AVENGERS: ENDGAME is no INFINITY WAR

Spoiler free review.

Fans who stuck it out for 10 years and 21 movies will find Avengers: Endgame a rewarding climax to what Marvel Studios is now referring to as “The Infinity Saga.” Reunions and farewells are necessary when on-going story arcs are closed, brief revisits to memorable moments in past entries are restaged and for a large number of superheroes, much-needed emotional and psychological closure. If the first film last year focused on infinity, this movie centers on finality. Marvel made the wise decision to hold back all of the gimmicks (often referred to as “spoilers” if revealed before the screening) and the trailers promoting the film – for the most part – gave away only scenes from the first 20 minutes of the movie. Mystery abound, fans are spending what might be $1 billion globally this weekend to discover how the saga comes to a close.

Whereas Avengers: Infinity War was a light-hearted romp with Olympic-style competition to prevent Thanos from acquiring possession of all six infinity stones, the most powerful elements of the cosmos, then emotionally stabbing us in the back with the villain winning and half of all sentient life in the universe destroyed, Avengers: Endgame accomplishes the exact opposite. Five years after “the Decimation,” also referred to as “the snap,” the world is solemn, bleak and depressing. Not everyone has found a way to move on and the world is not a balanced garden of Eden as Thanos hoped for. Some, such as Hawkeye, who took on the persona of Ronin, found guidance where there is chaos. Others sought counseling. Our heroes got used to winning every battle that they forgot how to lose, so they took their ball and went home… Dark, somewhat depressing at times, the film picks up momentum where a shining beacon of optimism gives our heroes something once again to fight for. The ultimate goal is to return everything – and everyone – back and undo the Decimation. Twenty minutes into the movie they learn the hard way that rushing into action on emotion will not provide closure. All of which can be gathered from watching the trailers, but to reveal anything more would be providing spoilers. Needless to say, our heroes will prevail even if not in the way they expected.

Like any well-thought plan, the process by which the superheroes maneuver through a web of familiar storylines does not go according to design, only leading to an expected climatic battle sequence against Thanos. Their success, however, comes not from strength in numbers but from their heart. In a cinematic buildup where all roads led to the closing chapter, the real beauty of this three-hour spectacle is not good vs. bad, but rather how a number of iconic superheroes find redemption amidst chaos. Throughout the pit of despair, the bravest and best of us discover the valuable lesson to be who we are, not who we are expected to be.

There is no post-credits sequence but there are scenes of past Marvel movies during the closing credits to acknowledge the actors and their decade-long participation, closing the chapter on what became an entertaining – and extremely profitable – franchise. We can almost predict the direction of future installments, those grounded such as Spider-Man and Shang-Chi, and the majority exploring cosmic potentials, but one has to wonder as a result of three key and noticeable scenes in Avengers: Endgame whether or not the future of the Marvel Cinematic Universe is going to be influenced not by product placement or focus groups, but rather by choosing a political stance on contemporary issues.

While both Infinity War and Endgame were scripted and directed back-to-back by the Russo brothers, Endgame comes off like a completely separate movie from the first. Summed up in one sentence, Avengers: Endgame is an entertaining movie, but it is not Infinity War.

Shazam! is a Pleasant Surprise

When watching any movie I ask for one of two things. Impress me or entertain me. The movie trailer for Shazam! was misleading, giving me the impression the film was going to be something scripted by Seth Rogen. The first half of the trailer looked intriguing and then, an immature juvenile in a grown man’s body suggested a terrible comedy. For three weeks I hesitated while a few friends recommended I check out the film, all expressing a common denominator: most of the film’s comedy was confined to the movie trailer. They swore it was played serious. And for the most part, they were correct.

Overlooking the deliberate product placement of Batman and Superman merchandise in the toy store where Shazam and Dr. Sivana exchange combat blows, the film provides a couple surprises that I cannot reveal without providing spoilers…. Needless to say Shazam! turned out to be the most entertaining film of the year to date.

The events take place in Philadelphia (avoiding Superman’s Metropolis) where young Billy Batson finds himself placed in a new foster home, makes a new friend, Freddy, and finds himself selected by the Wizard Shazam to be his new champion against the forces of evil. Now endowed with the ability to instantly become an adult superhero by speaking the wizard's name, Billy gleefully explores his new powers with Freddy, the latter of whom knows more about the superhero game than Billy himself. When the world is threatened by the evil Dr. Thaddeus Sivana, who was rejected by the wizard and instead accepted the power of the Seven Deadly Sins, Billy finds himself growing up and accepting responsibility quicker than most children his age.

The film is loaded with more in-jokes and pop culture references than you can catch in a single viewing. During the fight in the toy store, Shazam runs across and pauses a moment to tab a few notes on a giant floor piano/keyboard, an obvious reference to the movie Big (1988), in which a young boy also turned into an adult. Fawcett Central High School was named after Fawcett Comics, the company that originally created the Captain Marvel character in 1939.

If you are unable to acquire tickets to Avengers: Endgame this weekend, or simply waiting for the hype and crowds to die down so you can watch the three-hour epic with less than crowded conditions, I am certain Shazam! will satisfy your superhero craving this weekend… proving that sometimes we need to stop judging a movie by the trailer.

BATTLE OF THE BARD: SHAKESPEARE ON U.S. RADIO in 1937

As part of the ongoing Recreational Shakespeare series, the Bard’s stage plays as presented in all forms of mass media from Amsterdam University Press, Michael P. Jensen’s study on radio (especially in 1937 when CBS and NBC both competed with a similar series) is as in-depth as you will find such treatment. While Shakespeare plays were adapted for Radio Guild, Suspense, The Family Theatre and The Chase and Sanborn Hour, to name a few, it was during the summer of 1937 that both CBS and NBC deployed their best resources to appropriate Shakespeare’s prestige and the print media quickly described the two networks attempts with the nomenclature of boxing. 

“These fourteen broadcasts are among the more remarkable recreations of Shakespeare of their time,” Jensen write. His lengthy essay, defending that statement, is clear and concise.

As is often the case, every book about old-time radio comes across my desk at one time or another and I manage to find time to read them – and such books as this become delights to read after I dig into a few pages. Much like sitting in on a slide show presentation at a convention where the subject matter was only casually interesting, the material provided to the masses is extremely fascinating and attention-grabbing. Michael P. Jensen's book accomplishes the same feat.

The first chapter of this book, following an introduction to the history of radio broadcasting, surveys Shakespeare broadcasts in the United States prior to the 1937 competition and why the networks presented heavily abridged adaptations in brief time slots. The second and third chapter introduces the battle and why the two rival networks were so angry that each wanted to lord Shakespeare’s prestige over the other, how they put the series together with top-notch talent, and both critical reception and analysis for each radio broadcast. 

NBC’s Streamlined Shakespeare starred John Barrymore and was later recycled for use on a summer 1950 run titled John Barrymore and Shakespeare, often creating confusion among collectors who sought the original network broadcasts. This series was also used for commercial release on records. (Many schools played these recordings for students in the classroom.) CBS’s Columbia Shakespeare Cycle attempted to combat the signing of John Barrymore with NBC by hiring stars from Hollywood – so many stars that newspapers of the time had more press releases than they could use. 

Chapters four and five provide closure to the 1937 battle and a fascinating story of how all the hoopla did not bring the prestige the combatants craved. Jensen also digs into other radio adaptations for comparison. As with many books about old-time radio, even if you are not into the 1937 Shakespeare adaptations, the history of the network battle is equally fascinating and kudos for Michael P. Jensen for digging into the story. 

My only complaint is the retail price. At a list price of $69 for a book totaling 89 pages (and that includes index), I fear this book will only make the rounds through college and university libraries. You can buy the book at $59 on Amazon through the link below:

https://www.amazon.com/Battle-Bard-Shakespeare-Radio-Recreational/dp/1641890770/ref=sr_1_fkmr0_1?keywords=battle+of+the+bad+michael+p.+jensen&qid=1555676266&s=gateway&sr=8-1-fkmr0

Behind the Mask: The Making of Republic's Lone Ranger Serials

In addition to being the most profitable chapter play in the 20-year-history of Republic Pictures — generating more than $1.1 million in worldwide revenue — The Lone Ranger (1938) set new standards of excellence for motion pictures adapted from characters originating in other media. It was a genuine phenomenon, securing bookings from major theater circuits and big-city picture palaces at the time when serials mostly played during Saturday matinees in small-town movie houses. Along with their success at box offices, both The Lone Ranger and its 1939 sequel, The Lone Ranger Rides Again, added considerably to the lore and evolution of this beloved hero of American pop culture. 

A new book, Behind the Mask: The Making of Republic's Lone Ranger Serials, is a profusely illustrated monograph thanks to film historian Ed Hulse who presents a comprehensive, heretofore untold, behind-the-scenes history of the production for both serials. It has been extensively researched from recently uncovered documents buried deep in the files of George W. Trendle and attorney Raymond Meurer, the former a broadcasting magnate whose Detroit radio station WXYZ was the Lone Ranger's birthplace and home for more than two decades. Hulse reviewed hundreds of archival pages — private letters, legal correspondence, inter-office memos, studio production reports, even the original 1937 contract between Trendle and Republic — culling from them all pertinent details relating to the making of both serials and the first's 1940 feature version, Hi-Yo Silver. 

To this material Ed Hulse added information gleaned from his own interviews of principal participants: co-director William Witney, head writer Barry Shipman, stunt double Yakima Canutt, and cast members Herman Brix, George Letz (Montgomery), and Sammy McKim. In short, Ed dug into the archives and did a lot of research, making this a spectacular, comprehensive and accurate study of the serials.

The book also sports dozens of illustrations: rare stills, posters, advertisements, lobby cards, magazine covers, and production documents. 

You can order a copy from Amazon.com through the link below and the $12 price is a bargain. If you are a fan of The Lone Ranger or serials in general, this is worthy of acquisition.

https://www.amazon.com/Behind-Mask-Making-Republics-Serials/dp/1727656490/ref=sr_1_fkmrnull_1?keywords=lone+ranger+ed+hulse&qid=1555255605&s=gateway&sr=8-1-fkmrnull