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My Credible Journey

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This is a digression from the usual offerings’ on Vincent’s Views. Rather than reviewing the latest film I saw, this is a review of my own professional trajectory. It may be of interest to some, especially early career researchers looking for academic employment.

They say that life begins at [insert age here]. For me it turned out to be true at the age of forty. In 2000 I set my heart on becoming a university lecturer. I remember my personal tutor at the time said that I was mad to want an academic career, and he was right, for academia requires a special kind of madness. I spent the next decade working towards a PhD, which I achieved in 2009.

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Over the next ten years I applied for over 600 academic jobs, literally all over the world. It took three years before my first interview, and over the next seven years the number of interviews increased but always resulted in ‘you have been unsuccessful on this occasion’. To make myself more employable, I published, I taught, I did outreach and engagement. But none of it seemed to make any difference, and whole years would go by with only a single interview. I became frustrated, experienced feelings of worthlessness and inadequacy, was a nuisance and a burden to those around me, and eventually was diagnosed with depression. I sought advice and feedback on my applications, much of which was helpful, yet success still eluded me. Those nearest and dearest to me suggested other professions that I did explore, but all for naught, as I either failed to get into those fields altogether or did not derive the satisfaction I sought from them.

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Through all of this, I never lost sight of what I wanted, and the odd bit of hourly teaching kept me motivated. The first time I taught undergraduates it felt absolutely right, and subsequent experiences have felt much the same. Teaching is not always easy, and like any job can be frustrating and disappointing, but it never fails to raise my spirits by the sheer rightness of it. Be it seminar room or lecture theatre, the teaching environment is somewhere I always feel that I belong, despite the intermittency of my time there.

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In 2019 everything changed. I was offered what became a six-month maternity cover post. It was a very quick start and I had to hit the ground running, covering material both familiar and completely new, and with a new style of teaching. Despite that, I felt valued and useful, and that I was where I belonged. I continued the applications and later that year I was offered a twelve-month post at another institution. The longer contract and the greater opportunities of this second role allowed me to leave my day job of seventeen (!) years, which I never felt comfortable in.

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The shift was dramatic. After more than a decade of fruitless searching, suddenly I was offered two jobs in the space of six months. What changed? Rather than being a matter of ‘not what you know but who you know’, I think it came down to what I could offer. For years I taught the same few modules, offering little that stood out. Then I broadened my repertoire with courses in other areas, and what better way to develop one’s skills than by working with new material? It is through challenge that we grow, and I significantly improved my pedagogic skills by teaching new material, skills that I highlighted at the interviews in 2019.

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I feel that the key interview question was how I would teach students with a background different to my own. The answer is to find the commonalities: what are the links between film and politics, media and sociology, theory and practice? Links such as these are where teaching opportunities emerge and the soul of a teacher can shine. I developed because I spent time delivering new material and did the work necessary to engage the minds of students. A good teacher is adaptable, adaptable to different students, techniques, space and material. I know I have the power to teach and finally I can proclaim this reality to selection panels.

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This is my message to all PhD graduates and early career researchers struggling to get their foot in the door. The best things you can do is believe you will get there, and expand what you offer. It is an employer’s market, and you must offer as much as you can. If you don’t have much, search for and take further teaching experience, especially outside your comfort zone. You will get better, and you will look better.

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Much like a lead character in my favourite film, what I am is what I’m going after. For a long time, I was going after the job. Now I’m going after being the best teacher that I can be. It is not a final destination but an ongoing pursuit, so I’ll be going after it for a long time to come, and I will relish every minute of it.

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Avengers: Endgame

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Avengers: Endgame is epic, grand, enthralling entertainment. It is a film painted on the grandest of canvasses, yet one that maintains a fine eye for detail. It combines planetary scale spectacle with intimate moments, mixes tragedy with comedy and provides a fitting climax to a staggering saga. Along the way, directors Joe and Anthony Russo perform the remarkable feat of paying fan service that also serves the story. Fan service is a much-maligned practice: seen as kowtowing to audiences, it smacks of not respecting the story and compromising the artistic vision. But is the purpose of the story and artistic vision, at least in the case of popular entertainment, not to serve the audience? The difficulty of paying fan service is that it is a shot in the dark, since it is hard to know what audiences actually want and attempting to predict this can end in an incoherent product. Arguably, the Marvel Cinematic Universe has been performing this balancing act over the past eleven years and twenty-two films, nodding to comic book and movie fans along the way. For the most part, it has been successful, with a steady feed that develops the franchise into greater complexity, yet without becoming too clever and convoluted for its own good.

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With Endgame, the Russos marshal these potentially disparate elements, including a mass of familiar characters, a multitude of storylines that intersect, loop back, replay and turn in surprising directions, and a variety of tones. The managing of tone is especially impressive, as Endgame follows on from the tragic finale of Infinity War, one of the boldest ever conclusions of a blockbuster. The opening portion of the film depicts our surviving heroes – including Steve Rogers (Chris Evans), Natasha Romanoff (Scarlett Johansson) and Thor (Chris Hemsworth) – living with the trauma of their devastating losses, each of them dealing with their particular trauma in a different way. From this melancholic position, a quest emerges possible redemption, the film echoing mythic quest narratives like The Lord of the Rings, before moving into multiple parallel narrative strands, and creative and at times overwhelming set pieces.

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No emotion is left untapped in this supreme super-powered saga. Laughs, tears, thrills, spills, affection, boo hiss villainy, punch the air moments of sheer joy – all are here in abundance. It is especially impressive that there are narrative elements that become more problematic the more you think about them, but during the film they are of little consequence because of the viewer’s emotional engagement. Those who have invested in the Marvel Cinematic Universe will find themselves amply rewarded, and those with a passing interest are still likely to find much to enthrall them. While there is more of the MCU to come, Endgame serves as a fitting finale to the previous eleven years, and one of the finest examples of its genre to date.

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Incredibles 2

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Superhero narratives have a reputation for being conservative. Terms such as chauvinistic, right wing and valorising the cult of the individual often appear in discussions of the genre. Since Pixar and director Brad Bird first presented their superpowered family in 2004, films such as Wonder Woman and Black Panther have offered alternatives to this pattern. Incredibles 2 does so as well, making it the best sort of sequel: it gives us what we know and expect and also something new. There is the same blend of action and humour, much of the latter deriving from Bob Parr/Mr Incredible’s (Craig T. Nelson) struggling with domesticity while Helen/Elastigirl (Holly Hunter) leads on the action front. In one bravura sequence, a souped-up motorcycle chases a train with the tangibility and immediacy of live action. The introduction of more supers allows for further exhilarating sequences, and the humour and action are brought together brilliantly with the development of Jack-Jack (Eli Fucile).

IncrediblesjpgAll this is great fun, but in its narrative development and also world building, Incredibles 2 displays some surprising elements. The film’s focus on Helen is not the limit of its exploration of gender, as discussions between Helen and Evelyn Deavor (Catherine Keener) as well as Voyd (Sophia Bush) raise further issues. Furthermore, Incredibles 2 also questions our engagement with technology through its villain the Screen Slaver, and while this discourse could be reduced to clichéd monologuing, it is striking that the film includes this feature. In addition, there is a curious social aspect to the presence of supers in the film’s world. When Helen and Bob consider their future, they refer to the private sector, and benevolent government agencies are shut down due to public mistrust. All of this distances the Incredibles from the more self-righteous exploits of Batman and Iron Man. If superheroes are presented as inspirational figures, especially for children, figures that want to help others and make the world a better place, Incredibles 2 suggests that the place to do that is within the purview of the state. In a time of rampant individualism and self-interest, Incredibles 2 continues Disney’s surprising messages of acceptance, tolerance and state intervention and responsibility. If the imagined nation the United States of Disney actually practiced what films such as Zootopia, Beauty and the Beast and now Incredibles 2 suggest, it might not be so bad. And that may be the most incredible thing of all.

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Avengers: Age of Ultron

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Joss Whedon’s second Avengers movie may be the most ambitious thus far committed to film. Perhaps unsurprisingly, it succeeds in some aspects of its ambition while others are left undernourished. On the negative side, the sheer number of characters both familiar –Bruce Banner (Mark Ruffalo), Tony Stark (Robert Downey, Jr.), Natasha Romanoff (Scarlett Johannson), Sam Wilson (Anthony Mackie), James Rhodes (Don Cheadle), et al – and new – Pietro and Wanda Maximoff (Aaron Taylor-Johnson and Elizabeth Olson), Ultron (James Spader) among others – results in a jumble of motivations, back stories, hallucinations, flashbacks and abilities, and few characters get time or space for development. It also lacks the strong sense of humour of The Avengers, as the bickering between our heroes is much reduced now that they are friends. It may not reach the super seriousness of DC’s superhero antics, but Age of Ultron is the most po-faced entry thus far in the Marvel Cinematic Universe. The film is explicitly not self-contained, with multiple references to other parts of the MCU past, present and future, and this sometimes makes the film unfocused. Whedon has publicly spoken of his creative struggles with Marvel, which perhaps explains why the film is sometimes uneven and discordant.

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When Avengers: Age of Ultron does succeed, however, it does so with verve and aplomb, Whedon demonstrating that he has the nous to manage a behemoth of this scale. There are effective character moments such as touching interactions between Romanoff and Banner as well as the Maximoffs, and the film’s biggest surprise is domestic rather than spectacular. The range of superpowers allows for varied set pieces, especially the opening action sequence when he delivers one of his trademark long takes showcasing the various abilities of the Avengers. As the ranks swell yet more powers join the mix, but Whedon, along with DOP Ben Davis and editors Jeffrey Ford and Lisa Lassek, keeps the action coherent, drawing the viewer into the mayhem where we experience both the Avengers’ exhilaration and their fear. Fear is key to this film, as it explores the dichotomy between fear and faith. Both of which fuel the intimate and the epic in this superpowered slobberknocker. The inevitable question is where can the MCU go from here, but the franchise has consistently risen to the challenge of outdoing previous spectacles, and this reviewer at least is confident that future films will continue this trend.

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Guardians of the Galaxy

Marvel are one of the few studios whose brand is itself a selling point. Whereas punters are unlikely to see the next Warner Bros. or Twentieth Century Fox film purely on the basis of the studio, Marvel gives a strong impression of what to expect. Furthermore, Marvel’s commitment to a single mega-franchise aids the consistency of their productions, which have maintained tone and continuity across ten films, a TV series and several Marvel One Shots.

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Despite Marvel’s continued success, Guardians of the Galaxy is a tough sell. None of the characters have the cultural familiarity of Captain America or the Hulk, and none of the stars have the proven draw of Robert Downey, Jnr. The setting is outside that of previous Marvel instalments, a cosmic adventure with only the opening sequence taking place on Earth. Thor and Thor: The Dark World featured other realms and The Avengers an inter-dimensional portal, but the narratives always centre on Earth. In GOTG, multiple alien planets, cultures, technologies and histories need to be introduced, as well as an ensemble cast of fairly wacky characters. These include human thief Peter ‘Star Lord’ Quill (Chris Pratt), assassin Gamora (Zoe Saldana, looking as accomplished in green as she did in blue), Drax the Destroyer (Dave Bautista), cybernetic experiment Rocket Raccoon (Bradley Cooper) and sentient tree Groot (Vin Diesel). Compared to these oddballs, the Avengers look almost pedestrian.

Despite the inherent weirdness, co-writer/director James Gunn and co-writer Nicole Perlman opt for recognisably human characteristics and cultures. This may be conservative and unimaginative, but it ensures that the viewer is not confused about the societies of Xandar and the Kree, or the villainous motivations of Ronan the Accuser (Luke Pace), which are established early on and also create a link with The Avengers. Our bunch of misfit heroes – or ‘A-holes’, as one law officer describes them – are efficiently established and their relationships develop naturally from antagonistic to mutually beneficial to comradeship.

These relationships form the heart of the film, as the interplay between the Guardians is warm and very funny. Peter is a cheeky chappie who recognises the humanity in his companions, while Gamora and Drax gradually warm to the rest of the team (pleasingly, the only suggestion of romance between Peter and Gamora is quickly abandoned). A particular source of amusement is Drax’s non-comprehension of metaphors and symbols, as his species are very literal. The relationship between Rocket and Groot is quite moving – Diesel manages to express a significant range of emotions through different enunciations of ‘I am Groot’ while Rocket delivers as many barrages with words as he does with weapons. The bickering between these two is very funny but also betrays a deep affection, culminating in a tear-jerking climax.

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Humour may be the film’s strongest element. While the production design of the various alien worlds and creatures is impressive and the action sequences spectacular, the abiding memory of the film is amusement, the filmmakers fully embracing the film’s absurdity and having a lot of fun with it. Thankfully, the film is well-disciplined enough to avoid self-indulgence and strikes the perfect balance between horse-play, character and action, often all at the same time such as in the climactic dance-off (no, really). Guardians of the Galaxy is more reminiscent of Star Wars or Serenity than The Avengers, but it is still a recognisably Marvel movie with its attention to detail, warmly rounded characters and laugh-out-loud humour.

Freshness and Familiarity Part One – Iron Man/Men

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To those (like me) who have watched and enjoyed the Avengers franchise since its inception in 2008 with Iron Man (Jon Favreau), Iron Man Three offers both variation and familiarity. It has the obligatory action sequences, including the pinnacle of the Iron Man movies at its climax as multiple Iron Man suits battle the super-powered minions of Aldrich Killian (Guy Pearce). These build upon the technophilia established in Iron Man, with protracted shots and sequences emphasising the sleek technology and mutable digital images. These are sometimes at odds with the vague social critique that the first film performed – as one viewer described it, “Michael Moore pimps my ride”. Tony Stark (Robert Downey, Junior) is not only a master builder, or “tinkerer” as he calls himself, but also handles information and images with perfect ease.

Iron Man Three features plenty of witty repartee between Tony Stark and Pepper Potts (Gwyneth Paltrow), as well as between Tony and his computer Jarvis (Paul Bettany). There is also great banter between Tony and Colonel James Rhodes (Don Cheadle), which echoes the previous film directed by Shane Black, Kiss Kiss Bang Bang, which also starred Downey, Jnr. as well as Val Kilmer (Iron Man and Batman together!). Here is where the variation comes in, as much of Iron Man Three focuses on human exploits. This links to the darker element in the film, which is a change from the previous instalments. Since the superhero cycle began in earnest with X-Men (Bryan Singer) in 2000 and swung to dizzying heights in Spider-Man (Sam Raimi, 2002), there was a consistent presence of “darkness”, with superheroes suffering from relatable problems and sometimes going to sinister places. The peak of this tendency was Christopher Nolan’s Dark Knight trilogy, which went so far as to feature an anarchic psychopath, scenes of torture and the repeated failure of our favourite Caped Crusader.

In contrast to the grim exploits of the X-Men, Spider-Man and Batman, Marvel’s Avengers have been light, frothy fun. Humour has been a constant presence, especially with RDJ’s razor sharp performance of Tony Stark, but also with Thor (Chris Hemsworth) as a fish out of water and Captain America (Chris Evans) being a laughing stock. Best of all, The Avengers featured Joss Whedon’s trademark wit and irreverence, making it possibly the funniest superhero film to date.

Iron Man Three is also humorous, especially in its banter but also in character responses, such as when Rhodes says with deadpan incredulity (something of an oxymoron): “You breathe fire?!” after Killian does just that. Furthermore, the character of the Mandarin (Ben Kingsley) provides very significant humour, to which I return later. But alongside the humour, there are some grim moments that make Iron Man Three the darkest entry in the Avengers franchise.

The presence of the Mandarin as the film’s big bad begins this, as the propaganda videos with his threats are reminiscent of Al Qaeda videos. These threats come home to roost when Tony’s friend and former bodyguard Happy Hogan (Jon Favreau) is badly injured in an explosion linked to the Mandarin. The aftermath of this attack, in which Happy is shown hooked to monitors in a hospital bed, swathed in bandages, is a very poignant scene that fuels Tony’s anger.

Of course, Tony’s anger makes him reckless and stupid, and his TV interview in which he invites the Mandarin to a confrontation results in his Malibu home being destroyed. Tellingly, several Iron Man suits are destroyed, demonstrating Iron Man’s vulnerability, which continues as Tony himself falls into the sea and is then automatically flown away, before his remaining suit loses power and crashes (startling a digital deer as it falls). Cut off from his equipment, Tony must rely on his own wits and ingenuity. Yet his mind also poses a problem that he must confront.

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A significant development of Tony’s character is his post-traumatic-stress-disorder. The entire film features voiceover, some of which echoes the meta-cinematic voiceover of Kiss Kiss Bang Bang, and the (very funny) post-credits scene shows us Tony talking with Bruce Banner (Mark Ruffalo), who is woefully ill-equipped to offer therapy for Tony’s psychological problems. These problems permeate the film, as Tony is, plagued with nightmares about his experience in New York in The Avengers, when he travelled through a portal to destroy an alien armada and almost died. Tony’s PTSD is consistently demonstrated as he suffers panic attacks whenever New York is mentioned, his trauma casting a sombre pall over much of the film. Nor is the trauma limited to Tony, as the Mandarin’s previous victims leave behind grieving family and literal impressions, as Tony finds in Tennessee, where an explosion left both a crater and seared shadows on nearby walls. The soldiers of Killian, infected with Extremis, are shown to be suffering agony as the nanoprobes reformulate their bodies, and Pepper herself is also tortured in this way. Trauma cuts deep, and cannot be hidden from in a metal suit.

Iron Man Three brings Tony out of the suit, having him build more modest devices so that he can save Pepper, the US President and half the world. At times, he seems more like 007 (or MacGyver) than Iron Man, using a gun, homemade tazers and other improvised weapons. This creates variation from the previous films, which never quite got the balance right between super-techno-heroics and human ingenuity and interactions. Whereas Iron Man and Iron Man 2 made abrupt shifts from Tony tinkering to mechanical mayhem, Iron Man Three escalates its action. Once Tony invades the Mandarin’s secret headquarters, using his various improvised weapons, he has some success but is eventually taken prisoner and only breaks free when the re-charged Iron Man suit arrives. Even then, the suit arrives one piece at a time and operates at less than full power so the ensuing battle is more comical as spectacular, featuring the very funny line from one of Killian’s minions, “I don’t even like working here. They are so weird!”

The spectacle comes later, as Tony powers the suit completely and flies after Air Force One to save President Ellis (William Sadler). He fails, but succeeds in disposing of Killian’s head henchman, Savin (James Badge Dale) and, in a spectacular aerial sequence, he rescues the passengers as they tumble towards their deaths. This sequence, like others, contains a surprise as Tony is operating the suit remotely, which emphasises his distance from the suit, which is less cocoon and more human-shaped coffin. It does not detract from the visceral excitement of the action set piece, which is spectacular and involving. Furthermore, the final spectacular battle of Iron Man Three feels like a natural progression, as multiple Iron Man suits battle Killan’s minions and Tony himself fights Killian. Whereas the action set pieces in Favreau’s films felt like departures, Black’s are escalations, making the film coherent and satisfying, with a continual focus on Tony’s personal journey.

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This can also be the film’s detriment, as it is more a Tony Stark movie than an Iron Man movie. This is further demonstrated by the licence taken with the Mandarin, a major character from the comic books and Iron Man’s classic foe. Most superheroes have these – for the Fantastic Four it’s Doctor Doom, for the X-Men it’s the Brotherhood of Mutants, for Superman it’s Lex Luthor and for Batman it’s the Joker. Iron Man’s greatest nemesis has long been the Mandarin, and for many viewers the prospect of having these two great adversaries clash was one of the most exciting elements of Iron Man Three. Imagine the surprise and (in some cases) disappointment when the Mandarin turns out to be an actor playing a role devised by Killian. Some viewers were very disappointed by this, which indicates the importance of the Mandarin within Iron Man lore.

For my part, I was genuinely shocked by the revelation of Trevor Slattery, to such an extent that I didn’t believe it initially. I was waiting for Slattery to be a decoy and the real Mandarin attack, or at least be somewhere else. But instead, we get an actor whose Lear is the “toast of Croydon” (very funny for a British viewer). But the surprise worked, and Ben Kingsley’s hilarious performance meant that I was carried along for the ride.

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Furthermore, it is actually a relief that the Mandarin turned out to be a fiction within the film. The original character is a Chinese stereotype and somewhat racist, and the casting of Kingsley raised questions of why such a role should be played by a white actor (not forgetting Kingsley’s Oscar-winning role in Gandhi). The film avoided the Fu Manchu territory by making the Mandarin more of a Bin Laden figure, and in “his” propaganda videos he had an American accent (replaced with a British one when he was discovered). These elements in his character serve several functions. Firstly, it avoids racism, because the Mandarin never seems Other. Secondly, it avoids the fantastical nature of a character that possessed “power rings” in the comic books, either magical or derived from alien technology. While Thor managed to incorporate science and mythology very nicely, Iron Man has been somewhat grounded in practical science (however fanciful) and the inclusion of power rings would have jarred with the overall possible world. Thirdly, and most importantly, for the Mandarin to be a smokescreen, and the real enemy to be Killian the power-mad weapons manufacturer emphasises the contemporary concern over internal threats. Killian recognises the opportunity in giving people a figurehead to fear, in order to legitimate arms manufacture, and uses it to great effect. Tony’s discovery of Slattery demonstrates the conceit of true danger often being less exotic but no less dangerous.

As with much of the film, the climax had its surprises, both with the multiple suits and Tony, not to mention Pepper, proving to be able combatants in their own right. For Killian to be in league with the Mandarin was not surprising; for him to actually be the Mandarin is a masterstroke, as it maintains the conceit of military contractors being a threat. This may not be original, and indeed forms the conceit of more “realistic” films as Snake Eyes, The Manchurian Candidate and The Ghost Writer, but it works, maintaining the critical eye on the military-industrial complex that has characterized the Iron Man franchise since it began in 2008. Tony Stark may have learned the error of his ways, but other arms manufacturers still pose a threat.

For Killian to be the true locus of the film’s threat serves as the external version of Tony’s internal conflict – he needs to address the trauma he suffered and face up to danger, which he does by doing his fighting himself. Except that Killian is far more powerful and without his suit Tony would be finished, but fortunately Pepper is there to save the day. When Pepper fell into a fiery explosion, I thought she had been killed, and was delighted when she re-appeared, reconstructed by Extremis. While it was gratuitous to have her in a bra at the film’s climax, it was very pleasing for a woman to save a man and put down the bad guy for a change. But Tony faces up to his demons and succeeds in overcoming them, demonstrated by the destruction of all his suits and the removal of the arc reactor and shrapnel from his chest, as these defences are no longer needed.

By reworking the characters of the Mandarin and Iron Man himself, Iron Man Three departs significantly from the comic books. None of this hurt it at the box office, as its current take stands at $1,077,068,034 worldwide. It is easy to be protective about the texts we love, but reinterpretation need not devalue the original. There are multiple versions of Iron Man to enjoy, in comic book, animation and feature film. Iron Man Three builds upon the strength of what has come before, and does a very fine job of being its own model.

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Review of 2012 Part Three – Great Expectations I: Marketing Malarkey

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2012 proved a year of great expectations in several ways – to commemorate the 200th birthday of Charles Dickens, the BBC as well as BBC Films, not to mention Baroque Theatre Company, produced adaptations of Great Expectations.  I saw none of them, nor have I ever read the book, but there were a number of films released in 2012 that came loaded with expectations of various sorts.

Cast your mind back and you may recall The Hunger Games, the first adaptation of Suzanne Collins’ bestselling trilogy.  I posted on this back in April, saying that I had wanted to avoid all prior knowledge.  I failed quite spectacularly in this regard, encountering reviews as well as an interview with star Jennifer Lawrence.  Nonetheless, I was unprepared for the visceral thrill and the ominous portents of The Hunger Games, which succeeded in presenting a very grim portrait of the future and some thrilling yet disturbing action sequences.  I was very impressed with The Hunger Games and have subsequently read the novel, which surpassed the film in some areas but not others.  The most common response to adaptations is “The book is better than the film”, which is nonsense because films and books work differently and to compare them qualitatively is like saying a boat is better than a car.  While both are vehicles, a boat is used for different purposes than a car, and while a book and a film are both media texts, they are consumed in different.

That said, the dystopia of The Hunger Games was more convincingly portrayed through Collins’ terse, urgent prose, which steadily built up the world of the book through Katniss Everdeen’s reminiscences and descriptions.  Director Gary Ross’ excessive use of shaky cam was jarring and prevented a sense of oppression or a panopticon, but his decision to feature some action away from Katniss (Lawrence) did enable the social criticism of reality television to be made more strongly.  The response of established fans of The Hunger Games was naturally influenced by their feelings towards the book, with some appreciating the adaptation and others disappointed that it did not meet their expectations (there’s that word again).  Later in the year, the release of Twilight: Breaking Dawn Part Two similarly fanned the flames of fan furore.  I haven’t seen it, so no comment on the film itself (for that, see here), but The Hunger Games and Twilight serve as interesting examples of the expectations that surround adaptations.

Shortly after The Hunger Games came Marvel’s The Avengers, or Marvel’s Avengers Assemble if you’re in Britain.  Joss Whedon’s superhero ensemble was the culmination of a remarkable feat of franchise filmmaking, beginning in 2008 with Iron Man and developing through The Incredible Hulk, Iron Man 2, Thor and Captain America: The First Avenger.  As a result of those earlier films, expectations for The Avengers were very high – the combination of these four superheroes plus the supervillain and three additional heroes, not to mention the steady campaign of teasers, trailers and excerpts, raised anticipation to a high level.  I was more than satisfied with what came about: The Avengers fulfilled my expectations as a glorious, fun-filled, power flinging, well-balanced, gripping and compelling, not to mention funny, blockbuster.  It broke multiple records and has become the third highest-grossing film of all time (not adjusted for inflation).

When I think back on The Avengers, which I saw twice at the cinema, my memories are very positive and I look forward to the Special Edition Blu-Ray which includes Whedon’s director’s commentary, since the current UK Blu-Ray does not include this special feature from the US release (not that I’m complaining; oh wait, yes, I am).  And yet, even though I loved the film and expect it to be in my Top Ten of 2012, something about it continues to niggle me.  I realise that it was a matter of having my expectations met.  I am well aware that unreasonably high expectations can frequently lead to disappointment, so I am careful to keep my expectations reasonable.  The Avengers fulfilled my expectations, but did not surpass them.  So it wasn’t disappointing per se, but nor was it exceptional.

Next up was Prometheus, Ridley Scott’s much-vaunted return to science fiction and a sort-of prequel to Alien.  Furthermore, it was to be Scott’s first use of stereoscopic photography and the marketing campaign was even more detailed than that of The Avengers, with trailers, teasers, an entire commercial section on Channel 4 during Homeland and various viral videos.  The viral campaign helped to create a wider universe within which Prometheus is set, continuing the expansion of the Alien franchise’s world that has progressed since 1979.  The marketing also served to create very high expectations for the film itself, and probably went too far.  A large proportion of the response to Prometheus has been negative, with critics and audiences alike deriding its plot holes, indistinguishable characters and inconsistencies with the previous films.  The rather cynical home release has done the film and its distributors financial favours but little else – if you want the seven hours worth of extra features, you need to buy the highly priced 3D Blu-Ray.  Yes, I will be doing that, even though I don’t have a 3D TV.

Personally, I liked Prometheus very much.  It was gripping, atmospheric, scary and thought-provoking.  It also provided a useful example for identifying what I like in movies and why I have fairly wide taste.  But I also think it was over-hyped and left me wanting more.  It is very likely there will be further instalments as it features a clear set-up for a sequel, but Prometheus itself has numerous flaws and did not live up to the expectations it created.

Perhaps the most anticipated film of 2012 was The Dark Knight Rises, Christopher Nolan’s “EPIC CONCLUSION TO THE DARK KNIGHT LEGEND”, according to the trailer.  This was the film that, for me, carried the greatest potential for disappointment.  Superhero trilogies, including Blade, Spider-Man and X-Men, have a record of 1. Good; 2. Better; 3. Worse.  So far, the Batman trilogy had started well and then gotten better, so there was concern that The Dark Knight Rises might follow the pattern and be worse.  Furthermore, The Dark Knight had been such an exceptional movie, perhaps the most impressive superhero film ever partly by being more than a superhero film.  For a threequel to top that seemed unlikely.  To make matters worse, Nolan had hardly rested on his laurels, following up The Dark Knight with the remarkable Inception, and setting his sights even higher for The Dark Knight Rises which was touted as epic and grand.  Nolan is the most significant Hollywood director of the 21st century, so it was reasonable to hope but perhaps not to expect that he would surpass himself.  Advertising again raised expectations even higher, with teasers, trailers, excerpts and viral marketing escalating anticipation to fever pitch.  The result was not only a very healthy box office take, but some rather bizarre screening options – 6am at the cinema, anybody?

Was The Dark Knight Rises everything I wanted it to be?  Yes.  Was it everything I expected it to be?  Yes.  And did I expect it to blow my socks off and leave me flabbergasted at its extraordinary power?  No.  I knew it was unrealistic to expect as big a surprise as The Dark Knight, so I didn’t.  I anticipated that the trilogy closer would be at least something of a comedown, despite its epic build-up, and I was right.  One review of The Dark Knight argued that if Heath Ledger were removed from the film, you would be left with a fairly standard action movie.  I disagree on this – Heath Ledger is not the only exceptional thing about The Dark Knight, but he is outstanding, both in terms of his performance and the way the Joker is written.  The Dark Knight Rises is The Dark Knight without the earlier film’s central element of anarchy, personified in but not limited to the Joker.  It is this theme which makes The Dark Knight special, a serious exploration of the anarchy inherent in costumed heroics and villainy.  The Dark Knight Rises is more conventional with Bane’s baroque schemes and, ultimately, a clash between “good” and “evil”, rather than an in-depth meditative study which pushes The Dark Knight into serious, philosophical art.  The Dark Knight Rises is by no means bad, but its ultimate purpose is to close the trilogy, and it accomplishes this with aplomb.  I expected a spectacular finale to the trilogy and I got it.  I didn’t expect any more, and I didn’t get any more.  It would therefore be unfair to call The Dark Knight Rises disappointing, but it would still have been nice to be surprised.

All of these films were marketed to within an inch of their lives, and in each case the hype may have damaged the films’ reception.  It would be unfair to criticise the films’ distributors for this hype, as studies have shown that good marketing is key to the box office success of major films, whereas bad marketing can lead to flops like Fight Club and this year’s John Carter.  Box office success is not an indicator of public enjoyment – more than $1 billion gross for The Avengers does not mean all those cinema-goers enjoyed the film – but the bottom line is movies are put into cinemas to earn money, and marketing helps that happen.  Marketing works by raising expectations, yet paradoxically it can have a negative affect on audience enjoyment as we may expect too much.  I think the seasoned movie-goer understands the effect of marketing, but that does not mean we are immune to it.  The Hunger Games, The Avengers, Prometheus and The Dark Knight Rises had firmly established themselves in public consciousness weeks if not months before their release, and it was a rare cinema patron who saw these films with no preconceptions.  Quite often, these preconceptions can have a negative effect on our response to the film itself, but if we manage our expectations we can make them realistic, and therefore avoid disappointment.  I am carefully managing my expectations for Peter Jackson’s return to Middle Earth, The Hobbit: An Unexpected Journey.

Hobbit