Even the great innovator, Tony Scott, could not be stopped by the pratfalls and ridiculousness of stock car racing. It has an untimely, inevitable shtick attached to it where the stereotypes of the drivers infect the core mechanics of what is, essentially, a race. No twists, turns or obstacles, just a track that goes around and around. Turning that monotony into something as thrilling as Days of Thunder is no small feat of endurance. But knowing the tokenisms of Scott’s direction, and how well he works when collaborating with Tom Cruise, we can hold out hope on Days of Thunder delivering some layer of fast-paced, action-packed enjoyability.
“I don’t know what you’re talking about, but I like the way you say it.” is a good line, more for my review rather than that of Guardians of the Galaxy Vol. 2. It summarises my thoughts on this piece of the Marvel Cinematic Universe rather nicely, for I have no clue what this instalment of the franchise intends to be, but there is a part of me that enjoys it. Was this the rut? Or has it been a decade-long rut all along? The master con is not that Guardians of the Galaxy Vol. 2 has nothing going on, but that this whole phase had no real impact or influence. What better to do when there is time to kill than bulk up some of the newer characters? It is better than doing nothing at all. That would, however, imply Guardians of the Galaxy Vol. 2 does anything.
Suffering through a dark American comedy focused on superhero vigilantes just to see Rainn Wilson and Kevin Bacon share the screen was, in hindsight, not a valuable use of my time. Expecting something in the vein of Kick-Ass, I most certainly got what I asked for. But then, I remembered I’m not keen on Kick-Ass, with its watered-down nit-picking of superhero fanfare and what it takes for a good origin story. Frankly, it repulsed me, but it had become a niche genre of its own, spawning a sequel, and somehow releasing the same year as a film in a similar vein to it, Super. A miserable, weak attempt at bringing a bit of dark comedy and gory exposure into a genre filled with teenage boy wonders, masked villains and box-office robbery.