If in the chapter “The Goldfish Problem” of moon knight (2022) plunged Oscar Isaac’s Steven Grant into a nightmarish madness to conclude by introducing us to his atypical superhero at the end, in “Lost My Temper” (1×02) They don’t waste a second and pick up the plot from where the previous one left off, but with one of those leaps of consciousness that give so much narrative play.
However, Jeremy Slater, the creator of this sixth series in the Marvel Cinematic Universe, follows making us feel insecure about the truth of what we are seeing, and we still cannot allow ourselves the absolute certainty that everything is not only found in the dissociated head of the protagonist. A situation that brings to mind other stories from the cinema.
As we said in recap of the first chapter, we think of Russell Crowe’s great John Nash for An amazing mindor Frederick Strother’s LJ Washington, that curious character who said he was mentally divergent in Twelve Monkeys (1995) and that, with his experience, he proposed an explanation for what Bruce Willis’s James Cole was experiencing. Or the Steven Grant of moon knight.
‘Moon Knight’: between terror and science fiction concepts
persist the audiovisual composition of bad dreams in horror moviesthis time directed by Justin Benson and Aaron Moorhead, two interesting directors to whom we owe the films Resolution (2012), Spring (2014), Infinity (2017), Synchronic: The Limits of Time (2019) and Something in the Dirt (2022), plus episodes for The Twilight Zone (2019-2020) and file 81 (2022).
In this second of moon knight we get certain answers about what happens, at least, in the bogeyman of the protagonist embodied with absolute precision by Oscar Isaac. Provided in the libretto by Michael Kastelein, who has written three chapters of Truth Be Told (since 2019) and one of Falcon and the Winter Soldier (2021), the one titled “The Star-Spangled Man” (1×02).
On the other hand, we are introduced to a new character: May Calamawy’s Layla El-Faouly, whose voice we had heard in “The Goldfish Problem”; and insist on very worrying conceptslaid out by Ethan Hawke’s fearsome Arthur Harrow, which have already been addressed in Minority reportthe wonderful film that Steven Spielberg shot (2002) and that adapts the homonymous novel by Philip K. Dick (1956).
The narrative possibilities of not having them all with you
Jeremy Slater and his team They are having fun with our expectations to see the Moon Knight in action and, although it seems that it will frustrate them at times, the twists push him to it. And we enjoy fantasy images that the audience will have as much fun as the VFX department making, though they don’t involve an approach that hasn’t been offered before.
And, if one takes into account the narrative possibilities of not being able to distinguish between what is part of the real world and what is not, of the terrible doubts about his own existence that assail someone like Oscar Isaac’s Steven Grant, we cannot perceive the power of the superhero in the same way as that of others of their abilities and vigor, but with a disturbing fascination on some level.
But there is also this episode from moon knight interactions with enough intensity to remind us of Andy Serkis’s tragic Gollum in the trilogy of The Lord of the rings (2001-2003). and so much audiovisual power in closing like the one Mohamed Diab had endowed with “The Goldfish Problem”, thanks especially to the verve of Hesham Nazih’s notes. Thus, one does not feel like resisting to continue.
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