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Review: ‘The Franchise’ marvels at what a nightmare it is to make a superhero movie

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Review: 'The Franchise' marvels at what a nightmare it is to make a superhero movie

As a seasoned cinephile with over three decades of movie-watching under my belt, I must confess that “The Franchise” has left me both amused and somewhat disheartened. The series offers a witty, albeit brutal portrayal of the chaotic behind-the-scenes world of filmmaking, particularly in the realm of superhero movies.

While I may appear overly optimistic regarding these matters, despite extensive historical evidence suggesting otherwise and countless instances of eccentric directors, emotional actors, temperamental divas, skeptical scriptwriters, and so forth, I still find myself drawn to the belief that filmmaking is primarily driven by love and teamwork. The iconic film “Day for Night” by François Truffaut encapsulates this process beautifully – a process that’s not without its hurdles or peculiar individuals, but one that maintains a strong sense of direction. Each member of the crew knows their role well.

Titled “The Franchise,” an upcoming HBO series set to debut on Sunday, offers a humorous perspective on the behind-the-scenes drama of creating a B-list superhero film within a company similar to Marvel, known as Maximum. This show presents an unsettling depiction of what one might imagine as the dark reality hidden beneath the glamour of such dreams.

On the movie set for “Tecto,” a superhero character portrayed by Billy Magnussen (who acts as Adam), known for his special abilities like an invisible drill and a glove that triggers earthquakes. Eric, played by Daniel Brühl, is the director who takes pride in his artistic background and boasts about his friendship with Christopher Nolan, but struggles to fit within the Hollywood studio system or handle the subject matter. “I’m a peculiar, challenging individual… I’m odd, and I’m sincere. I don’t understand how to think like people who wash their cars, eat chicken drumsticks with their spouses, and take baths,” Eric says. The production is delayed due to various reasons, including the fact that Eric reportedly talks to actors for about 52 minutes on average before the first take.

At the heart of this production, and undeniably the character with the most emotional depth, is assistant director Daniel (portrayed by Himesh Patel), responsible for coordinating actors, crew, directors, and all other aspects required to keep things functioning efficiently, or at least appear that way. However, beneath the surface, things seldom run smoothly, with Daniel perpetually teetering on the brink of a nervous breakdown.

Review: 'The Franchise' marvels at what a nightmare it is to make a superhero movie

Adam frets about his body, which he’s been shaping with Doritos, squats, and a livestock-fattening drug (specifically for sheep). Peter, portraying Eye – a Tecto character whose role isn’t clarified, expresses concern over not being the top name on the call sheet, despite his disdain for the project and everyone associated with it. Eye embodies the countless classically trained British actors who take on genre films, as work is often scarce. (Alec Guinness once called “Star Wars” trash, a “world of second-hand childish clichés” with “regrettable dialogue.” Anthony Hopkins described his Marvel’s “Thor” roles as sitting on the throne and shouting, but it would surprise me if they voiced these opinions on set.)

Daniel’s work becomes even more challenging due to several factors: Anita (Aya Cash), who unexpectedly takes over the production; Pat (Darren Goldstein), the brand representative, whose friendly demeanor conceals potential danger; and Bryson (Isaac Cole Powell), a messenger from an unseen studio head. Jessica Hynes delivers subtle humor as Steph, a dedicated script supervisor who is fiercely protective of Eric (“If the studio interferes with your vision in any way, I will cut myself with a sushi knife”). Nick Kroll makes a brief appearance as the Gurgler, borrowed from a more generously funded film being produced on an adjacent stage, and someone with whom Adam has previous connections.

In essence, “The Franchise” portrays an image of utter chaos, though it occasionally works, veering towards the realm of farce. A lengthy opening shot trailing Daniel around the movie set offers a clear depiction of filmmaking’s complexities. However, the film being produced is so atrociously bad and threadbare – even surpassing the poorest quality superhero films in reality – that “The Franchise” fails to resonate as either satire or parody. It could be described as a parody of a parody, but not one with affection. The film-within-a-film appears more like a 1970s children’s morning show than a modern studio production in 2024, and its dialogue – “Behold the Lilac Ghost, a woman of maximum potency, [with] a stick so very, very potent” – sounds more fitting for an intense Dungeons & Dragons game session.

Under the guidance of executive producer Armando Iannucci and director Sam Mendes (known for his work on James Bond films), this series boasts an impressive lineage. Creator Jon Brown has previously written for hit shows like “Succession,” “Veep,” and “Avenue 5,” giving him a deep understanding of the industry. Many cast members have even appeared in real-life superhero films, suggesting that the show’s wild antics could be based on true events. However, the series seems to prioritize chaos over character development, leaving one to question its purpose. Despite this repetitive and somewhat superficial comedy, the talented ensemble keeps it engaging – I’d follow Adefope anywhere, even through the misery they inflict on each other.

In the show, there’s a mention of Martin Scorsese’s statement that superhero films are damaging the art of cinema, which is likely a perspective shared by the creators of “The Franchise.

“What if this isn’t a dream factory?” Dag asks Daniel. “What if it’s an abattoir?”

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2024-10-06 13:31

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