Review: It Follows May Be The Last Horror Film

Is there anything scarier than having sex for the first time? The world is filled with fear-mongering messaging of what might happen when you have sex. The devout claim sex before marriage will forever taint your purity, damning you to hell. Social advice says introducing sex too soon into a relationship can irreversibly change the dynamic, altering how your partner thinks of you. Even after you escape the peer-pressure trials of virginity, there persists a worry throughout adult life of the consequences of sex. In the post-AIDs world we’re aware of the possibility of transmittable STDs and things that can hang over you for the rest of your life. If you’re one of the unlucky ones to contract a disease it might feel like a force of nature is following you, bringing imminent doom along with it.

It Follows is about a force of imminent doom literally following a girl named Jay, after she has sex with a guy named Hugh. After their sexual encounter, Hugh knocks Jay out with chloroform, ties her to a wheelchair, and explains the rules of the curse: It will always follow her, it only moves at a walking pace, but it’s “not dumb.” It can take any form, but only people who have the curse can see it. If she has sex with someone else it will follow them instead of her, but if they die it will follow her again, and if Jay dies the curse will start to follow Hugh again. Hugh drops Jay off at her house and vanishes from town. Jay’s left to deal with the consequence of this curse with the help of her sister and their friends Paul and Dara.


It Follows has been summarized as being about “a walking STD,” which even director David Robert Mitchell has said “when you say it out loud, it sounds like the worst thing ever,” and I would agree that any synopsis of It Follows makes it sound dubious at best. In reality, It Follows has to be one of the cleverer horror films in recent memory. Slasher films, which are characterized as some menacing creature or person going around killing teenagers, have been criticized for tropes such as slow walking villains, useless companions, and sex-eager teenagers. It Follows embraces these tropes and wraps them around a concept that justifies them.

For example, law enforcement is typically useless in horror films and It Follows embodies this trope through Jay’s friends, helpless to assist her, despite their willingness to. This is because only people who have the curse can see the curse, which is an extension of the “supernatural STD” concept where no one really understands what it’s like unless you have it. On that note, a common joke for slasher films is teenagers’ insistence to take their clothes off, but for It Follows it’s actually a plot point, since the only way for the curse to be passed on is through sex. They’ve actually managed to write-in gratuitous nudity (although there isn’t any among the teen protagonists). Most impressive of all is their handling of the “slow walking villain trope.” I’ve always thought it was silly when a villain like Jason Voorhees casually strolls his way over to his victims who are sprinting away at breakneck speeds. However, the curse of It Follows is more terrifying specifically because it is so slow. The decreased tempo contributes to the impression that it will never stop, and indeed it never does. It’s a curse that haunts Jay ceaselessly, and a horror concept that’s just as effective in the daytime as it is at night.


In fact, It Follows doesn’t rely on cheap horror tricks that would only work in a dark theater with booming audio. The film doesn’t have jump scares, or horrifying gore imagery (outside of one death at the beginning). It’s just a concept that eats at you. A persistent being that follows you, forever. You get to see the supernatural force multiple times in the film, and it’s always just a regular person. An old woman, a tall man, a naked woman, or a naked man. It’s never anything unusual, outside of knowing what will happen if it actually touches you. This made the movie easy to watch, but I noticed immediately after finishing the film that it royally messed with my head. I began to associate people walking in my direction with life-ending doom. Walking to work in the middle of the day, I’d be wary of people making direct eye contact, walking toward me. I’d remind myself it was just a movie, but the fact that the movie stuck with me during the daylight was impressive. It takes a fair bit of cinematic craft to accomplish that.

Of which there is an abundance of in It Follows. From the opening sequence alone, when the destruction of the curse’s force is established, you can tell there is some real talent both behind the camera and in the audio booth. Director David Robert Mitchell reportedly used a lot of wide angle shots to give the film an “expansive look,” but that doubles as making the audience peer to the edge of the frame, constantly looking for the next slow-moving pedestrian that could be the next bringer of doom. Frequently the terror of the scene is introduced with no real grandeur. It unceremoniously shows up far in the background and slowly creeps in as the scene plays out. These moments are gut-wrenching, to say the least. This is all assisted by the memorable soundtrack done by Disasterpiece, who mixed up a unique combination of 80s chiptunes with screeching horror synths. The blend of 1980s style with new horror made it feel like the film was constantly paying homage to the horror films the filmmakers watched when they were younger.


And that’s where I really marvel at It Follows’ execution. The Slasher film genre became hugely popular for a lot of reasons, but one thing that stayed consistent was young teenagers who had sex always died. There’s a theory that the reason for this was because the conservative filmmakers who made those films were trying to convince young teens not to be so promiscuous and that was their way of sending messages to the youth they couldn’t connect with. It sounds insane, but there’s actually a lot of film theory articles written about that topic, and an even more insane amount of evidence supporting the theory. Which makes It Follows’  sex-focused plot even more ingenious. It’s another layer of folding all of the genre’s past into one film. Across the board It Follows encompasses everything the genre is about, takes every flaw, and turns it into a positive, even the bizarre ulterior motive of encouraging abstinence (or at the very least, being prude).

There are certainly things scarier than having sex for the first time. A murderer chasing you in the woods, or an alien hunting you on a spaceship, or being lost in the jungle while a predator stalks you, or having a mischievous Englishman haunt your dreams. Hollywood has spent decades thinking of scary concepts, and some are more terrifying than others. What all of those concepts have in common is that none of them are very likely to ever happen to you. It Follows is unique because it preys upon a fear that many people actually have: trusting people enough to have sex with them, and worrying about what will happen afterwards. I’m sure the filmmakers weren’t intending to send ulterior messaging like their forefathers before them, but It Follows’ creativity ascends over its predecessors, and the filmmakers’ ability to reanimate a decades-decaying genre riddled with criticisms is astounding. With that in mind, It Follows is arguably the quintessential horror film.



Defending Your Movie: Mystery Men

It appears 2016 might be the biggest year for superhero movies yet. However, with the less than stellar reception of Age of Ultron and the possibility that those Justice League movies are going to be terrible, if Man of Steel is anything to go off of, it’s potentially the year the superhero stardom might finally collapse in on itself. Of course quality of content won’t actually mean anything until people stop going to the theaters in record numbers and making these movies earn billions of dollars. Either way, since we’re entering what might be the peak year of superhero films, now’s the perfect time to revisit one of the best movies that nobody likes: Mystery Men. This movie came out a little bit before its time, since 1999 wasn’t exactly the best time to release a parody film about superhero films. Then again, the movie has transcended whatever purpose was originally intended for it and reached cult status for a few different reasons that I think are worth revisiting this year.

What Is Mystery Men

Mystery Men was released in 1999 and stars several actors you actually know quite well. Ben Stiller, William H. Macy, and Hank Azaria are the three main characters. They play three normal guys who are trying to be superheroes because they want to be somebody important. The thing is, they’re really not that great and their pseudo-powers are obvious shams. It also doesn’t help that in their universe there’s already an acclaimed superhero named Captain Amazing, played by Greg Kinnear. Captain Amazing doesn’t seem to have any powers outside of being a capable fighter and having some useful gadgets, but the opening scene of the film is the trio getting their asses kicked in a brawl and Captain Amazing saving the day. This leads the trio to question whether or not they should even be doing this hero stuff.

A turn of events occurs when nefarious villain Casanova Frankenstein, played by Geoffrey Rush, is released from prison and captures Captain Amazing. The trio realizes that there’s no one to save Captain Amazing but them. So they reunite, resolve to recruit more members, save the Captain, and the day, and become heroes once and for all. Well, sort of.


What Makes Mystery Men Any Good?

1) Somehow it’s the only superhero parody film that you’d actually want to watch. Outside of Superhero Movie (a film as inspired as its title), Mystery Men seems to be the only film that’s ever poked fun at the absurdity of the story of superheroes. The analogies between Superman and Captain Amazing are obvious and the film really runs wild with how much of a megalomaniac a crime fighter would become when they have a 100% success rate. Captain Amazing’s outfit is adorned with logos from companies that he endorses. At a few points in the movie you can see him appearing in commercials advertising for products like Mighty Whitey Toothpaste “because I want my teeth to look… amazing.”

Even my plot summary above doesn’t do justice to the sheer audacity of Captain Amazing’s ego. The “turn of events” that leads to the villain Casanova Frankenstein being released is after Captain Amazing has a meeting with his publicist, who informs him that people don’t think they need him because he’s already defeated all the bad guys. In an effort to rebuild his brand, Captain Amazing puts on his lawyer alter-ego “Lance Hunt” to argue an early release for Casanova, just so he can beat him again. Just in case you’re wondering: “Lance Hunt” looks exactly like Captain Amazing, except he wears glasses. A clever ruse that fools most people. There’s plenty of other quality jokes in each scene but at a certain point I’m just re-telling you the jokes.

2) It has one of the best casts in movie history. I don’t just mean that in the “go to IMDB page and be wowed by all the names you recognize” kind of way. I mean the casting of this movie has taken a life of its own. Let me frame it this way: In the movie Moneyball, a baseball movie about the general manager of the Oakland A’s changing how he managed his team, there’s a small scene where Brad Pitt’s character talks to the owner of the team. The owner is very business orientated, talks about meeting expectations with the resources you have, and other businessy stuff. The person they got to play the owner in that scene was CEO of Activision-Blizzard and multi-billionaire Bobby Kotick. Pretty good casting right?

Almost as good as getting William H. Macy, the most accomplished actor of the cast, to also be the fatherly mentor of the group. Or for Paul Reubens, mostly known for being Pee-Wee Herman and later for his weird public masturbation arrests, to be cast as the weirdo whose superpower is deadly farts. Or having Kel Mitchell cast as “Invisible Boy” in conjunction with his career absolutely evaporating (while his co-star from Kenan and Kel took off). You’ve also got Tom Waits showing up toward the second half of the movie practically playing himself as a guy who messes with weird instruments and gadgets. Eddie Izzard also plays some demented version of himself as one of the leader of a disco boys, not to suggest that Eddie Izzard likes disco, but he’d probably be down to dress up and be weird for a day. Finally every time I see this movie I find Geoffrey Rush’s involvement more and more hilarious, since his career as a “serious” actor is such a strong contrast to this absolute moronic movie.

A lot of people rag on Mystery Men for being a “bad” movie. Some of my friends have called it “one of the worst movies they’ve ever seen.” I chalk this up to hyperbole every time simply based off of the actors alone. These are quality actors and most of them are essentially playing themselves. They’re not playing roles that they had to study or “get into.” It’s also a comedy film and half of the cast is comedians, it’s not like they’re missing punchlines. The other half seems to know what’s expected from them. After all, this is the movie that casted Michael Bay as a frat boy.


3) It is unbelievably stupid. Everything about this movie, the events, the characters, is really dumb, and I’m saying this in the most positive way possible.

Take this scene from early on in the film when Captain Amazing gets the idea to release Casanova Frankenstein from prison to revive his brand image. At first glance it seems like a throwaway scene to set-up essential plot, but it encapsulates Mystery Men. The visual image of a superhero throwing a fit because he lost his sponsor, a character who says “I’m a publicist not a magician,” being played by a well-known magician, and finally the simplicity of a silly joke like “get Death Man!” “Death man is dead.” Because what else would death man be?

That last joke might seem corny but I think it points to how Mystery Men may have been before it’s time because of the type of humor it was going for. It helps to know that Mystery Men is based on a comic series called The Flaming Carrot where the “heroes” of the story are not known for their cunning but for their mortality rate. The titular character’s main ability was entering a state of “Zen Stupidity.” Although the actual carrot was replaced with Captain Amazing, and all the heroes in Mystery Men were created for the film, the adherence to “so stupid it’s funny” remained. In 1999, comedy films were still focused primarily on jokes and punchlines in the most traditional sense. The highest grossing comedy that year was Austin Powers: The Spy Who Shagged Me, a very different type of comedy. Mystery Men’s comedy isn’t best when there’s a joke set-up by the script and delivered well by the actors, it’s when your mind is overcome with bewilderment at the absurdity that you just have to laugh. I’d even argue there are moments made funnier when you think “did they really write that joke?” That type of humor has become more popular since 1999, especially on the internet to the extent that there are entire channels dedicated to it. Which seems to indicate that Mystery Men may have only gotten better with time as our collective tastes have adapted to it.

So this might sound too good to be true, but the fact remains that many people don’t like Mystery Men, so let’s air that out.

Why Might You Hate Mystery Men?

1) They didn’t trust the stupid. There’s a scene where the crew decides to hold formal recruitment of more heroes, which is the movie’s excuse to show off their ideas of other crappy heroes. There’s a little montage that includes cameos from Dane Cook, and other actors, and they introduce themselves as heroes like “The Waffler,” a guy who carries around a waffle iron and burns his enemies. Or PMS girl who’s very irritable and gets disinterested in the audition halfway through. Then a man approaches the audition in all black, with a dark hood, and after dramatically unveiling his cape he introduces himself as the ballerina man. I hate this part of the movie. It plays out like the typical comedies of the 90s and it’s not consistent with the adherence to idiocy like the rest of the movie. A lot of the movie tries to fight its way back to normal and these are almost always the weakest part of the film. It’s as if the early days of shooting they had a vision and at some point everyone realized they were making something weird and wanted to pump the breaks and make something marketable.

If you don’t already know, a lot of movie-making is the technical aspect, or the physical “showing up to work” aspect, but there is also a degree of politics and convincing people to do things that they said they were going to do. Believe it or not a lot of members of the cast have been asked about Mystery Men long after it’s been released, and Stiller, Azaria, and Janeane Garofalo (also in the film) have all said there was various fights on the set about the tonal direction. You can tell just by looking at it because the type of humor present in the film is all over the place. There are fart jokes, stupid humor, traditional punchline orientated, bickering chemistry focused, it’s very strange. It seems whichever humor is present in a scene is whoever won the argument that day. The director of Mystery Men, Kinka Usher, would never direct a film again, saying he rather work on “cool one-minute shorts than all this nonsense.” Usher would go on to direct commercials for the rest of his career, which are known to be experimental. As much as I love the cast for the film, it seems they were actively fighting against the soul of the project while on-set. These problems get worse in the second half.

2) The movie gets worse as it goes on. Closely tied to the previous point, Mystery Men becomes more traditional the longer it goes on. This means it becomes more ordinary, more bland, and not worth your time. A lot of the climax of the film is the crew dispatching lesser villains than Casanova Frankenstein, and they’re all one-bit jokes using gimmick gadgets that have cutesy jokes tied to them. Each gag is the equivalent of having a wink and a nod attached to them. Not that things get much better when the crew finally confront the main villains themselves.

Action sequences in a movie like Spider-Man can be exhilarating with the assistance of CGI, but do you really want to see Geoffrey Rush use a coke nail to combat Ben Stiller’s fists as “Mr. Furious?” What about seeing scene after scene of Paul Reuben as “The Spleen” farting to taking down enemies? These scenes feel like a writer’s room finding an answer to a script’s problem but not an audience’s These sequences are boring, and the entire last act is nothing but these moments. Eventually the film ends on a conclusion that brings the story to an end but it’s not the finale of lunacy that you may have hoped for.


3) The set design and music is really strange. There’s a (overwhelmingly disproved) rumor that this movie was actually directed by Tim Burton and he hated the final product so much that he made up a pseudonym. This isn’t true because there’s footage of Kinka Usher directing Mystery Men on set. However, many people believed the rumor because a lot about this movie feels like Tim Burton. The music is bizarre, the city is gloomy and filled with smoke and lights, and the few CGI effects in the film are nightmare inducing, although that was mostly brought about by rushed deadlines rather than design.

Usually for me, and I think most people, set design and music wouldn’t be enough to hold it against a movie but the mixture of elements in Mystery Men is so diverse and so at odds with one another that it really stands out in the worst way possible. This is literally a film that uses the same sets as Batman Forever and throws in guys with disco outfits. Later in the film they’re in a suburban backyard with a swimming pool, there’s also a junkyard, the middle of the jungle, an apocalyptic looking abandoned theme park, and Casanova’s mansion itself which is completely different style by itself. Contrasted with the outfits of the all the characters, the design captures how production on Mystery Men must’ve been like: “I got no idea what’s going on.” But if you’re not keen on these elements of movies then you might not notice it at all, but I have heard this complaint a few times.


Honestly the most frequent complaint I hear about Mystery Men is “it’s just bad.” So maybe you’ll hate Mystery Men because “it’s just bad,” but I disagree pretty strongly with that. There was clearly a vision in mind with what the film wanted to be, but there seems to have been some forces working against that. There was also a time and place when the movie was released, and that may not have been the best time to release the movie which is why it did so poorly. I’ll put on my crazy hat and say: THE WORLD JUST WASN’T READY!

Really though, our tastes as an audience have changed a lot since 1999. Our spectrum of comedy has been expanded, there have been a lot more superhero movies, our fatigue for them has increased, and even our appreciation for niche/cult films has arguably been expanded thanks to communities on the internet. I think the time is prime for a new found appreciation for Mystery Men. I saw this film in the theater when I was eight years old. My family bought it on DVD. I’ve seen it well over twenty times. I don’t know a single person who legitimately loves this movie as much as I do, and that’s a real shame. I believe if it’s a film that still holds up today, in fact it’s probably better today than it was in 1999. With the exception of that Smash Mouth song at the end, which I think I could go the rest of my life without ever hearing again.


Top 5 Films of 2015

Earlier today I saw a lot of “Top Lists” for the year of 2015 and this led me to throw up something on Twitter. Then I quickly realized I should dedicate more time to my favorite films from the years. There’s not many times I get to be wholly positive, so instead of posting a clumsily thrown together list I made in Notepad, here’s a detailed explanation of five of my favorite films from 2015. I would have gone for a full top ten, but I really didn’t see that many movies I liked enough to put on a list. By the way, Sicario (with Emily Blunt in FBI gear up top) is not on this list, although it makes for a great feature image.


5. Star Wars: The Force Awakens

I’ve written a little bit about how one aspect of this movie bothered me, but that doesn’t do justice to how pleased I was with the overall result. J.J. Abrams and company managed to bridge the gap between the old fans and new fans and gave us the “Episode 1” that everyone wanted. It’s almost like we can pretend the prequels never happened. Unfortunately, there’s already a movement among big-time Star Wars fans that say the film had “too much fan service,” but I think these complaints can only be had after leaving the theater and realizing you liked the movie. The Force Awakens is the first time that audiences cared more about new characters than old ones, but the creators didn’t know that we’d like Rey, Finn, or Poe, so we got a little glimpse of who they are instead of focusing on them completely. As someone who has never been a huge Star Wars fan, this film has gotten me onto the hype train, to the point that I’ve reinstalled Knights of the Old Republic and I’m considering a replay. It’s easy to feel good about Star Wars right now, as long as I push back the thought that the “marvelification” of the franchise will happen any minute now.


4. The Gift

I wrote on social media immediately after seeing this movie: “The Gift is a great movie because it advocates all my world views. Don’t get married. Don’t have relationships. Don’t have friends. Don’t invite people over. Don’t meet people. Never trust anyone.” Four months later, I think this still accurately represents why I liked The Gift. If not for that reason, I think it’s one of the best “It’s good, just watch it,” experiences you can have. I went to see The Gift on the premise that it was about a “creepy neighbor,” and that’s it. It’s a film that plays with your expectations more than once. The less you know about the movie the better. In other words, it’s good, just watch it.


3. Kingsman

As far as I’m concerned there were three James Bond movies released this year: Spectre, Kingsman, and Missions Impossible: Rogue Nation. I could go into the details of why they latter two are totally James Bond movies but you’re better off skipping Rogue Nation and just watching Kingsman. A kid gets drafted into British secret service and has to infiltrate an evil lair and save the world using gadgets. All he needs is a double 0 in front of his name. Kingsman had the benefit of being released earlier in the year, several months before Spectre brought “being fun” back to Bond, so at the time it was a breath of fresh air to the formula that had been bogged down by the self-seriousness of Skyfall and Quantum of Solace. Kingsman is funny, charming, but also smart. All of this is made clear by the inclusion of Colin Firth in the main cast. When you read about a movie like Kingsman, and see someone like Firth being in the cast, you’d usually think “I wouldn’t think Firth would do something so brain-dead,” well that’s because it’s not. Like with many British films, there are layers of classism stitched into the fabric and Kingsman is no different. You walk away wondering if there was something more going on. Even if there wasn’t, it was the most fun I had at the theater all year. P.S. Love Samuel L. Jackson’s costume design.


2. Mad Max: Fury Road

Mad Max: Fury Road is a movie that’s story is told almost entirely through pictures. That’s a statement that can’t be said for most movies, and that’s okay. We have writers, actors’ performances, witty dialog, and ways of conveying information that’s pleasing to audiences outside of just pictures. In reality how many stories could you tell with just pictures? Still the novelty of watching Fury Road and realizing how much I knew about the world just by watching it had a big effect on me. Take for example this fight scene between Max and (the real main character) Furiosa. We learn key things about both characters: Furiosa is willing to kill Max, Max is not willing to kill Furiosa or the Wives, Max will work with Nux, but only to the extent that he has to, Nux has a deluded sense of friendship, and it appears that both Max and Furiosa want to use the truck to get away from the incoming horde. There’s no “we’re on the same side here Max!” scene between Furiosa and Max, because the audience already knows. The entire movie assumes a level of intelligence from the viewer. The low bar that they have seen the visuals on screen and were paying attention. But this isn’t some pretentious nonsense from film class. It’s an action movie made by an old guy who’s been making action movies since the 70s, and it is fucking rad.


1. Ex Machina

Ex Machina automatically had to be in my Top 5 after I realized it had started not one, but two, heated debates between friends and family over the implications of the ending of the film. It’s nothing incomprehensible like 2001: A Space Odyssey. It’s a fundamental understanding of what you believe “life” to be and if you think that definition translates when it’s being applied to biology versus synthetics (or to use simpler words: humans versus robots). Ex Machina is a film that sparks conversation and I envy any work of art that can accomplish that. That alone would force me to give it a recommendation but the rest of the film is also a marvel. It’s small in scope, with only four characters and “one” location, but it covers huge ideas like artificial intelligence, human connection, and the definition of “life.” It’s short in runtime, barely making it past an hour and a half, but you learn so much about the characters, their motivations, and quickly learn about complicated concepts. It’s a tightly written film, every second has a purpose and various moments have the potential to stay with you long after it’s over (I know which one has stuck with me the longest). On top of all that it’s undeniably charming thanks to the best performance from Oscar Isaac I’ve seen from him yet, as the super-genius super-self-centered Nathan. His character is a joy to watch and he jives well with co-stars Domnhall Gleeson and Alicia Vikander who do their part to service the film.

There isn’t a weak point to Ex Machina and every aspect of it I try to think about just inspires another sentence or two of praise, and I haven’t even mentioned the set design or soundtrack. Top 10 lists (or Top 5 lists) are always subjective and graded on nothing, but Ex Machina is the film that affected my life the most and made me love the medium more than I already do. I think that’s justification enough to praise it as my favorite for 2015.


When Heroes Deserve to Win

This post is not about Star Wars: The Force Awakens, except for the fact that it was brought about by something that happens in The Force Awakens and it bothered me (if you’re ultra sensitive to spoilers this is your warning to stop reading). The thing is, what happened actually happens in stories all the time, and it bothers me all the time, but despite my best efforts to articulate the reason why it bothers me everyone I talk to usually just shrugs it off and says something akin to “but it’s just an action movie!” So this is my final attempt to articulate the point.

So what are we even talking about? Without spoiling too much, at the end of The Force Awakens there is a fight between good and evil and good wins. That’s fine. The problem is that the “good guy” in this fight has no reason to win other than it being the end of the movie. There may have been an arc, and some crazy things may have happened along the way, but there’s no reason for this particular good guy to be the person who wins. In fact, this particular fight is two good guys versus one bad guy, and the first good guy proves unsuccessful. Is there something different about the two of them? Why does the second good guy get to win? Why do either of them deserve to win? The Force Awakens makes no clear point, but there should be a reason past “because they are the good guys,” and I have some ideas. Stories have proven that the reasons the good guy should win is because of a transformation in their character or because specifically their character was the only character who could’ve accomplished what was needed.

Let me be clear, when I say “deserves to win,” I don’t mean the endless fan theories of who is technically stronger according to lore. This is not the comments section of a YouTube video for a Game of Thrones fight sequence where they argue that “yes, technically character X was hungry from traveling for two days, that’s why he lost to this character who was described as a less proficient swordsman.” I’m talking about something quantifiable that isn’t left to endless debates. The first example is when a character makes a fundamental change to themselves. When they reach a new understanding, or finally overcome a hardship that has plagued them in the past. There must be a deeper reason our character was unable to defeat their foe, otherwise they would’ve proved victorious in the first battle.

I think the example that best describes this concept is Neo from The Matrix. If for some reason you haven’t seen The Matrix. Throughout the entire film the antagonists known as “Agents” are so omniscient they can’t even be hurt. They dodge fists and bullets alike and any resistance against them is a fool’s errand. Neo’s only protection against the Agents is to run away. That’s not all Neo is running away from. The moment he’s awaken from the Matrix he’s told by Morpheus he is “the one” that can defeat the agents and save mankind, but Neo doesn’t believe this. The entire film is Neo expressing disbelief in Morpheus’ vision, while also testing the extent of his strength just in case he is the savior of them all. This of course means that all of Neo’s encounters with agents ends in devastation, since he never truly trusts he is “the one.” The turning point is when he “begins to believe.” Neo starts with small victories, such as the famous subway station fight, and after getting the support of Trinity he becomes “The One.” The film ends with Neo destroying the agents.

Neo deserved to win because he was not the same at the end of the film as he was at the beginning of the film. He went from doubting the Matrix and Morpheus, to truly believing he was The One. The barriers that blocked his success were not physical strength or wits, but a personal journey that he had to complete. There’s no alternative version of The Matrix that you could write that would’ve satisfied viewers that removes Neo realizing he had to be The One and instead has Morpheus and gang using wits and big guns to defeat the machines. I think The Force Awakens has the same problem. There’s no reason why our hero deserved to defeat the villain. There’s hints at a transformation, a problem that plagues them from the past, but it’s dropped in favor of overpowered force sensitivity and suddenly being really good with a lightsaber. Even Luke Skywalker from A New Hope fits into the “deserves” criteria. Luke gained a connection with Obi-Wan and “used the force” to blow up the Death Star! Our Hero in The Force Awakens was force sensitive but had no mentor, and didn’t utilize it to become victorious. Luke had to meet Obi-Wan, learn about the Jedi, believe in the force, and combine it with his skills as a pilot to achieve victory, which brings me to my next point.

"He's beginning to believe."

There’s another way The Force Awakens could’ve satisfied audiences which is by making the characters the only heroes who were fit to complete the task needed. Characters exist outside of the script and come to the story with their own abilities and experiences which can prove useful for the story at hand, in fact it might be why they are in the story at all. Take for example Mal from the lesser-seen Sci-Fi film Serenity. Mal is a reckless smuggler who gets blown up and patched up a lot so he’s prone to surgeries and getting things replaced and biologically moved around. The villain of Serenity has a lot of interesting things going on but most importantly he has a very specific Shakespearian kill move. The kill move consists of the villain paralyzing his opponent by jamming his hand into a bundle of nerves in his opponent’s torso, then laying his sword down in front of them which causes them to “fall on their sword.” Well, Mal has gotten so many injures that when the villain tries to paralyze him at the climax of the film, it doesn’t work, because all those nerves were already blown away ages ago thanks to the numerous injuries Mal has had over the years. This allows Mal to sucker punch the villain and easily defeat him. If anyone else had been facing the villain they would’ve met a Shakespearian demise.

This might sound like a cop-out execution but it’s a more common tactic than you think and I assure you it’s satisfying in almost every story it appears in. It’s kind of like Indy shooting the swordsman but applied to a finale, it’s a scene that captures the character’s existence. No one else would’ve handled it that way but them, which is why it had to be them. Our character has a unique trait, or a unique way of thinking, that gets them out of the situation that would otherwise stump other people in the creative universe if they were placed in the same situation. This is what makes their story special and why we are following their tale, among other things.

Serenity is actually pretty okay.

The Force Awakens had two chances at this because it takes two good guys from very different backgrounds. It’s possible they could’ve used their textured past to their advantage in this situation. They even could’ve combined the two and accentuated what blends them together against a common foe but again that was not the case. Their experiences during the film, and before the film, are never hinted at in contribution to this finale. It’s a plain fight where the good guy wins because that’s what they’re supposed to do, right?

I’ve found that more and more stories have forgotten about the “deserves to win” philosophy, whereas at one point it was assumed. Even movies that are bemoaned by audiences as devoid of any creative thought like Avatar still follow this principal. Whereas John Wick, a film beloved by a cult following, completely ignores this concept. It’s really bizarre because writing it into your film inherently improves the film by giving your character dimension and purpose. The only criticism I’ve heard against this type of thinking is that it’s unnecessary for some films, but I disagree. Even something as brainless as a summer blockbuster film could be minimally improved by a few throwaway lines that adhere to this principal. It doesn’t take much effort to make our stories a little bit better, don’t we deserve that?