From The Literary Hub:
If 2017 is remembered for anything in entertainment, it might be the year everyone gave up on trying to stop reboots. Hollywood’s output this year included Kong: Skull Island, Power Rangers, The Mummy (ostensibly kicking off Universal’s Dark Universe), Beauty and the Beast, It, Saw, Ghost in the Shell, Jumanji, Baywatch, and even Murder on the Orient Express, which is somehow also getting a sequel. Several of these properties originally began life as books, while Power Rangers was a recut version of a Japanese TV show. This was also the year we got Spider-Man: Homecoming, the third attempt to start a filmed Spider-Man franchise in 15 years. Though some of these films have stumbled at the box office, there has been little to suggest an ebb in the commercial forces that squeeze them out like imitation diamonds.
At best, these entertainment products use an established brand as a sort of artistic Trojan horse to smuggle a new set of ideas and characters past the foreboding gates that prevent so much work from getting funded.
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For the most part, the rebooted films range from “excruciating” to “tolerable,” with even the better ones benefiting enormously from low expectations.
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Blazing Transfer Students is a Netflix-backed, live-action adaptation of Blazing Transfer Student, a cult classic manga and anime from the 1980s about Takizawa Noboru, a transfer student who discovers that students at his new high school resolve all conflicts through boxing matches. This new version stars the seven members of Japanese boy band Johnny’s West as transfer students, each named Kakeru, who are all pressed into service as Blazing Transfer Students—in this iteration of the series, “agents who infiltrate troubled schools and stamp out the evil that affects them.”
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Each frame of Blazing Transfer Students is carefully composed, contrasting the loud colors of a boy band and an anime and highlighting the exaggerated features of the Kakerus to create the moving equivalent of comic book panels. It helps that the series liberally applies action text—practically the first shot of the series captures one of the Kakerus skidding on the pavement toward his first day at the school, caption “SLIDING.” Other shots are punctuated with words like “SWOOSH,” “CRACKLE,” and “RHINO.”
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The show’s rubbery grip on reality—and its willingness to explicitly address its existence as a reboot—reaches its apex in the season’s penultimate episode, “Blazing Sports Festival!!” The Kakerus are confronted by Kazuhiko Shimamoto, the creator of the original Blazing Transfer Student manga, who has assembled his own group of older, frumpier, off-brand Blazing Transfer Students. They go only by their numbers and are intended to challenge the Kakerus’ appropriation of Shimamoto’s work. In their view, the Kakerus are “much too lukewarm,” and lack the passion to be true Blazing Transfer Students. During the scene, Shimamoto clutches his heart, threatening to tip over at any moment, and bemoans his presence: “So this is the fate of an artist who gave away his copyright.”
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This has to be a joke, right? It is, though not a very funny one to the scores of artists who have seen their work transformed again and again into someone else’s cash cow.
Link to the rest at The Literary Hub