Tag Archives: Jonathan Evans

Review Justice League by Jonathan Evans

(2 / 5)

And so, seeing the unquestionable success that MARVEL has been having with their shared cinematic universe DC have stumbled greatly to get to this point. But nothing was gonna stop this cinematic train so, we just have to deal with it.

What brings our different heroes together are three boxes called “Mother Boxes” if all three are brought together they’ll destroy the world (basically). The one that is out to get all these Mother Boxes is a giant being named Steppenwolf (Ciaran Hinds), he’s about ten feet high, clad in Armour, wields a large axe and spouts over-the-top dialogue. His role is similar to Loki in Avengers (even to the point of wearing over extravagant headgear) but he lacks Hiddelston’s charisma as well as fails to convey a real threat. He’s just a big threat that is no more interesting or memorable that a generic video game boss.

The first members that have already been established are Batman (Ben Affleck) the dark brooder that is just a skilled human with great technical resources and detective skills. Wonder Woman (Gal Gadot), she was the best thing in Batman v Superman and her own movie was the best of these movies but also rather good. The same present here. The Flash, the speedster played by Ezra Miller. He is here to portray the every-man, being more trepidatious and a lot more dumbfounded when giant man and bug creatures appear. But he says some things that are just odd, it is a weird thing that writers do where they put in quirks and think they’ve made a character, they haven’t, he gets better as the movie goes on but when he starts he might be an alien on Earth. Next is Aquaman (Jason Mamoa), he can breathe underwater, is very strong and wields a large five pronged spear (not a trident), he will probably be the breakout character, being a swaggering brawler. Finally is Cyborg (Ray Fisher), originally a young student named Victor Stone has now been transformed by the Mother Box technology and is fused with it.

Probably the worst kept secret and obvious plot point that any five year old could see coming is that Superman (Henry Cavil) returns (he died in the last movie). He does and he is much better here than in the previous two movies, he knows what smiling is, I believe he’s an optimistic person and they gave colour back to his costume instead of a grey filter.

Due to a family tragedy Snyder had to pull out of the movie. Most of it was completed but still needed finishing. Director Joss Whedon stepped in and completed the project. There is only so much one can really affect a movie when probably over seventy five percent of it has been completed. Whether it be due to fan outcry or Whedon inserting it in where he could there are much more smiles in this movie. Characters are smiling and aren’t brooding constantly. Having one moody one on a team is fine (that’s what Batman’s there for) but the others need to bring a balance of different types of characteristics.

Also more present in the movie is colour. They still use heavy amounts of black but they are contrasted with deeper, vivid colours of red, golds etc. This is a better direction to go, it keeps the colour but visually distinguishes it from the MARVEL movies.

Probably the biggest failure of the movie is the score by Danny Elfman. Not at any point did I feel my spirits roused by the music and I cannot hum any of the score. It is unfortunately forgettable and not moving.

Unlike all the other movies this one does have a post credits scene. So if you are so inclined stick around and you wont just see the credits scroll by.

So it has indeed been a very bumpy ride. It did not get off  to a good start at all and from there on it got worse. But now the pieces have come together and the final result probably wasn’t worth it but it also wasn’t a complete disaster. It was actually rather serviceable.

Jonathan Evans

 

Review Professor Marston & The Wonder Women by Jonathan Evans

 

(4 / 5)

 

She is one of the most iconic female characters in pop culture. She is instantly recognisable and you most likely know her name. She stands for truth. But in creating her secrets had to be kept to preserve love.

Earlier this year the mass audience were introduced to Wonder Woman through her first film. Now she is more popular than ever, this is the perfect time to tell this fascinating story of the deep psychological ideas that went into her creation and first few stories as well as the just as interesting behind the scenes situation of the people that inspired her.

The man who co-created her was man named William Moulton Marston (Luke Evans), a university professor who teaches psychology. He would go on to invent the lie detector machine. While there with his wife one of his students catches his eye. His classes teach about the mindset of giving yourself up to an authority figure in a relationship.

Elizabeth (Rebecca Hall) is his official wife whom he has known since childhood, she has dark hair and is more than qualified to be a lecturer at any University, but because she is a woman she cannot gain any diploma. Her and Marston enjoy heated debates. Olive (Bella Heathcote) is blonde, a few years younger and even though she is descended from two of the most outspoken and radical feminist of her time was raised by nuns so is timid and tacked but still very intelligent.

He loves his wife, however he also loves Olive and they love him as well as each-other. What are they to do? The love is real but the society in-which they live will never accept them, is it even worth trying?

Luke Evans himself is a gay man and the writer/director Angela Robinson is a lesbian. They are both open about their sexuality but the world still does not fully embrace people of non hetero sexuality so they are probably the perfect people to tackle this material.

Adding to the revealing nature of the movie is the layering of the actual Wonder Woman comics that were written by Marston and indeed do feature Wonder Woman herself and other women caged, tied-up, spanked etc. The fact that they were able to get approval for the actual material shows and bravery and how unashamed on behalf of DC Comics. This is the story and ideas that went into the character and are addressing it.

The theory of loving submission isn’t just all about getting tied-up and/or spanked (though the physical acts are a part of it) it is about letting go of control, it has been said that you cannot love someone and control them, the acts allow the others to be the master to ones who would otherwise not be.

Being that this takes a look behind the public perception of a famous character and shows the story of the real people behind the scenes one will probably be reminded of Hollywoodland (an equally good movie).

This movie tells the story of love that is still rather unconventional now and seemingly impossible at the time it happened. There are details about the production of the character of Wonder Woman that are skimmed over as well as a few other moments that take a leap in time in order to fit the correct running time. But the story it tells is one of love and understanding and it effectively conveys that message.

Jonathan Evans

 

Review Murder on The Orient Express by Jonathan Evans

 

(4 / 5)

 

Agatha Christie wrote many murder mystery books and plays which all sought to reveal the savage nature of people. Strip away the finery and social class and we are all capable of the most brutal acts.

One of her main characters was Hercule Poirot a man that wears a distinctive moustache, cannot have eggs that are different sizes and is probably one of the greatest (fictional) detectives who ever lived. He is often mistaken for French because of his accent, but is in fact Belgian. While one case has just wrapped he is called away to another, to get there he must board The Orient Express.

Kenneth Branagh takes on the role of the Belgian detective. Like Sherlock Holmes he has a sharp eye and when there is a crime considers it his duty to solve it. However he doesn’t so much do it for thrills rather than a task that must be undertaken to set the world right. He could be considered just another pedantic gentleman that enjoys food, drink, art and company, but when he must he sees into the nature of the individual and human nature itself. The performance allows for fluffy fun and sharp seriousness.

As well as taking on the main role Branagh works behind the camera. He comes with more than a few neat visuals. Long unbroken shots of moving through the train, overhead shots where the location and characters seem like pieces on a board-game and looking at the characters through the tilted edges of glass creating the effect of dual faces. As an actor as well he knows how to talk to his cast so solid performances from all.

On the train are many passengers from all walks of life. An Austrian professor (Willem Defoe), a count (Sergio Polunin), a governess (Daisy Ridley), a missionary (Penelope Cruz), a widow (Michelle Pfeiffer), a Salesman (Manuel Garcia-Rulfo), a doctor (Leslie Odom Jr.), a Princess (Judi Dench) being accompanied by her maid (Olivia Colman), a gangster named Ratchett (Johnny Depp) that feels his life may be in danger, he is accompanied with his butler (Derek Jacobi) and assistant (Josh Gad).

While the train marches along one night lightning strikes the mountain sending snow down, blocking the tracks. It is easily dealt with in due time, but not all of the passengers are present, Ratchett has been murdered. Who did such a thing to an unquestionably bad man? That is the question and through clues, cross referenced with alibi’s and Poirot’s deduction skills the truth will be found.

This is probably the definition of an all star cast. Every one of the passengers is a big star. This takes away from being truly engaging but it also helps hide the identity. If this was a cast of lesser profile actors, or unknowns and only one A-Lister then we’d instantly be drawn the the one star and suspect them. But being that they are all big names there clearly wont be any favouritism.

There are many more books to be adapted if this one does very well. It could, considering it’s great cast. If the studio does go on to do more then they will. It is odd being that everything has to become a franchise now, but still there is nothing that is building up for the next movies, you can go into this one and know nothing about Poirot, you will learn by the end and be satisfied while the credits roll.

All that being said this is a well crafted and acted movie that has an expert both behind and in-front of the camera as well as having one of the greats works by one of the greatest writers in the genre. How could it go badly? I’m not sure but I’m glad it didn’t.

 

Review The Death of Stalin by Jonathan Evans

 

(3 / 5)

 

This movies creators probably had the same thought that Stanley Kubrick had while making Dr. Strangelove. That though the basic facts are real and the subject, as well as the consequences are serious, when you say it out loud, it’s pretty funny.

The movie opens in 1953 where Russia has won the war and is securely under the control of Joseph Stalin (Adrian McLoughlin) who is simultaneously adored and feared by the people. To be his enemy or even be considered to be one mean your name goes on a list and when your name goes on the list you get executed. One night while an orchestra is being performed Stalin phones up the venue and orders that he be sent a recording of the performance, being that it wasn’t being recorded the guests must be seated and the musicians must play again.

At his palace Stalin is having a boys night of food, drinks and cowboy movies. His company is Georgy Malenkov (Jeffrey Tambor), Nikita Khrushchev (Steve Buscemi), Vyacheslav Molotov (Michael Palin) and Lavrentiy Beria (Simon Russel Beale). All act more like workmates joining each-other at the local bar rather than officials that are there to run a country. At the end of the night the men go home, all quite drunk, to their wives and hoping that none of them has done anything to anger Stalin. During the night Stalin listens to the orchestra recording and stars convulsing then collapses. The next morning the maid finds him and so the real madness begins.

With his death it sends the men into a battle for both power and ego. They race and debate on who should takeover head office, who’ll be allowed to drive off first, one implements a policy that the other doesn’t like so they revoke it just out of spite despite the terrible repercussions.

Adding the the comedic element is the fact that nobody cares about the real life characters accents. Throughout the cast is plenty of American and British actors and they are all playing Russians and that doesn’t matter in the slightest, they speak how the actors speak.

While all their squabbling is reaching it’s heights in comes marching Georgy Zhukov. With an entire chest of medals, tolerating none of their juvenile behaviour and speaking up to no one. Jason Isaacs completely has fun with the character, sinking his teeth into the dialogue and taking a big bite out of whatever scene he’s in. One of the best parts of the movie.

This is a fun costume drama that embellishes on certain facts about what really happened and shows the pettiness that men can be capable of when the highest position of power is in-front of them they’ll sink to any depths. There is only one joke really, these men are petty, but they find enough variations that the movie is never a drag. There are  about three solid laughs to have in it, during the rest of the movie you will be smiling.

Jonathan Evans

Review The Snowman by Jonathan Evans

 

(3 / 5)

 

The snow covers the entire land, only in scenes that take place indoors is it nowhere to be seen. People dress in thick coats to try and  be as warm as possible. If something was as cold on the inside as the environment, it would be a snowman. Like in Fargo or even directors Tomas Alfredson’s previous movie Let the Right One In, the snow itself is more than just a setting, it is a character itself. It plays into the theme of the movie, of a cold world where only the strong can survive.

This is one of the most disturbing murder mysteries you’ll see (along with The Girl with The Dragon Tattoo). It shows you just enough visually to make you wince and cut away at the right time so make up the worse bits yourself. This is the world it seeks to show and it stands by its very harsh mentality and images.

The premise is basic, someone is going around killing women. Before or after the act a snowman is built.  This is their calling card, or signature. Whoever it is they are always watching the main characters and seem to be unaffected by the cold. Taking up the case is Detective Harry Hole (played by Michael Fassbender)which seems to be the best cure for his hangover.

Detective Harry Hole is one of those rugged detective characters that’s good at their job but a very dysfunctional human being in nearly every other category. He drinks and forgets personal obligations, though not so bad as other portrays of this type of character. He clearly wants to do right and when he forgets he feels bad, it’s just that he priorities the job more. You can see someone like Bogart take this role if it was made a few decades ago. Fassbender fill’s the role very well, you are able to see and understand that this man (like Sherlock Holmes) lives for the case, he needs to wrap his brain around these twisted acts of violence, because if he doesn’t he falls into the bottle.

The average, or at least less keen eyed movie watcher will probably let some scenes go by without thinking twice. However if so do you will pick up on some leaps in realism. Some things like where does the killer go exactly? Or isn’t the timing a little to convenient? And some other things that simply allow things to happen.

Through the use of them I have a feeling that the movie seeks to make Snowmen scary, at least the ones here. Snowmen just aren’t, they do their best, actually giving them minimal features so they can be easily registered and more invoke the feeling for the act of the killer rather than the snowmen themselves. They are an effective icon for the movie, both while it plays and for it’s promotion.

I was able to predict the identity of the killer, is this a negative to the movie? Well in a mystery it isn’t about being able to hide who it is, it’s about telling a good story. Millions of people will most likely see the movie and some of those people will at least guess correctly, that’s just statistically likely. A good writer isn’t trying to trick you, they’re trying to engross you. While watching you will understand the characters and their points of view of the world and the reveal does add up. So it’s fine.

Leaps in logic can be forgiven if the overall product can suck you in. This movie has very good acting and crisp cinematography as well truly creating a scene of the cold environment that the characters inhabit. Everything’s sturdily constructed, allowing for some blank spaces. In terms of modern Gothic mystery’s this one is quite well made.

 

Review Goodbye Christopher Robin by Jonathan Evans

 

(3 / 5)

 

Goodbye Christopher Robin is, at the start, about the rejuvenating ability that thinking as a child can help people through dark times and then becomes about the corruption of success and fame.

We are introduced to A.A. Milne (Domnhnall Gleeson) who has survived the First World War but is shell shocked and angry at the world. He lives rather comfortably in London with his wife Daphne (Margo Robbie) but he cannot get over the trauma, he introduces one of his plays but the spotlight reminds him of the lights in the trenches and cannot get through it. In his disgruntled state he decides to move his wife and son (Will Tilston) out to the country.

Whilst there Milne seems to be much more interested in woodwork and walking rather than writing. Daphne grows ever more bored and frustrated so she leaves for some city time, coinciding with her leaving the nanny (Kelly MacDonald) must also go for three days to see to her sickly mother. So now its just the two of them.

During the time they are away it falls on Milne to step up and take care of his son. He is not the most patient man so they have tension in deciding what breakfast to make and him needing quite. But he gets sucked into the world his son creates with his stuffed toys. We then hear other names and phrases and can connect the dots that these elements will be used to tell the tale we all know.

He of course writes it down and is a tremendous success. But with success comes fame so he is constantly being called and asked to make appearances. Even Milne, who wrote the book is always asked about his son. Public appearances, signings, interviews all in abundance. He can hardly go anywhere and not be recognized. Even in their country home people come looking for him.

Being that this is about the behind the scenes story of a popular work of fiction I couldn’t help but think of Finding Neverland and Saving Mr Banks. Out of all of these movies the best one is Finding Neverland but this is also a different movie. It shows the damaging effects of too much fame for someone that cant handle it.

This is a very handsomely shot movie with attention to detail in the living areas, wardrobe and the sunlight having a truly golden quality to it.

The movies message is a simple one and the story of what when on with the people behind the material is interesting. A few moments of cool transitions, attractive production value and very solid performances help make it more worth seeing it those elements weren’t there.

 

Review Night Is Short, Walk On Girl by Jonathan Evans

 

(4 / 5)

 

This movie is greedy in it’s concept and gratuitous with it’s execution, however I don’t mean any of those as insults. It is greedy because it excessively wants to pack so much into the movie and it is gratuitous in the way that it gives more than is necessary. It wants to  create as many images and scenarios as it can and have you feel as many emotions on the spectrum as you can.

The Night is Short, Walk On Girl opens on a marriage ceremony where two of the guest Senpai (Gen Hoshino) is smitten with a girl who he goes to college with who we will simply know as The Girl with Black Hair (Kana Hanazawa). He has strategically coordinated himself so that they constantly run into each-other so she will believe they are meant to be together. She is of age to drink and wants to earn her adulthood so she drinks at the celebration and then goes out for the night, he then peruses in an attempt to push the destiny idea.

From here on it is a case of The Girl with the Black Hair walking around in the nighttime and encountering people and their scenarios and getting involved with them. Meanwhile Senpai is in some way deterred by another story or in his efforts to aid her.

The drawing style of this movie is certainly not like typical Western animation of Disney but also not like other anime movies like Ghost in the Shell or the works of Hayao Miyazaki. The lines are thin and very little detail is used. Eyes are represented with a few lines and a coloured dot underneath. You can squint and still understand nearly everything onscreen because it is comprised of simple shapes and vivid colours.

This movie plays non-stop. When you watch it be prepared to read the subtitles fast and suck in the visual information onscreen. Luckily the image is so clear and accessible. If you have ever viewed FLCL then you will have an understanding of this movies sprinting pace.

This movie is a comedy if nothing else and has an extremely simple plot which allows the creators to put in as many different character, plot points and setups as it can. From a chase, to a drinking contest, to a few musical numbers, all are displayed with as many transitions emotions and levels or ridiculousness that it possibly can. It cooks up a wide buffet of animation and movies and allows you to be stuffed and very happy by the end.

 

Review Victoria & Abdul by Jonathan Evans

The opening text of Victoria & Abdul goes “Based on real events…mostly.” That insertion of the last part eases the audience that though the idea and some events may have accrued, they are taking liberties. It allows us to take some of the more eccentric moments and inaccuracy’s with a pinch of salt and enjoy the moments.

We open in India where a simple man names Abdul goes about his simple duties. By chance he is selected to present Queen Victoria with a gift, simply because he is tall. So he gets shipped off to England and when the pivotal moments comes he is instructed to not to make eye contact with her majesty. Guess what happens!

Dench is actually returning to the role of Victoria. She originally played the monarch in Mrs. Brown, where oddly, was also about the Queen befriending a servant. There’s not much to write about the performance I feel, Dench has proven her chops as an actor again and again. Here she handles the part of one of the longest running monarch’s as a woman that is more than used to getting her way, but also fatigued with the repetition of ceremonies and political news. It is when this young Indian servant enters her life that she becomes reinvigorated with someone that speaks to her like an equal and has a different view of the world.

Abdul played by Ali Fazal will most likely bring a smile to your face. He himself is so smiley and optimistic but not without a sense of being grounded. He can be sad and worried, but that is understood because he has his faith that reassures him of a positive outcome. If it were not for these moments then he would most likely become grading, but with these touches he is enduring.

Typically in these kinds of movies with big named stars and based on historical events you can bet that the studio and filmmakers are seeking an Oscar for their efforts. It may well win or at least be nominated for cinematography and/or costume design. But the moments that will most likely receive a nomination, even a win. This is a moment where Dench is framed in closeup and it never cuts away and she delivers a summary of this entire woman’s life and role. This, on one hand, it obviously trying hard to win the Oscar, but also on the other it is a sharply executed performance that is very well written.

Eventually there come moments of unhappiness and sombreness. Such moments in movies come and go with varying degrees of effectiveness but these ones truly struck me. It works by starting with sugary charm and digging deeper and deeper into the characters and the way each of their worlds work as well as life as a whole we come to truly tender moments.

Historical accuracy interest me rather little, what engages me is characters and themes, the movie has these. It has charm and fun but by the end leaves you with a sense of understanding of the connections between people.

 

IT Review

 

“I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify I’ll go for gross-out. I’m not proud.”

-Stephen King

(3 / 5)

Stephen King is author that has one of the most loyal and enthusiastic followings of nearly any writer in history. His fans obsess and devour his books, so no wonder why he is also regularly adapted to the screen. There are many shoddy productions of Stephen King material. This is well produced at the least. You can tell that from the clear images and the visuals and detailed production value. But does it succeed in and kind of engaging horror?

IT tells the story of a small town called Derry in the eighties where it seems Norman Rockwell’esque, however people are going missing, mostly children. Only a handful of children are catching onto the pattern that there always seen the same demented clown appears and they unite in solving the mystery.

The children are Bill (Jaeden Lieberher) who has a stutter and is very determined to solve the mystery because a year ago he lost his brother Georgie to the clown. Ben (Jeremy Ray Taylor) is the new kid in school as well as being overweight so he spends time in the library. Richie (Finn Wolfhard) is the wisecracking comedy relief who’s jokes don’t always land but he keeps trying. Eddie (Jack Dylan Grazer) is the timid, germaphobe who is the one to suggest that they don’t go into the scary places. Mike (Chosen Jacobs) the only black youth in the whole town and has suffered hardships of being an outsider. Stan (Wyatt Oleff) who is the most logical one, believing in facts and rational and second guesses all the supernatural elements. Finally there is Bev played by Sophia Lillis, who is by far the best talent in the movie. She is able to encapsulate all the fear, confidence and insecurities within this one character. I hope to see her go onto more things.

Until now our only personification of Pennywise the clown was Tim Curry in the miniseries. That was a fun performance but only in the sense that it was an actor going all out with not restrictions. Watching it now as a fully grown adult, you’ll probably be entertained but doubtful be scared. Now Bill Skarsgard is under the makeup, he also goes all out in his performance, however there are delicate touches of control here, adding glimpses of his sinister intentions through bouncy clowning. Also aiding in the overall terror of his performance are some genuinely creepy ideas of what to do with him (none I shall spoil). Finally he comes with much more convincing special effects this time around.

King is a writer who has developed many reoccurring cliches within his work (IT has more than a few). But the one I want to focus on is the way too mean and soulless portrayal of bullies. The bully here is a boy names Henry (Nicholas Hamilton), a complete psychopath that must be a bully, it is his desperate role in life. This is over-the-top and quite frankly unbelievable,

Just like in A Cure for Wellness, Benjamine Walfisch delivers a melodic score that starts as whimsical childhood and then drifts into demented screams. Much like Bernard Herman in Psycho for the main moments of fright he cuts out all other instruments and just uses the strings, creating high-pitched shrieks.

As of this point of writing this review I have never read a Stephen King novel. However from what I understand of his prose they have great ideas and are engaging page turners. However they also are very wild and don’t lend themselves to being put to screen because of an idea that would work while reading it might not be so brilliant when is actually visualised. As for what the book is like I do not know, but they seem to have run with the idea and added and changed elements to make them better suited for the medium.

Whilst there are moments of genuine frightening material in here there are other moments when it goes too far and it’s just the movie yelling at you. Though for the moments of the children being children and the moments of fright they are very much worth it.

 

Review The Dark Tower by Jonathan Evans

 

(3 / 5)

 

There are many, many stories like The Dark Tower. A child that exists in the mundane world that we know and then stumbles into a world unlike our own where they must manoeuvre it as well as see many interesting things along the way. One of the first examples of this is Alice in Wonderland, then The Wizard of Oz and many more. But while concept is one thing what truly matters is execution.

Our lead is a boy named Jake Chambers (Tom Taylor), he is mostly a loner and has dark dreams of another world where monsters dwell and there is a large black tower that stands. He goes to therapy to talk about how he believes that the earthquakes that happen in the real world are related to what is happening in his dream. Of course the world is real and he eventually finds a way there. Taylor handles the role well, displaying all the panic, fear and confusion clearly and convincingly.

In the other world Idris Elba plays Roland who’s a Gunslinger, basically a knight that roams the land and rights wrongs. But he is the last of the Gunslingers and has become disillusioned with helping people. It is also established that he is a little stronger and faster that the average human, so he can heal faster, do more impressive feats and take more of a pounding and not die. I must give the movie credit for not being on tracks with the stereotypical stern mentor figure. There is a moment in the movie (I wont spoil it) where something traumatic happens to Jake, he says that they have to move but he speaks calmly to him and isn’t above giving him a hug.

The antagonist is a magician of some kind and mostly referred to as “The Man in Black.” He is essentially a very powerful being of pure evil. He is used to getting his way and can treat anyone how he wants. Mathew McConaughey is clearly having fun with the role, this is an excuse to be devilish and swaggering. As a characters there’s no real depth, but as a scary threat, he does the job.

Movies these days seem to be very franchise orientated. Wanting to adapt books is nothing new but now studios really want books that are part of a series, so that they can not just get one but many movies out of them. This probably stated with Harry Potter, kept on going with Hunger Games and is still common now. As of writing this I have never read the book by Stephen King that the movie is based one, but this is fine, audience members shouldn’t have to read the book in order to enjoy the movie, they should buy their ticket and enjoy it regardless. This movie is fine to understand, there are things that go unexplained but you don’t always need exposition for every single thing that happens in a world. I heard from one source that a movie could never do the source material justice because the books go so weird and high concept, well that may be, but as a movie it’s fine.

As stated earlier the concept is not original. The best examples of movies that use this concept would be The Wizard of Oz and Labyrinth. On the opposite scale, the weakest movie I’ve seen with this idea is Percy Jackson & The Olympians  The Lightning Thief. This movie isn’t the pinnacle of this genre but it is also far superior to Percy.

When the movie ends the story that kicked everything off is wrapped up nicely as well as leaves itself open for other scenarios to happen. Being that there are many books in the series if the film is a success this will happen and if not then it will simply be as it is.