With Disney sucking all Marvel back to its streaming service, RUNAWAYS‘ third season is its last (I suppose it could have continued there, but as SyFy Wire says, it doesn’t fit neatly with the MCU brand), but at least it went out on a win.
At the end of S2, the alien Gibborim had taken over several of the Runaways’ parents, and one sleeper among the kids. The kids open the season fighting back, trying to stop the Gibborim before they open a portal and bring more of their people through. By the time they succeed, they have a new problem: Morgan leFay plotting to take over the world by mind-controlling people through cell phones! This actually works well as a story (certainly a better threat than S2’s dirty cops) though they hand-wave that the Staff of One is now really magic rather than quantum physics passing as magic (there’s a reference to magic as unexplained science, but that’s not how they’re playing it). We also get a guest appearance of Cloak and Dagger from that short-lived show, which worked okay but I could have done without. Overall a satisfactory season that ends well — too bad it’s the last. “We’ve done a lot of bad things for our kids — it’s time we do something good for them.”
Sophia Lillis, the Nancy of NANCY DREW AND THE HIDDEN STAIRCASE (2019) strikes me as awfully young, but unlike the Emma Roberts version not awkwardly so — it’s probably that I’m at the age where a lot of people just look really young (plus Lillis comes across as wholesome — though not implausibly so — which implies younger to me). This has Nancy and her friends help Linda Lavin investigate her haunted mansion and discover the secret behind the spooks; it’s not as fun as the Bonita Granville films, but it’s reasonably enjoyable. “Only one person has purchased a large supply of nutmeg recently.”
With THE MAN WHO KNEW TOO MUCH (1934) Alfred Hitchcock finally broke out of the mediocre crap he’d been doing and began the kind of film that would make him a legend. Leslie Banks and Olympic sharpshooter Edna Best are the unfortunate recipients of a dying agent’s message about an upcoming assassination; to ensure they don’t interfere, Peter Lorré kidnaps their daughter to keep them silent. Hitchcock himself considered this the work of a talented amateur and it’s certainly not his best, but it is enjoyable, which can’t be said about Easy Virtue. “Before June 1914, had you ever heard of Sarajevo, or even of Archduke Franz Ferdinand?”
Rafael Sabatini’s The Sea Hawk is a great swashbuckling novel that has nothing in common with Errol Flynn’s swashbuckler of the same name. 1924’s THE SEA HAWK is a faithful adaptation wherein a retired Elizabethan privateer gets framed for murder by his dishonorable brother, then shanghaid by pirate Wallace Beery before he can clear his name. By several twists of fate he winds up as a legendary Barbary corsair and eventually heads back to England with his pirate crew to kidnap his lost love and get revenge on his brother. This is a competent swashbuckler (it also has a lot of white people in brown face for the Arab roles), but it badly needs the screen presence of someone such as Errol Flynn or Douglas Fairbanks. “Nearby lived a matron whose conscience was elastic and whose husband was — old.”
#SFWApro. Comics cover by Jo Chen, all rights to images remain with current holders.