thrill” again, linking the film to IRON MAN 2 as well as CAPTAIN AMERICA: THE FIRST AVENGER, SCOTT PILGRIM VS THE WORLD and the twilit, allegorical and CGI enhanced Kenneth Branagh super satirical animaction film THOR (2011). After battling Thor to a draw soon after his arrival to implicitly reaffirm the high regard Marvel, Paramount and Whedon had for Reitman, Iron Stark also led the way in defeating Loki and his extraterrestrial Chitauri allies by almost killing himself guiding a nuclear missile through the space-time worm hole that allowed the CGI enhanced Chitauri to reach Earth and destroying the blockbuster CGI enhanced beast of a Chitauri mother ship, implying the hope of Disney, Marvel, Paramount and Whedon that young Reitman would lead the way in defeating Spielberg and his beastly CGI enhanced blockbuster films, ending the dread allegorical Zone Wars, freeing audiences, film art, film artists and the Temple Theatre from the Twilight Zone and kicking off a brave neo eon of sunlit and Zone free slightly CGI enhanced film art.
Indeed, the fact that the film ended in the battered remains of the penthouse atop Stark/Avengers Tower with Potts and Stark more interested in their swelling romance than in rebuilding the penthouse or the tower affirmed the implicit fondness of Disney, Marvel, Paramount and Whedon for Cody and Reitman and their implicit eagerness to experience the dynamic duo’s next cinematic collaboration. An ironic hope indeed given that Iron Stark and the other assemblin’ Avengers were implicitly linked to film art for film art’s sake artists while Disney, Marvel, Paramount and Whedon were implicitly linked to beastly and blockbuster loot lustin’ CGI enhanced film art despite their pious implicit protestations to the contrary. Beastly CGI enhanced blockbuster ambitions that promised to get bigger, given that the teaser scene that pointed the way to the next MCU film implied that the all CGI Thanos had been the real mastermind behind the invasion of Earth by Loki and the Chitauri.
Curiously, on the same day as the release of MARVEL’S THE AVENGERS, Sir Scott implied that Reitman had been taken over by the blockbuster beast like the doomed and implicitly Reitman linked Charles “Charlie” Holloway-his name evoking irritating WASHINGTON PROBE reporter Heather Holloway in THANK YOU FOR SMOKING, and played by Logan Marshall-Green-in the twilit, allegorical, CGI enhanced and Ozian themed indie docufeature artbuster PROMETHEUS (2012), a film released on April 11, 2012 that was openly linked to Reitman by the appearance of Theron as the Wicked Meredith Vickers. Later that same year Ben Affleck implicitly roasted Reitman and his film art in the twilit, allegorical and CGI enhanced film ARGO (2012), a film released on August 31, 2012 whose implicit allegorical intent was affirmed by the film’s allusions to JUNO, THANK YOU FOR SMOKING and YOUNG ADULT. For his part, Quentin Tarantino ended the film year by implicitly linking Wright to the vengeful freed slave Django Freeman-played by Jamie Foxx-and by implicitly linking Reitman to southern plantation slave owner Monsieur Calvin J. Candie-played by Leonardo Di Caprio-in the twilit, allegorical and CGI enhanced indie docufeature film DJANGO (2012), released on December 11, 2012.
And so Tarantino implicitly kicked off the tragicomic sub-genre of the dread allegorical Zone Wars known as Cinema Garite, a sub-genre that not only implicitly roasted or toasted the poor ol’ Gardevil depending on the outlook of the film artist, but also implicitly roasted or toasted Cody, Reitman and YOUNG ADULT, depending on the outlook of the film artist. A tragicomic sub-genre of allegorical Zone War film art that implicitly exploded in 2013, implicitly continued to this day, and is pondered in all its implicitly peevish and grisly glory in “Cinema Garite”, an “essay” found on the Gary W. Wright tab in the Zone Warriors section of www.zonewarsonfilm.com. Curiously, implicitly leading the way in 2013 with an acerbic Cinema Garite salvo were Dis, Marvel and Paramount, who implicitly roasted Wright and fittingly rebooted the MCU with an implicit roast and toast of Cody and Reitman given that MARVEL’S THE AVENGERS ended with Potts and Stark up in their luv nest atop Stark Tower in the twilit, allegorical and CGI enhanced Shane Black super satirical animaction film IRON MAN 3 (2013), released on April 12, 2013.
“Tony needs Gary…”
Significantly, the film began with three Iron Man suits blowing up in their storage cases in the swingin’ Malibu pad of the implicitly Reitman linked Tony “Iron Man” Stark-played again by Downey jr.-a surprising but curiously fitting sight given that this was the third film in the IRON MAN Trilogy. This explosive overture was narrated by an unseen but always brash, cocky, confident, knowing and world weary Stark, which kicked off a film long and Juno, Nick, Rick and Ryan evoking VO to implicitly affirm the film’s implicit Reitman addressing intent. This implicit Reitman addressing intent was reaffirmed by the sound of the allegorical and Gianfranco Randone, Maurizio Lobina and Massimo Gabutti written Eiffel 65 tune “Blue (Da Ba Dee)” (1999) playing over the now familiar sight of flickering pages of Marvel super satirical narrative art that followed the explosive overture, for the tune reminded us that popular music had so far always accompanied the opening titles of every Reitman film.
Then the film saw Stark, the redoubtable and implicitly Cody linked Potts-played again by Paltrow-their helpful and implicitly Toronto linked digital assistant Jarvis-voiced again by Bettany-their still long suffering and happy new “forehead of security” Hogan-played again by Favreau-and the sturdy and implicitly Virgo linked Rhodes aka “War Machine”-played again by Cheadle-desperately battle the bald, surly, insolent, mayhem luving and Wright resembling and implicitly linked Savin-played by James B. Dale-his insidious and AIM commanding boss Aldrich Killian-resembling and implicitly linked to Todd Mara, the Wright supporting owner/manager of Image Collections, the finest narrative art, game and collectible shoppe in Streetsville, and played by Guy Pearce-and the bearded and hilarious “terrorist” leader Mandarin aka Terry Slattery-implicitly linked to fellow Peel District School Board (PDSB) library technician and Wright supporter Brian Gillam, and played by Sir Ben Kingsley-a battle that implicitly symbolized Cody and Reitman’s tiff with the Gillam and Mara supported Wright throughout the film. Indeed, the film’s allusions to UP IN THE AIR and YOUNG ADULT, the presence of Ty Simpkins as the Natalie Keener evoking Harley Keener and the return of Garret, who played Senator Lothridge in THANK YOU SMOKING, as a sheriff affirmed the film’s implicit interest in Cody and Reitman.
In addition, the sight and sound of Stark having a tragicomic run-in with Gary the cameraman-played by Adam Pally-halfway through the film affirmed the film’s implicit interest in some annoying character named Gary. The fact that the name of Aldrich Killian evoked that of Vancouver teacher and writer Crawford Killian reaffirmed the film’s implicit interest in a Canadian resident linked to the GVA, while the resemblance and implicit link of American President Ellis-played by William Sadler-to Toronto Mayor John Tory affirmed the film’s implicit interest in GTA film artists and film “scholars”. The name of Killian’s girl, Maya Hansen-played by Rebecca Hall-also affirmed the film’s implicit interest in Mississauga film “scholars” in particular, as Hansen evoked Rick Hansen Secondary School in Mississauga, which was located not far from where I lived in Streetsville, the village in the city of Mississauga. Slattery also affirmed the film’s implicit interest in Mississauga film “scholars”, for his name evoked the Mandarin restaurant chain in Mississauga. The sight and sound of Stark raiding Mandarin’s mansion in Florida dressed like the poor ol’ Gardevil in a black hoodie and black backpack reaffirmed the film’s implicit interest in roasting Wright.
Thus, the fact that Jarvis, Potts, Rhodes, and Stark triumphed over Hansen, Killian, Savin and Slattery and their glitch prone but powerful and EXTREMIS attempt to chemically recode the area of the brain that governed repair of the body so as to encourage disease prevention and limb regrowth, in the end, implicitly affirmed the hope of Black, Marvel and Paramount that Cody and Reitman would triumph over Wright and his few supporters with truly healing and harmonizing film art, in the end. Healing, harmonizing and slightly CGI enhanced indie films with heart, indeed, given that Stark blew up all of his inhuman Jarvis controlled Iron Man drone clones and had all of the shrapnel removed from his chest, in the end, another ironic implication given the over the top CGI enhancement of the film and the fact that it was created by blockbuster loot lusting Black, Disney, Marvel and Paramount.
As for SCC, she implicitly joined GC in implicitly roasting Reitman that year in the form of the implicitly homosexual or wistfully transgender and desperate celebrity wannabe Marc Hall-played by Israel Broussard-in the twilit, allegorical, CGI enhanced and Ozian themed indie docufeature film THE BLING RING (2013), a film released on May 16, 2013 whose implicit Reitman roasting intent was affirmed by the film’s allusions to JUNO, THANK YOU FOR SMOKING, UP IN THE AIR and YOUNG ADULT and by the implicit link to Cody of Hall’s partner-in-crime, Rebecca Ahn-played by Katie Chang. Curiously, and not to be outdone by Disney and Marvel, DC Comics and Warner Brothers again implicitly linked Reitman to Clark/Kal-El “Superman” Kent-played by Cooper Timberline at 9 years old, Dylan Sprayberry at 13 years old, and Henry Cavill as a young adult, respectively-that same year in the twilit, allegorical and CGI enhanced Snyder super satirical animaction film MAN OF STEEL (2013), released on June 10, 2013 and inspired by the eerily twilit and allegorical Richard Lester super satirical film SUPERMAN 2 (1980).
“You can embody
the best of both worlds.”
Curiously, the film began on the dying planet of Krypton with the implicitly Sir Scott linked Jor-El-played by Crowe-and his wife, the implicitly Giannina Facio linked Lady Lara Lor-Van-played by Ayelet Zurer-dying as they sent their natural birth baby son Kal-El-played by A.I. Smithee-blasting off in a spaceship to Earth to save him from either being killed by the destruction of their planet or by the Evil, Clooney resembling but implicitly Lucas linked General Zod-played by Michael Shannon-and his equally Evil, dimunitive, Fisher evoking and Kendrick resembling Sub-Commander Faora-Ul-played by Antje Traue-an implicit interest in Lucas affirmed by the prologue’s allusions to the twilit, allegorical, CGI enhanced, Ozian themed, implicitly Spielberg roasting and Lucas executive produced Richard Marquand indie film STAR WARS EPISODE VI: RETURN OF THE JEDI (1983) and the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Cameron and Spielberg roasting Lucas film STAR WARS EPISODE III: REVENGE OF THE SITH (2005).
The sight and sound of the virtual “essence” of Jor-El appearing later to Cavill’s young adult Kal-El in the Arctic Fortress of Solitude, warning Kal-El not to let his inhuman Kryptonian side get the better of his imperfect but vital humanity and urging his extraterrestrial son to work hard to save a fragile Earth also affirmed the film’s implicit interest in Sir Scott, for the warnings and urgings evoked Sir Scott’s implicit warnings to Reitman to not let blockbuster lusts destroy the vital humanity of his indie film art and his implicit hopes that young Reitman would work hard to save and kick off a new era of CGI enhanced indie film art in A GOOD YEAR and even PROMETHEUS, affirming the implicit link of Jor-El to Sir Scott and the implicit link of Kal-El to Reitman. The film’s allusions to PROMETHEUS and such twilit, allegorical and CGI enhanced Sir Scott indie docufeature artbusters as ALIEN (1979), LEGEND (1986) and BLACK HAWK DOWN (2001) reaffirmed the implicit interest in Sir Scott in MAN OF STEEL.
Fittingly, the film’s allusions to the IRON MAN Trilogy, JUNO, MARVEL’S THE AVENGERS, SCOTT PILGRIM VS THE WORLD, the SPIDER-MAN Trilogy, THANK YOU FOR SMOKING, UP IN THE AIR and YOUNG ADULT and the implicit link of Jonathan and Martha Kent-played by Kevin Costner and the fittingly surnamed Diane Lane, respectively-to Ivan Reitman and Genevieve Robert, the parents of Reitman, also affirmed the implicit link of Superman to Reitman. The sight and sound of ace DAILY PLANET reporter Lois Lane-played by Amy Adams-helping Supe not only evoked WASHINGTON PROBE reporter Holloway in THANK YOU FOR SMOKING, but also reminded us that Reitman was helped to succeed as a film artist by ace screenwriter Cody, reaffirming the implication that Kent was linked to Reitman in the film. The ironic sight and sound of Lane leaking her explosive first article on Superman to the pesky and Gardevil resembling and implicitly linked Glen Woodburn-played by Chad Krowchuk-so that he would upload the article to his “cancerous” website, much to the frustrated fury of DAILY PLANET owner and publisher Perry White-played by Lawrence Fishburne-also curiously affirmed the implicit link of Kent to Reitman.
Thus, the sight and sound of Lane and Supe working together to defeat General Zod, Sub-Commander Faora-Ul and their malovelent Kryptonian minions and save the Earth from being transformed into a neo-Krypton by the beastly and CGI enhanced blockbuster world engines unleashed on the Earth by the Kryptonian invaders, in the end, implied the hope of Snyder that Cody and Reitman and their imperfect but vitally human and slightly CGI enhanced indie film art would triumph over that of the perfect but inhuman and beastly CGI enhanced blockbuster film art of Lucas, allowing Reitman to truly be the slightly CGI enhanced best of both the American and Canadian film art worlds and the beastly blockbuster CGI enhanced and CGI free indie film art worlds. Significantly, Cody then no doubt pleased Reitman by donning the writer/director hats and teaming up with Novick to surprisingly and implicitly roast the poor ol’ Gardevil in her own Cinema Garite salvo in the equally small, low budget, down to Earth, intimate, twilit, allegorical and slightly CGI enhanced indie docufeature film PARADISE (2013), released on August 8, 2013.
Indeed, the poor ol’ despondent and TZ disaster scarred and traumatized Gardevil was implicitly linked to the poor ol’ despondent and airplane crash burned, scarred and traumatized Lamb Mannerheim-played by Julianne Hough-throughout the film. The fact that Lamb’s parents Doug and Melanie Mannerheim-played by Nick Offerman and Holly Hunter, respectively-evoked my parents Doug and Gail Wright and the presence of the implicitly Gillam linked “Sweet” William Carr-played by Russell Brand-affirmed the implicit link of Lamb to Gar. The fact that Lamb’s faith leader Pastor Rick-played by Phil Austin-resembled and was implicitly linked to then Canadian Prime Minister Stephen Harper also affirmed the implicit link of Lamb to a Crazy Canuck. Thus, the fact that Mannerheim left her conservative Christian parents and small town of Blakesley, Montana behind to find freedom and luv in Las Vegas only to return, in the end, to her conservative parents and life in blah Blakesley implied that Cody felt that Wright should leave behind decadent Hollywood and its dread allegorical Zone Wars and return to his little ol’ life okay?
Curiously, the videotaped sight and sound of Mannerheim singing the allegorical and Lander Coleman written gospel tune “Milky White Way” (1947) as the opening titles of PARADISE flashed on the screen evoked the pop tunes that accompanied the opening titles of all of the films of Reitman thus far. The presence of Octavia Spencer as a Las Vegas bar-tainer named Loray who befriended Mannerheim while in LV also linked PARADISE to the MCU via her role as a check-in girl in SPIDER-MAN, reminding us that the films of Reitman were also always openly linked to the MCU via the presence of Simmons. Just as curiously, soon after the release of PARADISE, the tragicomic tiff between Reitman and Wright was implicitly roasted in the form of the equally tragicomic tiff between teen boys Fred and Teddy-played by Nat Wolff and Jack Kilmer, respectively-in the twilit and allegorical Gia (GC) Coppola indie docufeature film PALO ALTO (2013), released on August 29, 2013.
Making it triply fitting, given that Reitman was also implicitly roasted and toasted in two super satirical animaction films that year, that he would return to the Temple Theatre with yet another small, low budget, down to Earth and intimate film that was, like PARADISE, in complete, ironic and pleasing contrast to the big, boffo and CGI enhanced mayhem of IRON MAN 3, MAN OF STEEL and MARVEL’S THE AVENGERS when he donned the co-producer/writer/director hats and teamed with Beugg, Estabrook, Glauberman, Glicker, Halfon, Kent, Saklad, Simmons, Smith, Steelberg, UP IN THE AIR co-music supervisor Randall Poster and co-producer Jeffrey Clifford and YOUNG ADULT co-executive producer Steven Bales to implicitly make and his most mature, mysterious and thought provoking film yet, the twilit, allegorical, brash, idiosyncratic, original, satirical, montage luvin’ and CGI free indie docufeature film LABOR DAY (2013), released on August 30, 2013 and inspired by the twilit and allegorical Joyce Maynard novel Labor Day (2009).
“There’s another kind of hunger.
The hunger for human touch.”
Curiously, the film began with a dreamy and opening title filled montage, including one again identifying the film with noticeably less brash confidence as “…a Jason Reitman film”, through sundrenched country roads that established the film’s setting in a small town and its environs, a dreamy montage unusually accompanied by a pensive and slightly ominous instrumental score by Kent that evoked the dreamy montages that began BLUE VELVET, the twilit and allegorical Lynch tele-moving painting series TWIN PEAKS (1990-91) and the twilit and allegorical SCC indie docufeature film THE VIRGIN SUICIDES (1999). Indeed, the latter film was openly evoked by the latest film long VO in a Reitman film, this one by Maguire, that began soon after the opening montage ended, for it recalled the wry film long VO of Giovanni Ribisi’s unnamed narrator of THE VIRGIN SUICIDES. However, before the Maguire VO began, the montage ended at a house that evoked the notorious Delta House in the allegorical, Ivan Reitman co-produced and implicitly New Hollywood toasting Landis indie docufeature film ANIMAL HOUSE (1978), implying that the film was actually addressing Landis rather than SCC or Lynch.
Thus it was fitting that we soon found after the montage ended and the film began that the house was occupied by a lonely, depressed, haunted, and troubled single mother named Adele Wheeler-played by Kate Winslet-and her young and perhaps SCC linked son Henry “Hank” Wheeler-played by Gatlin Griffith as a boy, by Dylan Minnette as a teen and Maguire as a young man, respectively-for the name of Adele evoked Delta House. Curiously, however, despite the fact that the name of Adele evoked Delta House, it was noticeable that Adele resembled Bigelow. This reminded us that a year before the release of LABOR DAY, Bigelow had implicitly roasted Landis in the implicit form of Osama Bin Laden-played by Ricky Sekhon-in the twilit, allegorical and CGI enhanced indie docufeature artbuster ZERO DARK THIRTY (2012), implying that Reitman was replying to Bigelow as well as Landis in LABOR DAY. Indeed, the film’s allusions to ZERO DARK THIRTY and the shrewd, cautionary, twilit and allegorical Bigelow indie docufeature film NEAR DARK (1987) implicitly affirmed that Bigelow was being addressed on one level in the film.
Significantly, however, an implicit interest in Landis was also reaffirmed when Adele and Henry were soon taken willing hostages in their house one sultry and steamy Labor Day weekend in 1987 refreshingly far before the 247365 cyberinsane world we live in now making the film indeed a pleasing relief from beastly CGI enhanced super satirical animaction blockbuster films in the small and Hollywood cadenced town of Holton Mills, New Hampshire by another troubled, haunted, imperfect but human and likably unlikable character in a Reitman film, the implicitly Landis linked escaped convict Frank Chambers-played by Josh Brolin and by Tom Lipinski in flashbacks as a young man, respectively. Curiously, over the course of this steamy and imprisoned weakend, the lonely, despondent, haunted and troubled Adele and the equally lonely, despondent, haunted and troubled Frank-troubled and haunted by memories of a fight that inadvertently killed his adulterous young wife Mandy [played by Maika Monroe] and their child [played by Les Lee] when he was a newlywed-fell slowly in luv with each other and decided to flee with Hank to Prince Edward Island. A luv so strong that after Frank was re-arrested at the end of the weakend just before they hit the road for Canada and sent back to prison, Adele waited patiently for his release and married him after he was released ten years later.
Thus, with Adele and Frank reconciled to each other, in the end, to the sound of the same pensive and slightly ominous instrumental music heard as the opening titles flashed on the screen at the beginning of the film, Reitman implied his hope that Bigelow would release her fear and loathing of Landis and embrace him in time, as well. The sight and sound of Hank growing up and succeeding as a chef/owner with his own indie bakery/cafe the Farm Stand Bakery also implied the hope of Reitman that SCC would stick to the indie film art path. Indeed, the swelling luv that developed between Hank and the Avril Lavigne resembling Eleanor-played by Brighid Fleming-over the course of that steamy weakend reaffirmed the implicit link of Hank to SCC, given that the name of Eleanor evoked that of Eleanor Coppola, the mother of SCC.
Significantly, Chambers also resembled Stark throughout the film, implying that Reitman was also replying to Black, Favreau, Marvel, Paramount and Whedon on another level in LABOR DAY and grousing over the fact that the Marvel and DC super satirical films had taken audiences, film art, serious film artists like himself and the Temple Theatre hostage like Frank took Hank and Adele hostage. Indeed, Hank and Adele were taken hostage by Frank inside the local Price Mart general store soon after Henry pondered the latest comics-ironically, all of them DC, including a prescient issue of BATMAN-on a spinner inside the store, openly linking the hostage taking to super satirical narrative art and implicitly affirming that Reitman was responding to the DCEU and the MCU on two other levels in LABOR DAY. In fact, the appearance of Gregg as Adele’s ex-husband Gerald openly affirmed the implicit additional MCU addressing intent of the film, given that he played the implicitly Iger linked SHIELD Agent Coulson of SHIELD in IRON MAN, IRON MAN 2 and THOR before he was killed by Loki in MARVEL’S THE AVENGERS. The return of Simmons as Reitman lucky charm and next door neighbor Mr. Jervis-a surname that evoked the surname of Stark’s helpful and Bettany voiced AI assistant Jarvis in the IRON MAN Trilogy-and the appearance of Maguire as both film long VO narrator and as Henry as a young man, in the end, also reaffirmed the additional implicit super satirical film roasting intent of LABOR DAY. Even the name of Henry “Hank” Wheeler affirmed the film’s implicit interest in Marvel superheroes, for it evoked that of Stanley “Stan” Leiber, better known to the world as Stan “the Man” Lee.
Thus, the arrest of Chambers and the escape of Adele and Henry from his grip, in the end, also implicitly symbolized the conviction of Reitman that imperfect but human and slightly CGI enhanced Hollywood film art like his own would escape from the beastly CGI enhanced blockbuster grip of superheroic satirical film art. Indeed, the film’s celebration of the ordinary but reassuring and life changing human touch over that of the extraordinary and CGI enhanced superhuman touch supported that additional implicit theme. The sight of Chambers being released from prison twenty-five years after the hostage taking and reuniting freely and lovingly with Adele also implicitly affirmed the hope of Reitman that one day the craze for CGI enhanced superheroes would be over, and an imperfect but vital humanity would return to film art and life, in the end.
And so LABOR DAY was another fine film that inspired world and Canadian audiences. And so later that year Kimberly Peirce implicitly had the troubled, telekinetic and implicitly Gary Wright linked teen girl Carrie White-played by Chloe G. Moretz-triumph over the implicitly Cody and Reitman linked teen Evildoers Chris Hargensen and Billy Nolan-played by Portia Doubleday and Alex Russell, respectively-in the twilit, allegorical and CGI enhanced indie docufeature film CARRIE (2013), released on October 7, 2013 and inspired by the presciently twilit and allegorical Screamin’ Stephen King novel Carrie (1974). An implicit Cody and Reitman roasting intent that Reitman implicitly responded to when he sighed resignedly and returned to the cyberkooky world he had left behind in LABOR DAY by donning the co-writer/co-producer/director hats once more and collaborating again with Paramount and Right Of Way Films on another small, low budget, down to Earth and intimate film that reaffirmed his support for imperfect but vital humanity and film art when he teamed up again with Beugg, Estabrook, Garner, Glauberman, Novick, Poster, Simmons and Steelberg on his next twilit, allegorical, brash, confident, idiosyncratic, shrewd, knowing, montage luvin’, satirical and slightly CGI enhanced indie docufeature film MEN, WOMEN AND CHILDREN (2014), a film released on September 6, 2014 that was inspired by the twilit and allegorical Chad Kultgen novel Men, Women And Children (2011) and the twilit and allegorical Carl Sagan book Pale Blue Dot (1994) and that often evoked the allegorical Robert Redford film ORDINARY PEOPLE (1980).
“…You’re better than the website.”
Unusually, the film began with a very realistic and all CGI enhanced opening title sequence-with one of the first titles declaring the film “…a Jason Reitman film”-that saw the first Voyager spacecraft drifting by Jupiter, Saturn and perhaps Neptune on its famous journey through the solar system accompanied yet again not by one pop song as in the first four films of Reitman but first by samples of the various languages, types of music and sounds of nature of Earth on the records curated by astronomer/popular science writer Sagan that were placed on the spacecraft for the enlightenment of extraterrestrial beings, an all CGI sequence that was in complete contrast to the CGI free LABOR DAY and that evoked the all CGI sight of the spacecraft carrying the infant Kal-El through the solar system past Saturn towards Earth and its crash landing in Kansas after the destruction of Krypton at the beginning of MAN OF STEEL. Then, as Voyager left the solar system, a wry, ironic and soon to prove film long VO by Emma Thompson began that evoked the equally wry and ironic film long VOs of Bingham, Deckard, Juno, Naylor and Wheeler, and the equally ironic film long VO of Stephen Fry’s Narrator in the twilit, allegorical, CGI enhanced and mostly charmless Garth Jennings docufeature film THE HITCHHIKER’S GUIDE TO THE GALAXY (2005), giving a sardonic Douglas Adams spirit to the film. A sardonic spirit that quickly emerged when the film left behind Voyager as the intrepid spacecraft left the solar system on September 27, 2013
For the film explored the tragicomic real life and internet intertwined lives and stories of a group of likably unlikable suburban Austin, Texas parents and their teen children in the neo cybernetic eon of 247365 computer, iPad, laptop and phone connection and communication that linked everyone but ironically also made everyone more alone and isolated than ever before, perhaps inspiring everyone to release their desperate, conniving and often sex obsessed Dark Sides, desperate Dark Side controlled lives that were in complete and ironic contrast to the purity of Voyager’s journey through the Sol system. Significantly, the life and story of the troubled and haunted but human and likably unlikable and backpack, hoodie and Pale Blue Dot luving star East Vista High School sophomore football running back Tim Mooney-played by Ansel Elgort-a troubled teen who lived with his single father “Clark” Kent Mooney-played by Dean Norris-like the equally troubled Carrie lived with her single mother Margaret White-played by Julianne Moore-in CARRIE implicitly addressed that of the poor ol’ troubled, haunted but human, likably unlikable and backpack and hoody luving Gardevil. For the divorce traumatized Tim’s decision to quit playing football for the EVHS Olympians so as to devote himself to a massively multiplayer online role playing computer game called GUILD WARS and, eventually, to his implicitly GC linked girlfriend Brandy Beltmeyer-played by Kaitlyn Dever-evoked and was implicitly linked to the poor ol’ Gardevil’s dedication to his Zone Wars website, an implicit interest in the POG affirmed by the fact that Elgort played a naïvely conniving high school student named Tommy Ross who struck up a doomed relationship with Carrie White in CARRIE and by the resemblance of his father Kent to my own father.
Indeed, the fact that the surname of Mooney reminded us that I was a moon ruled Cancer with a looney sense of tumour, that GUILD WARS had the same GW initials as Gary Wright and that the red and white colours of EVHS evoked the red, white and true colours of Canada like the equally red, white and true colours of Gary’s Maple Leaf Mini in YOUNG ADULT affirmed that the film was implicitly addressing the poor ol’ Gardevil on one level. And roasting him with grim amusement, for Tim attempted suicide after Brandy’s implicitly Bigelow linked, internet security obsessed and self-appointed cyber guardian mother “Princess” Patricia Beltmeyer-played by Garner-banned him from texting Brandy implied that Reitman thought I was destroying myself with my unhealthy obsession with the Zone Wars. However, given that Mooney recovered from his pill swallowing attempt with the help of Brandy, Reitman reluctantly implied that there was hope that even the poor ol’ Gardevil might free himself from his self-destructive bent and the Zone Wars and become an endearingly imperfect human with perhaps even a girlfriend and that Gia might also succeed as a film artist, in the end.
Meanwhile, the sight and sound of Tim’s father Kent recovering from his recent divorce with Lydia Mooney-played by Candace Lantz-by hooking up with the cluelessly conniving and perhaps Peirce linked mother Donna Clint-played by Judy Greer-also linked the film openly to CARRIE, as Greer played sympathetic high school gym teacher Ms. Desjardin in CARRIE. A cluelessly conniving mother who destroyed the film art career of her beautiful and implicitly Moretz linked blonde EVHS cheerleader daughter Hannah-played by Olivia Crocicchia-by allowing her to create a website that featured sexy photos of Hannah in skimpy clothes and lingerie that could be sold to online patrons. As all this was going on, Hannah’s attempt to strike up a relationship with the perhaps Matthew Vaughan linked EVHS football player Chris Truby-played by Travis Tope-went nowhere due to the impotence of Chris, an impotence also suffered by his perhaps Tim Burton linked father Don Truby-played by Adam Sandler-who, unknown to Chris, liked to use the porn sites on his son’s computer to sexually arouse and relieve himself due to his unfulfilling sex life with his SCC resembling and implicitly linked wife Helen-played by Rosemarie DeWitt. Leading Don to strike up a relationship with a Missy Pyle resembling but possibly Lisa Marie linked escort named Angelique-played by Shane Lynch-and Helen to strike up a relationship with a Denzel Washington resembling luver named Secretluvur-played by Dennis Haysbert.
Curiously, Reitman also implicitly meditated over his oeuvre in MEN, WOMEN AND CHILDREN. Indeed, the title reminded us that Naylor had boasted at the beginning of THANK YOU FOR SMOKING about how many “…men, women and children” were killed each year by the cigarettes he shamelessly lobbied for, thus preparing audiences for the sight and sound of the main characters of MEN, WOMEN AND CHILDREN being scythed down by their own Evil actions. In addition, the troubled and divorce haunted house of Tim and Kent Mooney evoked the divorce haunted house of Adele and Henry in LABOR DAY. The miscarriage of Tim’s fellow, anorexia suffering and perhaps Polley linked EVHS student, Allison-played by Elena Kampouris-also evoked both the miscarriages suffered by Adele in LABOR DAY and the sterility of Vanessa in JUNO, a link to JUNO openly affirmed by the return of Garner and of Simmons as Allison’s father. Last but not least, Hannah and Chris came across as a tragicomic teen version of Mavis and Buddy, while the slowly swelling romance of Kent and Donna evoked the slowly swelling romance of Adele and Frank in LABOR DAY. The main difference between MEN, WOMEN AND CHILDREN and the rest of the film art of Reitman was the surprising and unusual use of CGI to recreate the journey of the Voyager spacecraft through the solar system at the beginning, middle and end of the film, leaving behind a photograph of Earth as a pale blue dot as the unmanned spacecraft left the Solar system.
A passage through the solar system that reminded audiences that while technology came and went, including digital film technology and the linked computers, iPads, laptops and phones used throughout the film, an imperfect but vital humanity always remained on Earth, and that we should all do our best to embrace that vital humanity instead of isolating machines and get along despite our imperfections for the sake of world peace and harmony, an ironic implication indeed given the gleeful implicit roasts of film artists and film “scholars” in MEN, WOMEN AND CHILDREN. Indeed, the sight and sound of most of the main characters abandoning their digital devices after their insidious uses of those devices led them to be humbled and humiliated and embracing each other, in the end-particularly Brandy and Tim, who pledged eternal luv to each other as Tim as he lay in his hospital bed recovering from the stomach pumping that foiled his suicide attempt, and evoked the sight and sound of Bleek and Juno pledging eternal luv to each other as she lay in her hospital bed recovering from giving birth to their baby at the end of JUNO-affirmed the implication that Reitman was urging audiences to leave behind their perfect but inhuman digital devices and avatars and to embrace their imperfect but vital humanity in an ironically peace and luv filled conclusion.
And so MEN, WOMEN AND CHILDREN was another fine and inspirational film whose frank and sardonic look at how the constantly linked 247365 cybernetic world was unleashing the Dark Sides of the people of planet Earth and causing people to be harmed by those Dark Sides was a sobering reminder to us all to be careful lest we also be led astray and brought down by our own Dark Sides in this kooky cybernetic age, particularly the poor ol’ moon and website luvin’ Gardevil. Curiously, Sean Baker kicked off the new film year and implied that he had read this “insightful essay” and had been amused by my idle threat to write an allegorical story that linked Cody and Reitman to the resignedly intrepid and L.A. based Latina prostitutes, Diabla y Jacinta. For Baker implicitly turned the tables on me and linked me to the Latina half of a dynamic duo of likably unlikable, resignedly intrepid and L.A. based transvestite prostitutes in the shot with cell phones twilit and allegorical indie docufeature film TANGERINE (2015), released on January 23, 2015.
“I promise no drama,
Indeed, the poor ol’ perennially backpack wearing Gardevil was implicitly linked to the poor ol’ perennially backpack wearing Latina transvestite Hollywood prostitute Sin-Dee Rella-played by Kitana K. Rodriguez-throughout TANGERINE. This implicit conclusion was supported by Sin-Dee-Rella’s film long tiff with “her” implicitly Reitman linked pimp Chester-played by James Ransone. Indeed, Chester’s blue and white bandanna and hoodie evoked the colours of Toronto, implicitly affirming his link to Toronto film art, film artists and film “scholars”, while his Kendrick resembling other girl Dina-played by Mickey O’Hagan-implicitly affirmed his link to the film art of Reitman. The presence of Sin-Dee-Rella’s constant and resigned companion Alexandra-played by Mya Taylor-also supported this implicit conclusion, as the name of Alexandra evoked the Royal Alexandra Theatre located near TIFF on King Street in Toronto, recent home to a successful run of the equally twilit, allegorical and exuberantly transvestite Harvey Fierstein and Cyndi “Sin-Dee” Lauper musical KINKY BOOTS, itself based on the also twilit, allegorical and implicitly Lucas addressing Julian Jarrold indie docufeature film KINKY BOOTS (2005).
How fitting that the struggles of the bewigged Alexandra and Sin-Dee-Rella to retain their endearing, imperfect and likably unlikable humanity on the callous and inhuman streets of L.A. evoked not only the struggle of Daryl Hannah’s equally bewigged and perfect pleasure replicant Pris to achieve a full and imperfect humanity in the future L.A. of BLADE RUNNER, but the struggles of the main characters of the film art of Reitman to attain a full and vital albeit imperfect humanity to reaffirm the implicit interest in addressing Reitman and Wright in TANGERINE. An imperfect but vital humanity that took a blockbuster CGI enhanced hit not long after the release of TANGERINE when Disney, Marvel and Whedon teamed up again to implicitly linked Reitman again to the always brash and confident Tony “Iron Man” Stark-played again by Downey jr.-in the twilit, allegorical and CGI enhanced super satirical animaction film AVENGERS: AGE OF ULTRON (2015), released on April 13, 2015.
this very vulnerable blue one,
it needs Ultron.”
Curiously, the film began in the environs of the eastern European city of Sokovia with the dissemblin’ Avengers battling the ambiguously linked Baron Wolfgang von “Mother”” Strucker and the listless and implicitly Fritz Lang linked Doktor List-played by Thomas Kretschmann and Henry Goodman, respectively-and their malevolent Hydra minions in their fortress hideaway. Here the mischievous and implicitly Emily Lynch linked Wanda “the Scarlet Witch” Maximoff-initially implicitly linked to Suzanne Duchamp-Crotti by Kirby and Lee in Marvel Comics, and played by Elizabeth Olsen-bewitched Stark with a spell that caused him to use the equally mischievous Staff of Loki to inadvertently create a malevolent and implicitly Lynch linked A.I. called Ultron-played by James Spader-that tried to wipe out humanity. As a result, Stark had to team up again with the implicitly Cameron linked and always mighty Thor, the implicitly SCC linked Natasha “Black Widow” Romanoff, the implicitly Eastwood linked Steve “Captain America” Rogers, the implicitly Lee linked SHIELD Director Nick Fury, the implicitly Lucas linked Dr. Bruce “Hulk” Banner, the implicitly Sir Scott linked Clint “Hawkeye” Barton and the implicitly Virgo linked James “Iron Patriot/War Machine” Rhodes-played again by Hemsworth, Johansson, Evans, Jackson, Ruffalo, Renner, and Cheadle, respectively-to track down and defeat Ultron and his clones, in the end.
Significantly, after initially fighting the Avengers alongside Ultron, the Scarlet Witch and her equally mischievous and implicitly Riley Lynch linked twin brother Pietro “Quicksilver” Maximoff-initially implicitly linked to Marcel Duchamp by Kirby and Lee for Marvel Comics, an implicit link affirmed by the fact that his blurred motion at hyperspeed evoked the equally blurred motion of Duchamp’s moving painting “Nude Descending A Staircase, No. 2” (1912), and played by Aaron Johnson-Taylor-also joined the avenging cause and helped to triumph over Ultron. Along the embattled way, Banner, Stark and Thor transformed Jarvis into an android called Vision-both played by Bettany-that was powered by a yellow Infinity Stone called the Mind Stone. This caused Stark to create a new and female AI assistant named Friday-played by Kerry Condon-to help him. Significantly, before the Avengers triumphed over Ultron in an ironic implicit triumph of heroes implicitly linked to CGI wary indie film artists over a villain also implicitly linked to a CGI wary indie film artist, Stark also had to team up with Friday to save Sokovia, reminding us that Iron Man also saved New York at the end of MARVEL’S THE AVENGERS, implicitly reaffirming the fondness Disney, Marvel and Whedon had for Reitman. Alas, the brash and indie resolve of Stark to create both Ultron and Vision also ignited tensions between the Avengers, tensions that would explode in a later installment of the MCU.
Just as curiously, the following year Snyder implied that he was aware of and roasting the tiff between Reitman and Wright when he teamed up again with Adams, Cavill, Costner, Fishburne, Lane and MAN OF STEEL editor David Brenner, producers Christopher Nolan, Deborah Snyder and Emma Thomas and composer Hans Zimmer on the twilit, allegorical and CGI enhanced super satirical animaction film BATMAN V SUPERMAN: DAWN OF JUSTICE (2016), released on March 12, 2016 and inspired by DC Comics characters created by Bill Finger and Bob Kane.
“Maybe he’s just a guy
trying to do the right thing.”
For the implicitly Reitman linked Clark/Kal-El “Superman” Kent-played again by Cavill-battled the implicitly Wright linked Bruce “Batman” Wayne-played by Ben Affleck-throughout the film. Indeed, allusions to MAN OF STEEL and SCOTT PILGRIM VS THE WORLD and an Ontario shaped hole that was created when Superman tossed Batman through a wall at one point in the film linked both heroes to Ontario and its film art, film artists, film festivals and film “scholars”, implicitly affirming the Reitman and Wright roasting intent of the film. The sight of young Bruce Wayne-played by Brandon Spink-being traumatized at the beginning of the film by the 1981 murder of his ambiguously linked parents Thomas and Martha Wayne-played by Jeffrey D. Morgan and Lauren Cohan, respectively-as they left a Temple Theatre playing the presciently twilit, allegorical and implicitly Lucas and New Hollywood addressing John Boorman docufeature film EXCALIBUR (1981) also implicitly affirmed the link of Wayne to Wright. For this flashback prologue took Wayne out of the Thirties of the original DETECTIVE COMICS that chronicled the adventures of Batman and linked him to perseverant Perceval and the early Eighties, evoking the traumatic TZ disaster that the equally perseverant Wright experienced in the early Eighties on July 23, 1982.
Indeed, the appearance of Jeremy Irons as Wayne’s faithful and implicitly Cronenberg linked butler and aide de camp Alfred openly linked the two battling heroes and the film to Cronenberg and to Toronto and its film, film artists, film fests and film “scholars”. For Irons played the deviously doomed Mantle twins in the twilit and allegorical Cronenberg indie docufeature film DEAD RINGERS (1988) and the equally doomed Rene Gallimard in the twilit and allegorical Cronenberg indie docufeature film M. BUTTERFLY (1993). The appearance of Hunter as Senator June Finch also implicitly affirmed the film’s link to Toronto, as her names evoked the apartment near Jane Street and Finch Avenue where I grew up in Toronto, also implicitly affirmed the film’s interest in Reitman, as the surname of Sen. Finch evoked that of Elliot’s Captain Maynard Finch in UP IN THE AIR, and also openly linked the film to Cody, as Hunter played Melanie Mannerheim in PARADISE. Snyder also implicitly hoped that Reitman and Wright would put aside our differences and work together to advance the cause of film art given that Batman and Superman eventually put aside their differences and united with the implicitly Cody linked Lane-played again by Adams-and the implicitly SCC linked Diana “Wonder Woman” Prince-played by Gal Gadot-to literally defeat the implicitly Terry Gilliam linked Alexander “Lex” Luthor-played by Jesse Eisenberg-and a dead General Zod-played by Michael Shannon-that Luthor transformed into the literal embodiment of the CGI enhanced blockbuster beast known as Doomsday in order to save the world at the end of BATMAN V SUPERMAN: DAWN OF JUSTICE. Significantly, given that Superman died killing Doomsday with a kryptonite spear, DC, Snyder and Warners implicitly warned Reitman to watch out lest he be snared and killed by beastly CGI enhanced blockbuster lusts.
Significantly, fear and loathing of superheroes aka “metahumans” and the damage to life and property they caused when battling each other or when battling super villians and the implicit hope that Reitman and Wright would work together with SCC to advance the cause of CGI wary and imperfect but vitally human film art were also the major themes of BATMAN V SUPERMAN: DAWN OF JUSTICE. Curiously, this fear and loathing of superheroes and their super mayhem plus an implicit interest in Gardevil and Gilliam continued when the brash, cocky and implicitly Reitman linked Tony “Iron Man” Stark-played again by Downey jr.-returned with his new digital assistant Friday-played again by Condon-in the pivotal, action packed, twilit, allegorical and CGI enhanced Anthony and Joe Russo super satirical animaction film CAPTAIN AMERICA: CIVIL WAR (2016), released on April 12, 2016.
“We need to be put in check!
…If we can’t accept limitations,
if we’re boundary-less,
we’re no better than the bad guys.”
Indeed, the fear and loathing of superheroes was so pronounced in this latest installment of the MCU due to the mayhem that they had caused in previous adventures that the United Nations passed the Sokovia Accords to force the Avengers to operate only when needed under the supervision of a UN panel. This fear and loathing was increased by the terrorist antics of the brainwashed and implicitly Gilliam linked James Buchanan “Bucky” Barnes aka “the Winter Soldier”-played by Sebastian Stan-that were actually masterminded by the malevolent and implicitly Michael Palin linked Baron Helmut Zemo-played by Daniel Bruhl. Significantly, the UN Sokovia Accords led to a rift in the Avengers between the implicitly Canadian film artist linked heroes who supported them and the implicitly American film artist linked heroes who did not support the accords, an unfortunate but fitting rift, given that Canadians tended to support the UN more than Americans, a rift deepened by the malevolent machinations of Baron Zemo.
Just as significantly, this rift led to a climatic rumble between the two sides at an airport in Liepzig, Germany, with Stark leading the UN Sokovia Accords supporting superheroes mostly and implicitly linked to CGI wary and Canada linked film artists and film “scholars” such as the implicitly SCC linked Romanoff-played again by Johannson-the implicitly Cronenberg linked Vision-played again by Bettany-the implicitly Virgo linked Rhodes aka “War Machine”-played again by Cheadle-the implicitly Prime Minister Justin Trudeau linked Prince T’challa of Wakanda-played by Chadwick Boseman-and the implicitly Gardevil linked new, short, skinny, naïve, innocent, accident prone and film referencing Peter “Spider-Man” Parker in his amazing new Stark designed and hi-tech Spidey suit-who, out of the suit in his hoodie and black and orange Tiger backpack definitely implicitly evoked the poor ol’ Gardevil now more than Cronenberg as in earlier Spider-Man films, and was played by Tom Holland-against the UN Sokovia Accord defying superheroes led by the implicitly Eastwood linked Steve “Captain America” Rogers-played again by Evans-mostly implicitly linked to CGI embracing American film artists such as Barnes, the implicitly Lynch linked Wanda “the Scarlet Witch” Maximoff-played again by Olsen-the implicitly Sir Scott linked Clint “Hawkeye” Barton-played again by Renner-the implicitly Richard Kelly linked Scott “Ant-Man/Giant Man” Lang-initially implicitly linked to Frank Frazzeta by Kirby and Lee for Marvel Comics, and played by Paul Rudd-and the implicitly Will Smith linked Sam “Falcon” Wilson-played by Anthony Mackie. As the super showdown ended in a draw, the Russo Brothers implied that there was a place for CGI wary allegorical film art in the age of exuberantly CGI enhanced allegorical film art.
Significantly, Stark played a prominent role in the film, despite this being the trimax of the CAPTAIN AMERICA Trilogy. For he was instrumental in having Barnes, Prince T’challa and Rogers arrested midway through the film, an arrest that created tensions that led to the super rumble in Germany. Stark also dropped by Queens, NY, personally persuaded young Parker to assemble on the side of the implicitly Canadian film artist linked Avengers, and gave him that spanking new hi-tech Spidey suit, implicitly affirming the link of the latest Parker to a Canadian named Wright and implying that Dis, Marv and the Russo Brothers, like DC, Snyder and Warners, hoped that Reitman and Wright would end their squabbling and work together with SCC to advance indie film art for film art’s sake. Indeed, the tragicomic sight and sound of Spidey drawing upon his fondness for STAR WARS EPISODE V: THE EMPIRE STRIKES BACK to come up with a Hoth snow battle inspired way to bring Giant Man down to size reaffirmed the implicit link of webhead to Wright, reminding us of wacky Wright’s obsession with interpreting the allegorical films and telefilms of Lucas.
Last but not least, Stark also ended the film back in his Iron Man armour having a super battle with Captain America after discovering that a Hydra mind controlled Barnes had caused the car crash that killed his parents in 1991, a brutal battle that ended with Cap giving back his vibranium shield to Stark in disgus before fleeing with Barnes and Prince T’Challa to Wakanda as Barton, Lang, Maximoff and Wilson wound up in prison being watched over by the implicitly Lee linked US Secretary of State Thaddeus “Thunderbolt” Ross-played again by Hurt-an ending that significantly left most of the Sokovia accord supporting and implicitly Canadian film artist linked superheroes in charge of the Avengers.
Intriguingly, the implication that Dis, Marv and the Russo Brothers, like DC, Snyder and Warners, wanted Reitman and Wright to stop squabblin’ and work together to advance the cause of CGI wary and imperfect but vitally human indie film art was reaffirmed the following year when the canny, cocky and implicitly Reitman linked Tony “Iron Man” Stark-played again by Downey jr.-funky Friday, “happy” Hogan and peppy Potts-played again by Condon, Favreau and Paltrow, respectively-and even in two small cameos the implicitly Eastwood linked Captain America-played again by Evans-reappeared and rejoined the implicitly Gardevil linked Peter “Spider-Man” Parker-still in his Stark designed Spidey suit, and played again by Holland-in a battle against and triumph over Evildoers who were implicitly linked to TIFF bigwigs Handling and Bailey in the form of Adrian “the Vulture” Toomes and Herman “Shocker #2” Schultz-played by Michael Keaton and Bokeem Woodbine, respectively-in the twilit, allegorical and CGI enhanced Jon Watts super satirical animaction film SPIDER-MAN: HOMECOMING (2017), a film released on June 28, 2017 that was ostensibly about Spidey but ended with Potts and Stark announcing their engagement at an end of film press conference at the new up-state Avengers facility after Parker refused to don an even more hi-tech Spidey suit and join Stark in front of the press confirming that he was the newest Avenger.
Curiously, this implicit hope that Reitman and Wright would end their tiff and work together to advance film art returned later that year when the implicitly Reitman linked Clark/Kal-El “Superman” Kent-played again by Cavill-returned from the dead to team up again with the implicitly Cronenberg linked Alfred, the implicitly Cody linked Lane, the implicitly SCC linked Diana “Wonder Woman” Prince and the implicitly Wright linked Bruce “Batman” Wayne-played again by Irons, Adams, Gadot and Affleck, respectively-and with newcomers briefly glimpsed in BATMAN V SUPERMAN: DAWN OF JUSTICE like the implicitly Jay Baruchel linked Barry “the Flash” Allen-played by Ezra Miller-and the implicitly Luc Besson linked Arthur “Aquaman” Curry-played by Jason Momoa-to battle to preserve an imperfect but vital humanity on Earth by defeating the CGI enhanced and implicitly Kelly linked alien Evildoer Steppenwolf-played by Ciaran Hinds-and his madap plot to unite an unholy trinity of Mother Boxes with the help of legions of buggy and belligerent CGI enhanced alien parademons in the twilit, allegorical and CGI enhanced Snyder super satirical animaction film JUSTICE LEAGUE (2017), released on October 26, 2017. Indeed, the return of Simmons as long suffering and indomitable Gotham City Police Commissioner James “Jim” Gordon affirmed the implicit interest in Reitman on one level in the film.
At any rate, after five big, boffo and over the top CGI enhanced super satirical animaction films, the time had definitely come for another small, low budget, down to Earth and intimate film from Reitman and one, furthermore, that implicitly and gently satirized the onslaught of super satirical animaction films when he donned the co-producer/director hats and teamed up again with Right Of Way Films and Cody, Estabrook, Novick, Steelberg, Theron and Marceline Hugot-who played Mrs. Farnsworth in LABOR DAY-and fused the mouthy and in your face attitude of YOUNG ADULT with the thoughtful maturity of LABOR DAY in the twilit, allegorical, brash, idiosyncratic, knowing, original, montage luvin’, shrewd and slightly CGI enhanced indie docufeature film TULLY (2018), released on January 23, 2018.
“Should we try and make
Significantly, after being absent for the last two and least successful Reitman films, the film began again with the allegorical and John Cale, Sterling Morrison, Lou Reed and Maureen Tucker written The Velvet Underground tune “Ride Into The Sun (Demo Version)” (1969) accompanying opening titles that again affirmed that this was “…A film by Jason Reitman.” Then the film revolved around the harassed, harried, and likably unlikable young married New York state couple Marlo and Drew Moreau-played by Theron and Ron Livingston, respectively-who looked and acted like an equally young and married, harassed and harried Pepper and Tony Stark throughout the film, affirming the implicit super satirical addressing intent of the film. Indeed, the fact that the name of Marlo Moreau again evoked Lee’s luv of giving his Marvel superheroes and their associates alliterative names like Peter Parker and Pepper Potts implicitly affirmed that Reitman was replying to Marvel again as he did on one level in JUNO, LABOR DAY and THANK YOU FOR SMOKING.
The arrival of Moreau’s young, tireless and superheroic night nurse Marlo “Mermaid” Tully-played by Mackenzie Davis-who showed up to show up the worn out and cranky Moreau by looking after her newborn Mia-played by Jen X-and her two older children, Jonah and Sarah-played by Asher M. Fallica and Lia Frankland, respectively-night after night reaffirmed the implication that Reitman was subtly roasting CGI enhanced super satirical animaction films again. Indeed, the three Moreau children evoked the IRON MAN trilogy, and Tully evoked the new and Condon played AI assistant Friday that arrived to help Stark in CAPTAIN AMERICA: CIVIL WAR after Bettany stopped contributing his voice to the previous helpful AI assistant Jarvis when “Jay” transformed into the implicitly Cronenberg linked Vision in that same film. A teacher who resembled and was implicitly linked to Whedon-played by Steven Roberts-who met and soothed Jonah and Marlo midway through the film also affirmed the implicit MCU addressing intent of TULLY. The mermaid dreams that haunted Marlo throughout the film reaffirmed the film’s implicit interest in Disney/Marvel, for these dreams evoked the twilit, allegorical, CGI enhanced and implicitly Landis supporting Disney, Ron Clements and John Musker film THE LITTLE MERMAID (1989). Thus, the sight and sound of Moreau releasing Tully, in the end, implied that Cody and Reitman were either releasing Tony and Pepper and the MCU or were urging Disney/Marvel and the rest of Hollywood to release their current obsession with perfect but inhuman CGI enhanced super satirical animaction fantasy and to get back to imperfect but human and meaningful and moving film art reality.
However, as TULLY also came across as a sequel to YOUNG ADULT that explored what happened to Gary after that film, with Moreau coming across as an older version of Gary, and Tully was actually Moreau’s younger, more energetic, unmarried and imaginary self, an imaginary younger self that Moreau eventually released to preserve her vital and imperfect humanity and sanity and to reconnect with the long suffering Drew, in the end, perhaps TULLY was another implicit message aimed at the poor ol’ Gardevil that implored him to literally get over himself, let go of the past and finally get a life, okay? Indeed, to support that unusual implication, it was noticeable that Moreau was born on 6-7-77, evoking my birth in July of ’67 and the year my life was changed forever by the arrival of STAR WARS EPISODE IV: A NEW HOPE. It was also noticeable that the license of the Moreau family van was T4E 4812, linking the Moreaus to the fateful twilit and disastrous year of 1982.
In fact, Tully’s maiden surname also linked her to one of the first years of the dread allegorical Zone Wars, as it evoked that of the implicitly Woody Allen and Toto linked Louis Tully-played by Rick Moranis-in GHOSTBUSTERS, reaffirming the possible Wright roasting intent of TULLY. An implicit link to the Reitman family reaffirmed by the fact that Reitman and his ex-wife Michele Lee resembled and were implicitly linked to Moreau’s brother and sister-in-law Craig and Elyse Tully-played by Mark Duplass and Elaine Tan, respectively. The presence of Xantha Radley as harried elementary school teacher Mrs. Marvish also supported that implication, as her name evoked both Mavis Gary and the Mervish live theatre supporting family in Toronto. The name of the Moreau’s newborn daughter, Mia, reaffirmed that link to Mervish supported live theatre in Toronto, as it evoked MAMA MIA.
Curiously, TULLY ended with a distraught Drew pledging luv eternal to Marlo as she recovered from nervous exhaustion in a hospital bed, evoking the sight and sound of Brandy pledging luv eternal to Tim in his hospital bed at the end of MEN, WOMEN AND CHILDREN. This moving sight and sound also reminded us that JUNO ended with Bleek pledging luv eternal to Juno as she lay in a hospital bed recovering from giving birth to their beamish boy, bringing Reitman’s Diablo Trilogy to a fittingly luving trimax in another fine film to inspire and enfire world and Canadian audiences. At any rate, given the possible implicit IRON MAN Trilogy roasting intent of TULLY, it was also fitting that Tully faded away near the end of the film before Marlo released her, for the sight and sound anticipated the sight and sound of half the beings in the MCU eerily fading away later that year at the end of the twilit, allegorical and CGI enhanced Russo Brothers super satirical animaction film AVENGERS: INFINITY WAR (2018), released on April 23, 2018.
“My only curse is you.”
Significantly, the film began with an embattled prologue that saw the Evil, implicitly Michael Eisner linked, cosmic balance and Infinity Stone lusting mad Titan Thanos-played by Brolin-his gloating major domo, the implicitly Jeffrey Katzenberg linked Ebony Maw-played by Tom Vaughan-Lawlor-and most of the rest of his malevolent band of equally Evil miscreants kill most of the survivors of the destruction of Asgard on their fleeing refugee ship-including the implicitly Spielberg linked Loki [played again by Hiddleston]-with the exception of the implicitly Cameron linked Thor-played again by Hemsworth. Just as significantly, after Thanos crushed the McGufferact to release its blue Space Infinity Stone and add it to the already stolen purple Power stone on his fittingly sinister left handed Infinity Gauntlet, the CGI enhanced super satirical action switched to Earth. Here Banner, Friday, Parker, Potts and Stark-played again by Ruffalo, Condon, Holland, Paltrow and Downey jr., respectively-quickly reappeared and led the fight against the mad minions of Thanos who soon arrived to steal the green Time stone from the implicitly Screamin’ Stephen King linked Doctor Stephen Strange, Master of the Mystic Arts-played by Benedict Cumberbatch-and the yellow Mind stone from the implicitly Cronenberg linked Vision-played again by Bettany-reaffirming the implicit fondness of Disney, Marvel and the Russo Brothers for Cody, Reitman and Wright.
Curiously, after tagging along for a space ride that led Stark and Parker in yet another hi-tech Stark Spidey suit to team up to kill Maw and release Dr. Strange from a certain death, the three heroes wound up on Titan where they teamed up with the implicitly Besson linked Peter “Star Lord” Quill-played by Chris Pratt-and the rest of the elusively linked Guardians of the Galaxy for the final battle with Thanos, perhaps so new Disney CEO Iger could symbolically end the Eisner era (EE) and kick off the Iger era (IE). Curiously, this implicit new beginning did not happen, as Thanos beat the assembled heroes, almost killing Stark along the way, and eventually, after killing Vision to get the Mind stone, acquired all six Hollywood film studio evoking Infinity Stones-which also included the orange Soul stone and the red Reality stone-and used them to wipe out half of the beings in the galaxy, causing them to fade away into limbo like Tully in the end, while the mad Titan lived to retire from his deadly labours and fight if necessary another day. So did Stark, but not Parker, again affirming the implicit fondness of Dis, Marv and the Russo Brothers for Reitman.
Just as curiously, and if to support the implication that TULLY wuz roastin’ Wright, an implicit interest in roasting the poor ol’ Gardevil continued when Reitman teamed up again with Right Of Way Films and with Beugg, Dever, Estabrook, Farmiga, Garret, Glicker, Saklad, Simmons and Steelberg and thankfully returned to the Temple Theatre soon after the release of AVENGERS: INFINITY WAR with another reassuringly down to Earth but surprisingly large, big budget, and impersonal film, the twilit, allegorical, brash, idiosyncratic, original, shrewd, confident, knowing, montage luvin’ and mostly CGI free indie docufeature film THE FRONT RUNNER (2018), a film released on August 31, 2018 that was inspired by the Matt Bai book All The Truth Is Out: the week politics went tabloid (2014) and whose focus on the likably unlikable 1988 Democratic presidential hopeful Senator Gary Hart-played by Hugh Jackman, who openly linked another Reitman film to the MCU via his character James “Logan” Howlett aka “Wolverine” in the X-MEN films-openly brought another Gary into the film art of Reitman.
“He’s right, isn’t he?”
Indeed, after unusually kicking off with no opening titles at all for the first time ever, the sight and sound of the serious, solemn, big issue obsessed and hoodie luvin’ 1988 presidential front runner Sen. Hart losing the race after refusing to take the media seriously and then being brought down by them for lying about his adulterous relationship with Donna Rice-played by Sara Paxton-a beautiful young blonde who resembled Mavis in YOUNG ADULT and the young Tully in TULLY affirmed the implication that Reitman was blasting me again and implicitly warning me that I would not succeed as a film “scholar” unless I dropped the serious, solemn, secretive and solitary sob and dance routine and became more open with the press and the public. The fact that Hart’s daughter was played by Dever affirmed the implicit link of Hart to Wright, reminding us that Dever played Brandy, the teen girlfriend of the implicitly Wright linked Mooney in MEN, WOMEN AND CHILDREN. A WASHINGTON PROBE evoking WASHINGTON POST reporter named AJ Parker-played by Mamoudou Athie-also affirmed the implicit link of Hart to Wright, reminding us that Wright was implicitly linked to Holland’s Peter “Spider-Man” Parker in the MCU films.
The birthplace of Hart in Ottawa, Kansas reaffirmed the implicit message of THE FRONT RUNNER, linking Mavis Gary Hart to Ottawa, Ontario and reminding us that the poor ol’ Gardevil was born in North York, Ontario, a suburb that was now a part of the Toronto megacity. The signs proclaiming “Gary Hart for President” also affirmed his implicit link to a person linked to Canada and Toronto, for the sight of the supportive message spelled with blue letters on a white background or red letters on a white background reminded us that red and white were the official colours of Canada and blue and white were the official colours of Toronto. Last but not least, the ability of Sen. Hart to cut through the bullshit and explain politics to people also evoked my desperate and tragicomic attempts to see through cinematic and literary allegories and explain them to people, reaffirming the implicit link of myself to Sen. Hart.
Ironically, however, THE FRONT RUNNER was unsuccessful, perhaps due to the fact that deep down in the invisible but definite and shrewd individual subconscious of each audience member who watched THE FRONT RUNNER it was understood that I was in the right in my tiff with Reitman, and Reitman was in the wrong, okay? So right, that even an implicit frustrated attempt to team up again with Ivan, Beugg, Glauberman, Glicker and Steelberg to exorcise me and free the internet and the Temple Theatre of my infuriatingly “insightful” presence at the convulsive, ectospasmic and CGI entranced boffo blockbuster climax of the twilit, allegorical, CGI enhanced and Ozian themed animaction film GHOSTBUSTERS: AFTERLIFE (2021) was doomed to failure. Not that Matt De La Pena noticed or cared if he did notice, for he implicitly linked Reitman and Cody to the sadolescent Clark “Superman” Kent and his friend, Smallville High School newspaper reporter Lana Lang, in the twilit, allegorical and CGI enhanced super satirical animaction novel Superman: dawnbreaker (March 2019).
“I’m definitely not a hero.”
Indeed, the novel’s allusions to MAN OF STEEL, MEN, WOMEN AND CHILDREN, SCOTT PILGRIM VS THE WORLD, THANK YOU FOR SMOKING, UP IN THE AIR and YOUNG ADULT and the fact that young Kent had a friend named Paul Molina affirmed the film’s implicit interest in young Reitman, reminding us that Molina played WASHINGTON POST publisher Ben Bradlee in THE FRONT RUNNER as well as Doc Ock in SPIDER-MAN 2. The fact that Principal Rice was in charge of Smallville High School reaffirmed the implicit link of Kent to Reitman, reminding us of Donna Rice in THE FRONT RUNNER. The fact that young Kent used his super speed and strength in Chapter 3 to prevent a falling helicopter from crashing into the ground on the Kent farm and killing its pilot and two passengers also implied the hope of De La Pena that young Reitman would succeed in breaking audiences, film art, film artists and the Temple Theatre free from the TZ disaster and the dread allegorical Zone Wars.
In addition, the fact that Kent also used his super powers to triumph over the Evil and implicitly George Walton Lucas jr. linked Mankins Corporation CEO Montgomery Wallace Mankins and his madcap attempt to transform people into blockbuster beasts, in the end, also implied the hope of De La Pena that Reitman and his small and slightly CGI enhanced indie film art would triumph over the beastly CGI enhanced blockbuster film art of Lucas. Indeed, the fact that Kent carried a blockbuster bomb on his first Superteen flight up up and away to explode harmlessly in the sky in order to save the people of Smallville, in the end, affirmed the implicit hope of De La Pena that Reitman and his indie film art would triumph over beastly blockbuster bombs. An implicit hope that Reitman would triumph over beastly CGI enhanced blockbuster bombs n lusts that returned in the twilit, allegorical and CGI enhanced Russo Brothers super satirical animaction film AVENGERS: ENDGAME (2019), released at last on April 22, 2019.
Significantly, after a prologue on Earth that saw the family of the implicitly Sir Scott linked Clint “Hawkeye” Barton-played again by Renner-fade away into limbo in a beginning that evoked the end of AVENGERS: INFINITY WAR and reminded audiences where they were in the saga, the film shifted to the implicitly Reitman linked Stark-played again by Downey jr.-drifting through space for three weeks in a crippled spacehip with the implicitly Nikita linked Nebula-played by Karen Gillan-and dying of lack of oxygen. Luckily for Stark, however, he was saved by the possibly Polley linked Carol “Captain Marvel” Danvers-fittingly played by Brie Larson, who played the also possibly Polley linked Natalie aka Envy Adams in SCOTT PILGRIM VS THE WORLD-like Marlo the Mermaid saved Marlo the Tully from drowning in her submerged family van at the end of TULLY and taken back to Earth and the luving embrace of the implicitly Cody linked Potts-played again by Paltrow-and the rest of the surviving Avengers.
Then, after recovering, marrying Potts and fathering the ambiguously linked Morgan-played by Lexi Rabe-a family situation that recalled that of the implicitly Stark and Potts linked Drew and Marlo Moreau in TULLY, Stark led those surviving Avengers-including the new and improved Iron Potts-five years later on the time travelling charge back to the future past to recover the six Infinity Stones with the help of some nifty and timely “…time-space GPS” gizmos he cooked up, return from limbo the half of the living beings of the universe who had faded away at the end of AVENGERS: INFINITY WAR-including Holland’s implicitly Wright linked Parker-and back to reality so as to defeat the implicitly Eisner linked Thanos-played again by Brolin-and the rest of his mad minions in the finally triumphant end, implicitly ending the EE and kicking off the IE. Significantly, while successful, Stark died after taking out Thanos and restoring the universe for good with his own makeshift Infinity Gauntlet, a death that implicitly affirmed that Reitman’s years as the brash, confident, shrewd, knowing and quirky creator of small, low budget, down to Earth and intimate film art were over and his years as a creator of beastly and CGI enhanced blockbuster schlock like GHOSTBUSTERS: ABANDON LIFE had possibly begun. But possibly not, given the implicit opposition to the destruction of the imperfect but vital humanity of oh so complicated film art by excessively beastly CGI enhancement and given the implicit Zonebusting intent of the slightly CGI enhanced indie film art of Reitman.
However, and alas, despite Reitman’s support of the imperfect but vital humanity of men, women and children and their film art, his tacit acceptance and support of the infamous and infuriating TIFF OHEF list and its dismissal of Canadian film art and artists and his implicitly sarcastic response in MEN, WOMEN AND CHILDREN, THE FRONT RUNNER and YOUNG ADULT to my outrage over the “essential” list and my Zonebusting website had unfortunately also implied that while the brash, confident, shrewd, seasoned, knowing, intelligent, intuitive, original, able and talented young film artist was the right man to righteously roast the man of Wright-!that pernicious, pertinacious, and perspicacious PPQB 4EVR!-Reitman had not entirely triumphed over his perfect and inhuman Dark Replicant Side like an imperfect but truly human Slade Runner. A Dark Side that could now capture Reitman in its insidious clutches and make him create soulless CGI enhanced blockbuster beasts like GHOSTBUSTERS 3 unless he did indeed have the heart and the power to tame the blockbuster beast and make it do his bidding without dying in the process like Stark at the end of AVENGERS: ENDGAME. Thus allowing him to make some progress in getting on with the fascination, the realization, the underlying theme and truly becoming a complicated, endearingly imperfect, likably unlikable and fully human film artist who was not Iron Man or Superman, Goblin Juniour or Steppenwolf and definitely not the son of Ivan but the talented real life film hero who Maurio, Theron and audiences were so fond of, who inspired millions of fellow Constitutionally enhanced and supported Canadians with his excellent and confident film art and who could indeed be the slightly CGI enhanced best of both the American and Canadian film art worlds and the beastly blockbuster CGI enhanced and CGI free indie film art worlds, a film artist who was best referred to as…Reitman.
De La Pena, Matt. Superman: dawnbreaker. New York:
Fingeroth, Danny. A Marvelous Life: the amazing story
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