Marvel's Black Panther Movie

How about that scene where Bilbo was interrogating Gollum? You can tell Andy Serkis was having fun with the character.
 
sox63 said:
It was a dress code replicated from the worldwide premiere of the movie. A couple of the international stars joined the SA cast for opening night locally as well, thought that was a nice touch
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I was referring to yesterday for example at the cinema where I watched it. I thought it unnecessary, but each to their own I guess.
 
Doing well at the box office.

https://www.polygon.com/2018/2/19/17027296/black-panther-box-office-record

Disney and Marvel Studios’ Black Panther set a box office record this weekend: It’s the biggest February debut ever.

Black Panther made $201.7 million through Sunday in North America, according to Disney’s latest estimates. (The film premiered Friday, Feb. 16, although the figures also include Thursday night screenings.) The success makes Black Panther the fifth-largest movie opening of all time, just behind other Disney properties like The Avengers, Star Wars: The Force Awakens and Star Wars: The Last Jedi.
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We’ve been duped. Black Panther is anti-revolution

I found myself wondering how a film touted as a breakthrough for people of colour could be so primitive when it came to questions of justice and legitimate violence.

The movie positions the dichotomy as follows: armed resistance vs “dialogue” and “exchange”.

The former can only be depicted through the personal story of Erik’s revenge. This is intentional: armed resistance can never be a collective "rational" strategy of the oppressed. It can only be mediated through the "irrational" aims of a personal vendetta.

In the end, dialogue-exchange defeats the former and, thereby, the scope of resistance becomes restricted to symbolic words of the need for “brotherhood” at a UN-like agency. Here, the lines are drawn in favour of the colonised, who ultimately only stand to gain from Wakanda’s entry into the world economy.
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Read More...
https://www.iol.co.za/news/opinion/weve-been-duped-black-panther-is-anti-revolution-13395830
 
WTF is with the political BS? Can't it just be a Marvel movie?

I'm put off from watching this because of idiots who will cheer and clap, as if the screen is a magical portal to the actual actor, who can then acknowledge it...
 
Mike Hoxbig said:
WTF is with the political BS? Can't it just be a Marvel movie?

I'm put off from watching this because of idiots who will cheer and clap, as if the screen is a magical portal to the actual actor, who can then acknowledge it...
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This, was going to go watch it this weekend, was super excited before reading all the BS in this thread.

Will now skip it in cinema and pirate it on principal.

*Will be the first marvel movie I don't see in cinema...
 
Ninja'd said:
Can't wait for the Armond White review.
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https://www.nationalreview.com/2018/02/black-panther-overhyped-race-fantasy/

The Marvel Cinematic Universe (MCU) first infantilizes its audience, then banalizes it, and, finally, controls it through marketing.

This commercial strategy, geared toward adolescents of all ages, resembles the Democratic party’s political manipulation of black Americans, targeting that audience through its insecurities about heritage, social prestige, and empowerment. So Marvel’s new, instant blockbuster Black Panther appeals to adolescent fantasies about birthright and ethnic invincibility — dishing up the routine super-heroics of T’Challa (Chadwick Boseman), a black version of Batman who fights crime dressed as a panther. He’s a recent addition to the Marvel Avengers series and the new king of Wakanda, a fictitious African nation devised by two of Marvel’s pseudo–social scientists, writer Stan Lee and illustrator Jack Kirby.

The Black Panther film and its hype are inseparable.

What motivates their methods of racial exploitation are confirmed by this week’s Time magazine: Its cover features Boseman, Black Panther’s star, handsomely replacing Time’s infamously racist, darkened O. J. cover, to prove that the publication has abandoned journalism to become a social-justice-warrior pamphlet. Combining youth and black exploitation is an effective propaganda tactic when audiences don’t recognize how they’re being manipulated; they’re simply flattered by it.

T’Challa’s superpowers, tight-fitting Panther outfit, and Shangri-La-style homeland (transferring the fabled El Dorado from the Western Hemisphere to Africa) distort actual history and anthropology the same way that TV, comic books, video games, and movies have supplanted traditional education and learning. Utopian Wakanda, hidden behind clouds and mountains away from European colonizers, resembles the faux-naïve heaven of the 1933 negro musical Green Pastures. But the old-timey Christianity in that film is now replaced by faux-naïve Afrocentricity, including clichéd tribal customs (T’Challa must fight challengers to his throne).

During the radicalized 1960s, Green Pastures’ stereotypes were considered an outrage. Black Panther would seem similarly fake if people weren’t falling for it without question. Once again, we see the nation’s psychic wounds — and black folks’ desperate need for whites’ appreciation — exposed by stripping off the Obama bandage.

Black Panther offers no mystical alternative to racism’s threat, or the helplessness engendered by the tragedy of slavery (the original sin of removing Africans from their real and imagined roots). Instead, the movie offers a panacea, a comic-book fantasy of black empowerment that exchanges the actual history of the ’60s Black Panthers for a superficial commercial remedy. Rather than any account of that hopeful, aggrieved, inspiring, yet violent and always controversial social-activist group, we get the story of a monarchy.

Even elderly academics and young Afro-futurists who prattle about “revolution” have unaccountably joined the circle of Black Panther hype, as if it was somehow a protest. They accord an oddball sanctity to the media practice that persuades the public to cheapen its own best interests. The horror of seeing the makers of Black Panther on the stump, invoking the names of serious historians from Dr. John Henrik Clarke to Ivan van Sertima, twisting their principled, arduous studies into promotional fodder, suggests an intellectual setback. The film’s frivolous sci-fi technology and gladiatorial fisticuffs can only assuage this moral betrayal momentarily — through cheeky ripostes about imperialism. (A Wakanda woman throws an ideological spear: “Don’t scare me like that, colonizer!”) Black Panther turns racial politics into what Malcolm X called “politricks.”

Black Panther is a Diaspora tale in reverse. Its homecoming plot — in which T’Challa’s sovereignty is challenged by Erik Killmonger (Michael B. Jordan) — pits one uprooted black against another. Rather than a battle of ideologies, like Booker T. Washington vs. W. E. B. DuBois, it plays out director-writer Ryan Coogler’s own inner conflict between his politically conscious upbringing in Oakland, Calif. (where the story is first set), and his desire to join the Hollywood mainstream. Coogler’s ambivalence is embodied by the dignified T’Challa and the swaggering Killmonger, updating the good brother/bad brother dichotomy of ’70s Blaxploitation films in which community activists fought drug dealers. (In Larry Cohen’s more imaginative iterations, black gangsters waged a complex, internecine battle at the bottom of a social hierarchy headed by whites.) What’s slightly different in Black Panther is the sentimentalized pain that drives hip-hop culture: fatherless boys reenacting that excruciating paternal absence. I have explained how Coogler honed this same theme in Creed, a fortuitous hip-hop reboot of the Rocky series.

But Oedipal conflict is too serious for the Marvel Comic Universe, so careerist Coogler gets distracted from his real subject and creates a kind of ideological retreat in which Afrocentricity becomes an opportunistic folly. Unlike biracial Vin Diesel’s The Chronicles of Riddick, which translated racial and political awareness into a quasi-classical drama, Black Panther marginalizes its white characters: “Another broken white boy for us to fix,” a Wakanda scientist rhetorically spears a CIA outsider. Its focus is on what masculinity means for heartbroken black boys.
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I love this guy :D
 
Deadmanza said:
What an idiot.
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Ninja'd said:
It's a f**king movie!
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WaxLyrical said:
Next they'll be saying Black Panther is a resurrected Martin Luther King.
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It's getting worse.. they now recon the movie shows Africa in a different light..

"We’ll dispel this myth about the dark continent of Africa. It ain’t dark no more.”
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Sorry for the bubble burst, but it still seems pretty dark to me. We just managed to get rid of the worst president ever, who had full support of government through his entire time, shall we all pretend the black panther was the one who saved us?

Someone should remind them you cannot really send lightning to kill your enemies, Wakanda is made up fantasy (not real) & that Africa has delivered mostly ****hole countries thus far.

The comic book hero dream sounds nice, but one has to try live in reality..
 
There's (white guilt) fools saying how they cried after seeing black people so happy in the theater and stories of idiots taking selfies at the screen ........ eish, I dunno :crylaugh:
 
evilstebunny said:
It's getting worse.. they now recon the movie shows Africa in a different light..



Sorry for the bubble burst, but it still seems pretty dark to me. We just managed to get rid of the worst president ever, who had full support of government through his entire time, shall we all pretend the black panther was the one who saved us?

Someone should remind them you cannot really send lightning to kill your enemies, Wakanda is made up fantasy (not real) & that Africa has delivered mostly ****hole countries thus far.

The comic book hero dream sounds nice, but one has to try live in reality..
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I think this guy is quite sharp.

If you think about it, the movie is saying that black people helping other black people around the world is a bad people, and instead the white CIA guy helps Wakanda deal with its crisis and return to a government favourable to US interests. Fantastic.

EDIT: Also, there is a certain irony about how people love this movie and yet the very reason it is popular is because it presents an optimistic fiction. The reality is that no nation like Wakanda exists - African nations are instead generally pretty effed compared to the rest of the worlds. It's like the polar opposite of how things actually are in Africa.

A movie with a fantasy African nation is now somehow good for African consciousness? I don't get it.
 
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Mike Hoxbig said:
WTF is with the political BS? Can't it just be a Marvel movie?

I'm put off from watching this because of idiots who will cheer and clap, as if the screen is a magical portal to the actual actor, who can then acknowledge it...
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seems to be a universal response from one sector of the community.

Deep seated issues or a cultural thing.

Who knows.
 
Ancalagon said:
I think this guy is quite sharp.

If you think about it, the movie is saying that black people helping other black people around the world is a bad people, and instead the white CIA guy helps Wakanda deal with its crisis and return to a government favourable to US interests. Fantastic.

EDIT: Also, there is a certain irony about how people love this movie and yet the very reason it is popular is because it presents an optimistic fiction. The reality is that no nation like Wakanda exists - African nations are instead generally pretty effed compared to the rest of the worlds. It's like the polar opposite of how things actually are in Africa.

A movie with a fantasy African nation is now somehow good for African consciousness? I don't get it.
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Maybe if they have such a need to see everything in terms of politics they should skip movies as entertainment and find an ANC rally to go cheer at, or even better re-watch old Malema speeches for a laugh..
 
Lol. This thread gets funnier by the minute.

/Dusts off copy of undercover brother for a rewatch
 
Ancalagon said:
If you think about it, the movie is saying that black people helping other black people around the world is a bad people.
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That's a very superficial (and misleading, imo) interpretation. The pushback in the movie is more along the lines of there being other ways to help without fomenting armed revolution with highly advanced weapons that could blow back on them. This is not unlike the debate going in the West at the moment where countries have sent weapons to resistance groups in many countries which then end up in the hands of extremists etc.

There's also the theme of shared/family responsibility across generations and international boundaries and how that ties into larger ideas of community and solidarity etc.

Jelani Cobb has a pretty interesting take on it:

“Black Panther” and the Invention of “Africa”
 
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