It's not the first Jukebox Musical, but Mamma Mia! is still the biggest name in the field. Ten years after its big screen run, Universal Pictures and director/writer Ol Parker gathered another batch of ABBA songs (and a few reprises) for another go around. So here I go again for Mamma Mia: Here We Go Again.
The first film had Sophie (Amanda Seyfried), who, having never met her father, invite the three men who might be him - Bill (Stellan Skarsgaard), Sam (Pierce Brosnan) and Harry (Colin Firth) - to her wedding. And hilarity ensued, and the paternity issue was ignored.
Years later, after her mother Donna's (Meryl Streep) off-screen death, Sophie renovates her Greek island Inn into the "Hotel Bella Donna." She has a big grand reopening planned, but it's not going good for her. Her husband, Sky (Dominic Cooper), is away on business. Sophie needs all the support she can to make it.
Meanwhile, young Donna (Lilly James), lives a carefree life after she graduates college. She then meets her future daughter's three possible fathers (Josh Dylan as Bill, Jeremy Irvine as Sam and Hugh Skinner as Harry). It's not that easy but she pulls through.
I'm not sure if this is better than the first film or not. I do know that the ABBA songs, "new" and "old", are entertaining. Even if some exist just to have a spot in the film. There are a few strong moments here, like the finale, so that's good. It's a light plot for 114 minutes, but at least it meant something in the end.
The characters are fine. Bill's first scene involved a masterful fake-out involving a twin brother (also Skarsgaard). Sam's singing, while derided in the first film, didn't bother me here. Sophie's three dads, old and young, are an entertaining, likable trio. Christine Baranski and Julie Walters as Donna's Best Friends, Tanya and Rosie, were funny, as were Jessica Keenan Wynn and Alexa Davies as their younger selves. I wish there was more of Streep as old Donna and Cher as her mother, Ruby. Why did they have to kill off Donna?
The editing by Peter Lambert does a good job at juggling locations. But it can throw people off by juggling time periods. The production and costume designs are good. Robert Yeoman's cinematography of Croatia makes the fictional setting of Kalokairi attractive. There's supposed to be a score by Anne Dudley, but it's overshadowed by the ABBA numbers and instrumentals of them.
Mamma Mia: Here We Go Again keeps up the same giddy attitude of its predecessor. It takes a chance on more of ABBA's catalog. It's not just a way to make money, money, money. You'll thank the filmmakers for the music after a good matinee.
Before I make more ABBA puns, I'll finish by saying it's a fine sequel. It's a super trouper which wants to entertain and succeeds. Just don't think too much about it.
I made another pun...
About Me
- Jethrotcat
- This is the blog where I talk about the latest movies I've seen. These are my two Schnauzers, Rufus (left) and Marley (right, RIP). As of now, the Double Hollywood Strikes are officially over. May the next strikes not last as long as these ones did.
Wednesday, July 25, 2018
Monday, July 16, 2018
Hotel Transylvania 3: Summer Vacation
The Ghouls and Ghosts are ready for another stay at Hotel Transylvania. Hotel Transylvania 3: Summer Vacation promises another family friendly spooktacular in 3D and Flatscreen. It gets points for stepping out of familiar territory. Let's see what else it does.
This time, we find Count Dracula (Adam Sandler), proprietor of the Hotel Transylvania, stressed and lonely. His daughter Mavis (Selena Gomez), books him and his monster friends on a cruise ship, the Legacy. Dracula can take "a vacation from giving vacations" as the ship sails all the way to Atlantis. He's unimpressed by the "hotel on the water" until he meets Captain Ericka (Kathryn Hahn). He falls for her at first sight. Mavis sees something amiss.
Ericka is the great-granddaughter of Dracula's wannabe archenemy, Professor Abraham Van Helsing (Jim Gaffigan). The Van Helsings set up the cruise to destroy Dracula and his monster friends. They just need an artifact from Atlantis to do the job. The scheme is complicated by Ericka falling for Dracula too.
Director Genndy Tartakovsky once again deals with the zany hauntings of the titular resort. The plot isn't a retread of the first two films. You might have to familiarize yourself with the cast, but the film won't punish you if you don't. Its premise is a nice fish-out-of-water story. Its anti-prejudice themes are admirable. Its gags can get delightfully silly. Beware those who seek gravitas in their plot. It's still made for the youngest ghouls in mind.
Let's start with the new characters. Professor Van Helsing starts off an inept, yet funny villain. His multiple failures made for a great montage. He's still funny when he becomes a threat. Ericka is goofy and likable, even when she tries to kill Dracula. Her turning good was a believable story.
The returning characters are still a good bunch of monsters. Wayne and Wanda (Steve Buscemi and Molly Shannon), the werewolf parents of too many, were great side characters. Tinkles (Joe Whyte), the giant puppy, debuted as the eponymous Puppy! in the opening short of last year's reviled The Emoji Movie. His antics were fun. And of course, there's Count Dracula. He's still a likable prince of darkness.
Hotel Transylvania 3: Summer Vacation is a fine summertime spooktacular. Its 97 minutes are fun and fast-paced. It's not a milestone in storytelling but it's worth a matinee. This entry keeps its predecessors' good, spooky mood. Let's see what they'll do if they make a fourth one.
This time, we find Count Dracula (Adam Sandler), proprietor of the Hotel Transylvania, stressed and lonely. His daughter Mavis (Selena Gomez), books him and his monster friends on a cruise ship, the Legacy. Dracula can take "a vacation from giving vacations" as the ship sails all the way to Atlantis. He's unimpressed by the "hotel on the water" until he meets Captain Ericka (Kathryn Hahn). He falls for her at first sight. Mavis sees something amiss.
Ericka is the great-granddaughter of Dracula's wannabe archenemy, Professor Abraham Van Helsing (Jim Gaffigan). The Van Helsings set up the cruise to destroy Dracula and his monster friends. They just need an artifact from Atlantis to do the job. The scheme is complicated by Ericka falling for Dracula too.
Director Genndy Tartakovsky once again deals with the zany hauntings of the titular resort. The plot isn't a retread of the first two films. You might have to familiarize yourself with the cast, but the film won't punish you if you don't. Its premise is a nice fish-out-of-water story. Its anti-prejudice themes are admirable. Its gags can get delightfully silly. Beware those who seek gravitas in their plot. It's still made for the youngest ghouls in mind.
Let's start with the new characters. Professor Van Helsing starts off an inept, yet funny villain. His multiple failures made for a great montage. He's still funny when he becomes a threat. Ericka is goofy and likable, even when she tries to kill Dracula. Her turning good was a believable story.
The returning characters are still a good bunch of monsters. Wayne and Wanda (Steve Buscemi and Molly Shannon), the werewolf parents of too many, were great side characters. Tinkles (Joe Whyte), the giant puppy, debuted as the eponymous Puppy! in the opening short of last year's reviled The Emoji Movie. His antics were fun. And of course, there's Count Dracula. He's still a likable prince of darkness.
Hotel Transylvania 3: Summer Vacation is a fine summertime spooktacular. Its 97 minutes are fun and fast-paced. It's not a milestone in storytelling but it's worth a matinee. This entry keeps its predecessors' good, spooky mood. Let's see what they'll do if they make a fourth one.
Sunday, July 15, 2018
Won't You Be My Neighbor?
It's been ages since I watched Mister Rogers' Neighborhood on TV. If only I can remember when. Anyway, Mister Rogers himself, Fred Rogers, is the subject of Morgan Neville's (20 Feet from Stardom) new documentary, Won't You Be My Neighbor? You won't feel lost in this neighborhood if your last visit was ten, twenty or thirty years ago. Its story will welcome you back with open arms.
Fred Rogers started his show as counter-programming to loud children's programming. His cast of human and puppet characters educated children about life and wisdom. But it wasn't so easy. He dealt with depression for much of his life. He wondered if his show was worth it in the end. All the interviewees agree that it was.
Its 93 minutes are slow but steady. It details the origins of Mister Rogers' Neighborhood from its start as The Children's Corner to its official start in 1968. It also shows us the real life man, who was no different than the TV man. Except that he had a bit more adult sense of humor. And he was also frustrated with the cynicism of this world. But he stood to his principles and welcomed everyone in his neighborhood.
And no, Mister Rogers was not a sniper. The film debunks that and other rumors about him.
It's also a great re-introduction to the show. You'll get to know its puppet characters, like King Friday XIII and Daniel the Tiger. You'll also learn how they reflected Rogers' life. You'll also see how the show defied convention by talking about major issues, like death and war, in a kids show. There's that time King Friday built a wall to keep people out. The interviews with its human cast and crew portray the good life on the set as he made them feel welcome.
Won't You Be My Neighbor is a great portrait of a man who meant everything he said on TV. You'll mourn not just Mister Rogers, but his humanity which some prominent folks lack these days. It's certain to inspire interest in visiting the neighborhood. See it before Mister Rogers' life becomes a narrative film. That film, You Are My Friend, is now in production with Tom Hanks as Rogers.
Fred Rogers started his show as counter-programming to loud children's programming. His cast of human and puppet characters educated children about life and wisdom. But it wasn't so easy. He dealt with depression for much of his life. He wondered if his show was worth it in the end. All the interviewees agree that it was.
Its 93 minutes are slow but steady. It details the origins of Mister Rogers' Neighborhood from its start as The Children's Corner to its official start in 1968. It also shows us the real life man, who was no different than the TV man. Except that he had a bit more adult sense of humor. And he was also frustrated with the cynicism of this world. But he stood to his principles and welcomed everyone in his neighborhood.
And no, Mister Rogers was not a sniper. The film debunks that and other rumors about him.
It's also a great re-introduction to the show. You'll get to know its puppet characters, like King Friday XIII and Daniel the Tiger. You'll also learn how they reflected Rogers' life. You'll also see how the show defied convention by talking about major issues, like death and war, in a kids show. There's that time King Friday built a wall to keep people out. The interviews with its human cast and crew portray the good life on the set as he made them feel welcome.
Won't You Be My Neighbor is a great portrait of a man who meant everything he said on TV. You'll mourn not just Mister Rogers, but his humanity which some prominent folks lack these days. It's certain to inspire interest in visiting the neighborhood. See it before Mister Rogers' life becomes a narrative film. That film, You Are My Friend, is now in production with Tom Hanks as Rogers.
Wednesday, July 11, 2018
Ant-Man and the Wasp
We now have ten months to see the epic conclusion to Infinity Wars's cliffhanger. And Marvel still hasn't given a title. In the meantime, we have the size-changing misadventures of Ant-Man and the Wasp. It's a simple adventure...
... At least until the end-credit scenes bring about Infinity War's apocalyptic ending. Ten more months till Part 2 seems like an eternity. At least the second scene has some good comic relief.
Anyway.
Scott Lang (Paul Rudd): ex-husband, ex-con, and ex-superhero Ant-Man (sometimes Giant Man). He's been under house arrest ever since his unsanctioned super-heroics in Civil War. He and his buddies run a security company while he waits out the end of his sentence. Hank Pym (Michael Douglas), the former Ant-Man and his daughter, Hope (Evangeline Lily), are fugitives because of Scott's aforementioned Civil War action. But they need his help.
Pym's wife, Janet, the super-heroine The Wasp, vanished into the subatomic Quantum Realm thirty years earlier. But Scott went there in the last movie and came back. His trip there left him quantumly entangled with Janet. Pym and Hope, the new Wasp, grab Scott to help them build a quantum tunnel to locate Janet and get her out. Easy?
No. They're pursued by the FBI, including agent Jimmy Woo (Randall Park), crooked arms-dealer Sonny Burch (Walton Goggins), and a masked woman, The Ghost (Hannah John-Kamen). Burch and the Ghost want Pym's quantum technology for themselves. Our heroes are running out of time to get Janet out. Scott has to get home before curfew. It's a tall-order for a hero who grows small ... and big.
Rudd and his co-writers, Chris McKenna, Erik Sommers, Andrew Barrer and Gabriel Ferrari, make sense out of Scott's adventures. He's still a likable superhero and father who wants to do the right thing if not for that ankle-monitor. His ordeal is understandable. His mission provides great tension and humor as complications arise. The resolution to this caper was a good one. And yes, Hope proves herself a great superpartner for Scott.
... At least until the end-credit scenes bring about Infinity War's apocalyptic ending. Ten more months till Part 2 seems like an eternity. At least the second scene has some good comic relief.
Anyway.
Scott Lang (Paul Rudd): ex-husband, ex-con, and ex-superhero Ant-Man (sometimes Giant Man). He's been under house arrest ever since his unsanctioned super-heroics in Civil War. He and his buddies run a security company while he waits out the end of his sentence. Hank Pym (Michael Douglas), the former Ant-Man and his daughter, Hope (Evangeline Lily), are fugitives because of Scott's aforementioned Civil War action. But they need his help.
Pym's wife, Janet, the super-heroine The Wasp, vanished into the subatomic Quantum Realm thirty years earlier. But Scott went there in the last movie and came back. His trip there left him quantumly entangled with Janet. Pym and Hope, the new Wasp, grab Scott to help them build a quantum tunnel to locate Janet and get her out. Easy?
No. They're pursued by the FBI, including agent Jimmy Woo (Randall Park), crooked arms-dealer Sonny Burch (Walton Goggins), and a masked woman, The Ghost (Hannah John-Kamen). Burch and the Ghost want Pym's quantum technology for themselves. Our heroes are running out of time to get Janet out. Scott has to get home before curfew. It's a tall-order for a hero who grows small ... and big.
Rudd and his co-writers, Chris McKenna, Erik Sommers, Andrew Barrer and Gabriel Ferrari, make sense out of Scott's adventures. He's still a likable superhero and father who wants to do the right thing if not for that ankle-monitor. His ordeal is understandable. His mission provides great tension and humor as complications arise. The resolution to this caper was a good one. And yes, Hope proves herself a great superpartner for Scott.
Scott's buddies are still awesome comic relief. Burch is an acceptable antagonist; not that memorable but he's a capable threat. Dr. Bill Foster (Laurence Fishburne) is a welcome presence here. The Ghost is perhaps the most benign Marvel villain; she's antagonistic but her motives are sympathetic. Pym's ego drives the backstory but the exposition felt rushed at times. This is most apparent with the story of The Ghost's father, Dr. Starr (Michael Cerveris, in a cameo). That's the only real flaw of this fun super adventure.
All the size-changing effects make the humor and action as fun as the first film. Scott's mishaps with his suit provide a few laughs and impressive visual effects. His upscaling to Giant Man is cool. The Ghost's intangible effects are also flawless. The Quantum Realm is an amazing CGI environment.
Ant-Man and the Wasp seems like harmless filler for Infinity War Part 2. But its end credit scenes set Scott up for his role there after he missed Part 1. The revelation will hit you hard. The movie itself is a fun sci-fi adventure with an atypical, yet capable antagonist. Its moral dilemmas felt right at place in a classic Star Trek episode. You won't get antsy during its 118 minutes. Just after...
Friday, July 6, 2018
Sicario: Day of the Soldado
Taylor Sheridan continues his story of the war on drugs in Sicario: Day of the Soldado. His sequel to the bleak crime thriller, Sicario, discusses some politically sensitive topics. But its story is too murky to touch a nerve.
Hildur Guðnadóttir's score was a great successor to the late Johann Johannson's unforgettable soundtrack from the first film. It punctuates the intense moments perfectly. It's helped by the sound design and editor Matthew Newman. The Kansas City attack and the police ambush were standout sequences. Cinematographer Dariusz Wolski's use of long takes worked well for them.
Matt Graver (Josh Brolin) and his right-hand gun, Alejandro Gillick (Benicio del Toro), fight dirty against the drug cartels. A group of suicide bombers strike a Kansas City supermarket. The Government suspects that the cartels smuggled them across the border. They send Matt and Alejandro to retaliate against the cartels. They decide to turn the cartels against each other. Their main tactic is to seize Isabela Reyes (Isabela Moner), daughter of cartel kingpin Carlos Reyes, the man behind the brutal deaths of Alejandro's family.
It all goes well until their Federal Police escort turns on them. The firefight causes an international incident with Mexico. The Department of Defense disavows the mission and orders them to scrub Isabela. But Alejandro sympathizes with Isabela's predicament. He'll do what it takes to keep her safe.
Director Stefano Sollima (Suburra) makes his English-Language debut here. The screenplay mixes in several stories for 122 minutes. The Islamic suicide bomber subplot is forgotten about when their true, more local origins, are revealed. Carlos Reyes was never mentioned in the first movie, yet he's mentioned like he's always been there. Reyes himself never appears. Miguel (Elijah Rodriguez), a good kid caught up with the cartels, gets a compelling subplot with a questionable resolution.
Benicio del Toro is still the star of the show. His Alejandro is still formidable but he shows his lighter side here. The same goes for Brolin's Matt Graver. Isabela Moner as Isabela Reyes was compelling, as was the aforementioned Elijah Rodriguez. Matt's DOD superiors (Catherine Keener and Matthew Modine) were barely memorable jerks. The cartel bad guys were mostly forgettable.
Sicario: Day of the Soldado is a dark film but it's not as bleak as the first film. Alejandro and Matt's more sympathetic portrayal helped blunt any darkness-induced audience apathy. Its logic is questionable but its tension is good. There's currently talk about a third Sicario movie. Let's hope it answers a few questions this one raised.
Wednesday, June 27, 2018
Jurassic World: Fallen Kingdom
It's been three years, and I still haven't gone to Universal Studios Hollywood. I don't think I'll get to it before its Jurassic Park ride finally closes down. Instead, I'll review a film about a dinosaur park, Jurassic World: Fallen Kingdom.
Is it the world's greatest dinosaur movie? I don't know, but it's a good summer blockbuster.
Isla Nublar, site of the ill-fated Jurassic Park and Jurassic World, is about to go volcanic. World's former operation manager, Claire Dearing (Bryce Dallas Howard) is recruited by billionaire Benjamin Lockwood (James Cromwell) and his aide, Eli Mills (Rafe Spall), to rescue its endangered clone species. Blue, the last Velociraptor, is one of Lockwood's priorities. Claire recruits Raptor trainer Owen Grady (Chris Pratt), paleo-vet Zia Rodriguez (Daniella Pineda) and computer wiz Franklin Webb (Justice Smith) for the mission.
Is it the world's greatest dinosaur movie? I don't know, but it's a good summer blockbuster.
Isla Nublar, site of the ill-fated Jurassic Park and Jurassic World, is about to go volcanic. World's former operation manager, Claire Dearing (Bryce Dallas Howard) is recruited by billionaire Benjamin Lockwood (James Cromwell) and his aide, Eli Mills (Rafe Spall), to rescue its endangered clone species. Blue, the last Velociraptor, is one of Lockwood's priorities. Claire recruits Raptor trainer Owen Grady (Chris Pratt), paleo-vet Zia Rodriguez (Daniella Pineda) and computer wiz Franklin Webb (Justice Smith) for the mission.
Our heroes discover that Mills has a less-altruistic motive for saving the dinosaurs. That motive is the Indoraptor, a new super dino cloned from the first film's Indominus Rex. They have to keep it and the other dinosaurs from the wrong hands.
Derek Connolly and Colin Trevorrow return as the writers. Trevorrow, however, gave the director's chair to J.A. Bayona. The story has several strong scenes, from the escape from Isla Nublar to the revelation of Lockwood's granddaughter Maisie's secret. But there are some problems. The evil mercenary Wheatley's (Ted Levine) fondness for dino teeth wasn't properly explained. The Indoraptor doesn't factor into the plot until about halfway through. The clash with the Indoraptor and its aftermath felt rushed. The overall plot was long for 128 minutes.
The characters made it a good sit. Claire and Owen are still funny and capable action heroes. Franklin and Zia are fun new characters. Mills and the auctioneer, Eversol (Toby Jones), are fine villains. Lockwood and Maisie's story is good and the housekeeper Iris (Geraldine Chaplin) is memorable. BD Wong's Dr. Wu was a sympathetic villain, but he apparently never learned from the Indominus Rex incident. Jeff Goldblum made a welcome return cameo as Ian Malcolm. But the star of the show is the Indoraptor, a villain who has fun being vicious.
The film's CGI dinosaurs were better realized than the last film. They weren't that obvious this time around. A few animatronic dinosaurs appear and they don't clash with the CGI creatures. The Indoraptor's escape and a Stygimoloch's rampage during the auction of evil were highlight scenes. The escape from Isla Nublar was an intense and tragic sequence. The decayed Jurassic World was a great feat of production design. Oscar Faura's cinematography gives the film an effective gothic look. And as usual, Michael Giacchino has another strong soundtrack.
Jurassic World: Fallen Kingdom isn't a milestone in storytelling or visual effects. But it's a capable blockbuster for a summer matinee. It gives us a lot to think about the subject of science gone rogue. The ending promises big things for the world at large. Let's see what happens when it arrives in 2021.
JETHRO'S AMENDMENT: Remember the first paragraph? Well, I finally went to Universal Studios Hollywood. And the Jurassic Park Ride. Seeing it live is not like seeing it on screen.
JETHRO'S AMENDMENT: Remember the first paragraph? Well, I finally went to Universal Studios Hollywood. And the Jurassic Park Ride. Seeing it live is not like seeing it on screen.
And I didn't notice I misspelled BD Wong as BJ Wong for four years. Sorry....
Wednesday, June 20, 2018
Incredibles 2
A lot has changed for superhero films after The Incredibles appeared in 2004. A lot of it was Marvelous. And now, Pixar's first super family has a sequel of their own. This is Incredibles 2 and it lives up to that name.
It starts where the first film ended. The evil Underminer rises from below to conquer the above. The Incredibles and their pal Frozone take on the subterranean villain and cause some collateral damage. All the world governments decide to ban "Supers" forever after this incident. The Incredibles, in their secret identity of the Parr family, may have to stay normal forever.
Winston Deavor decides to help. He gives Helen Parr/Elastigirl, a sanctioned superhero job to turn public opinion in Supers' favor. The family moves to a nice new mansion. While Elastigirl saves the day, Bob/Mr. Incredible discovers that baby Jack-Jack has a wild assortment of superpowers. The other Incredible kids, Violet and Dash, have their own stuff to deal with. The whole family has to deal with the Screenslaver, a supervillain who decides to "free the masses" of their need of Supers.
Brad Bird returns to write, direct and voice the eccentric costume designer Edna Mode. The film is a super-family dramedy as relatable as a normal family dramedy. Bob and Helen's job troubles are as compelling as their fight against the Screenslaver. Jack-Jack gets the best laughs and his fight with a persistent raccoon is a highlight. You won't get lost in the subplots and it all comes together nicely in the end. There are a few logical questions concerning the film's logic (how did they not notice Jack-Jack's powers before?), but they don't crack it apart.
Pixar's technical excellence continues here. The character designs, new and old, are unique and their environments and costumes look photoreal. Their Super powers provided some Incredible action scenes that fail to bore you. A lot of it has to do with the sound design and Michael Giacchino's score. Both of those audio values succeed with flying colors. The Screenslaver's hypnotic effect, however, might work too well for some viewers.
Incredibles 2 is a welcome sequel to a Super-Pixar film. It stands out proudly with all the live-action superhero films since 2004. It gives its characters plenty to do and none of it stale. I'm ready to see what the family will do next.
It all opens with a new Pixar short, Bao, the story of a Chinese mother and her dumpling son. A dumpling son who grows up into a rebellious young man. The story took a shocking swerve but the ending was nice.
It starts where the first film ended. The evil Underminer rises from below to conquer the above. The Incredibles and their pal Frozone take on the subterranean villain and cause some collateral damage. All the world governments decide to ban "Supers" forever after this incident. The Incredibles, in their secret identity of the Parr family, may have to stay normal forever.
Winston Deavor decides to help. He gives Helen Parr/Elastigirl, a sanctioned superhero job to turn public opinion in Supers' favor. The family moves to a nice new mansion. While Elastigirl saves the day, Bob/Mr. Incredible discovers that baby Jack-Jack has a wild assortment of superpowers. The other Incredible kids, Violet and Dash, have their own stuff to deal with. The whole family has to deal with the Screenslaver, a supervillain who decides to "free the masses" of their need of Supers.
Brad Bird returns to write, direct and voice the eccentric costume designer Edna Mode. The film is a super-family dramedy as relatable as a normal family dramedy. Bob and Helen's job troubles are as compelling as their fight against the Screenslaver. Jack-Jack gets the best laughs and his fight with a persistent raccoon is a highlight. You won't get lost in the subplots and it all comes together nicely in the end. There are a few logical questions concerning the film's logic (how did they not notice Jack-Jack's powers before?), but they don't crack it apart.
Pixar's technical excellence continues here. The character designs, new and old, are unique and their environments and costumes look photoreal. Their Super powers provided some Incredible action scenes that fail to bore you. A lot of it has to do with the sound design and Michael Giacchino's score. Both of those audio values succeed with flying colors. The Screenslaver's hypnotic effect, however, might work too well for some viewers.
Incredibles 2 is a welcome sequel to a Super-Pixar film. It stands out proudly with all the live-action superhero films since 2004. It gives its characters plenty to do and none of it stale. I'm ready to see what the family will do next.
It all opens with a new Pixar short, Bao, the story of a Chinese mother and her dumpling son. A dumpling son who grows up into a rebellious young man. The story took a shocking swerve but the ending was nice.
Thursday, May 31, 2018
Solo: A Star Wars Story
Word is that Harrison Ford will once again take on the mantle of Indiana Jones for a new adventure. While that's a few years off, we have a prequel starring his first signature character, Han Solo. Solo: A Star Wars Story has Alden Ehrenreich as the galaxy's most famous smuggler. And the Force is OK with this one.
Han and his best friend Qi'ra (Emilia Clarke) were scavengers on the grungy planet Corellia. They try to escape their employers by joining the Imperial Navy, but only Han gets free. Years later, Han's ego demotes him to the Imperial Infantry. He later meets a smuggler crew led by Tobias Beckett (Woody Harrelson). They plan to steal a shipment of Coaxium, a MacGuffin hyper fuel. Han joins their mission along with Chewbacca, who he meets on the way.
The mission goes awry and the crew find themselves in trouble. Their employer, Dryden Vos (Paul Bettany), a crime boss of the Crimson Dawn syndicate, wants to cut his losses by cutting them. They'll have to find another source of Coaxium and fast. Fortunately, suave smuggler Lando Calrissian (Donald Glover) and his ship, the Millennium Falcon, are here to help. As is Qi'ra, who happens to be Vos's trusted lieutenant. But can anybody be trusted?
Director Ron Howard came aboard after the original choices, Phil Lord and Chris Miller, fell out with Lucasfilm. Their comedic style is evident throughout the film especially in a gritty war scene early on. The tone set by Jonathan and Lawrence Kasdan's script doesn't fluctuate too badly. The film's revelations of treachery and double-doublecrossing were hard to follow. There's a subplot involving "space pirates" that could've been improved with one more scene with them. A few scenes made the film's 135 minutes feel longer than they were.
Ehrenreich was an admirable choice for Han Solo. He's charming and quick-witted but he knows when to be serious. Glover was even better as Lando; his slick demeanor is entertaining and endearing. Lando's right-hand droid, L3-37 (Phoebe Waller-Bridge), made for the film's best new character. Tobias Beckett made for a fun mentor. Rio Durant (Jon Favreau) made for another memorable character who bit it too soon.
The film's technical standards are alive and well. Its best set piece is the fabled Kessel Run, which involves fleeing from a giant space squid. Cinematographer Bradford Young makes the space encounter perfectly nightmarish. This ought to make an intense ride on Disneyland. On the other hand, the initial coaxium heist was rapidly edited to blurry results. Still, the other action scenes edited by Pietro Scalia were amazing and comprehensive. John Powell's soundtrack mixes in a strong original score and bits of John Williams's classic themes.
Solo: A Star Wars Story is a good space adventure. It's not a milestone in filmmaking but it'll entertain you for an afternoon. It's amazingly cohesive given all the turmoil it experienced. I'm not demanding a sequel but I'd like an explanation for a long dead character's sudden return here. You'll be surprised when you see him. Let's hope Episode Nine will wrap up the main saga, again, in a triumphant way. That'll come in December of next year.
The mission goes awry and the crew find themselves in trouble. Their employer, Dryden Vos (Paul Bettany), a crime boss of the Crimson Dawn syndicate, wants to cut his losses by cutting them. They'll have to find another source of Coaxium and fast. Fortunately, suave smuggler Lando Calrissian (Donald Glover) and his ship, the Millennium Falcon, are here to help. As is Qi'ra, who happens to be Vos's trusted lieutenant. But can anybody be trusted?
Director Ron Howard came aboard after the original choices, Phil Lord and Chris Miller, fell out with Lucasfilm. Their comedic style is evident throughout the film especially in a gritty war scene early on. The tone set by Jonathan and Lawrence Kasdan's script doesn't fluctuate too badly. The film's revelations of treachery and double-doublecrossing were hard to follow. There's a subplot involving "space pirates" that could've been improved with one more scene with them. A few scenes made the film's 135 minutes feel longer than they were.
Ehrenreich was an admirable choice for Han Solo. He's charming and quick-witted but he knows when to be serious. Glover was even better as Lando; his slick demeanor is entertaining and endearing. Lando's right-hand droid, L3-37 (Phoebe Waller-Bridge), made for the film's best new character. Tobias Beckett made for a fun mentor. Rio Durant (Jon Favreau) made for another memorable character who bit it too soon.
The film's technical standards are alive and well. Its best set piece is the fabled Kessel Run, which involves fleeing from a giant space squid. Cinematographer Bradford Young makes the space encounter perfectly nightmarish. This ought to make an intense ride on Disneyland. On the other hand, the initial coaxium heist was rapidly edited to blurry results. Still, the other action scenes edited by Pietro Scalia were amazing and comprehensive. John Powell's soundtrack mixes in a strong original score and bits of John Williams's classic themes.
Solo: A Star Wars Story is a good space adventure. It's not a milestone in filmmaking but it'll entertain you for an afternoon. It's amazingly cohesive given all the turmoil it experienced. I'm not demanding a sequel but I'd like an explanation for a long dead character's sudden return here. You'll be surprised when you see him. Let's hope Episode Nine will wrap up the main saga, again, in a triumphant way. That'll come in December of next year.
Wednesday, May 23, 2018
Deadpool 2
Hey there, True-Believers! Deadpool here, and I want to talk to you about my latest movie. That's right, my first movie was such a hit that Fox (which may or not be a Walt Disney company soon), wanted another. It's creatively named Deadpool 2 and...
It's just as fun as the first one. I hope this cameo won't ruffle any legal feathers.
Excuse me. Was I talking to you? No? No! Let me explain.
So I've (Ryan Reynolds) spent the last few years killing bad guys. One of them gets away and he and his guys kill my best gal, Vanessa. On our anniversary, no less! So I do what any sane man would do: blow myself up! But I can't die because of my mutant healing factor!
Colossus of the X-Men helps me get together, physically and mentally. He gets me to join the team. My first mission, which I accept, is to deal with an angry young mutant named Rusty (Julian Dennison). Unfortunately, my (lethal) attempt to save him from his abusive orphanage throws us into the "Icebox." And then, a cyborg badass from the future named Cable (Thanos! I mean, Josh Brolin!) shows up. He wants to kill Rusty because he'll grow up into a supervillain.
Sounds sane.
What, no, it doesn't! I have to save him before he goes evil! I break out of the Icebox with a plan. I assemble a squad of mutant heroes to break out Rusty before he does something reckless. Like what?! Gee, like, free an unstoppable mutant named Juggernaut and kill his abusive caretakers, which sets him down a path of evil...
He just did that first thing, didn't he? Uhh... Gotta stop him from doing the other thing!
And I gotta step in and review this film!
AHH.... ow.
Reynolds joins returning writers Rhett Reese and Paul Wernick for this latest screenstory. It tramples on superhero movie cliches as much as its predecessor. It throws in a surprise cameo or two. Even Deadpool's new super team, the X-Force, is an elaborate joke. But it treats its characters' tragedies seriously. At least as seriously as the film allows it. Deadpool's loss is tragic, but his suicide attempt and the subsequent James Bond-ish opening credit sequence is pure black comedy.
What can we say about its characters? Quite a bit. Deadpool is still a fun merc, a sympathetic protagonist and all-around awesome antagonist to the fourth wall. Brolin as Cable plays what could've been a one-note cliche into a believable character. Dennison as Rusty is also believable as an angry mutant youth on the wrong path. Domino (Zazie Beetz) is awesome and her superpower of luck has funny results. The dour Negasonic Teenage Warhead (Brianna Hildebrand) and her cheery girlfriend, Yukio (Shioli Kutsuna), are great together.
Director David Leitch has a bigger budget from the last film, and he makes the most of it. Its best use is the motion capture for Colossus and Juggernaut. They look as real as the other actors despite their imposing sizes. The mutant power effects are also nicely done. The action scenes are as entertaining as the first film. Tyler Bates's score stands out from the old standards primarily for Juggernaut's imposing, yet silly theme. The aforementioned opening sequence is set to a strong ballad, Ashes, performed by Celine Dion.
Deadpool 2 is a bloody fun superhero romp. You should still think twice before you take the kids, if at all. You won't be disappointed if you see it. It's a superhero adventure that stands out from the crowd. But it still leaves things open for a spinoff. An X-Force movie is in the works, but after this movie, you'll wonder how it'll take shape. The midcredit scenes trample on Wade's character arc and the fourth wall some more. But it can get away with that easily.
It's just as fun as the first one. I hope this cameo won't ruffle any legal feathers.
Excuse me. Was I talking to you? No? No! Let me explain.
So I've (Ryan Reynolds) spent the last few years killing bad guys. One of them gets away and he and his guys kill my best gal, Vanessa. On our anniversary, no less! So I do what any sane man would do: blow myself up! But I can't die because of my mutant healing factor!
Colossus of the X-Men helps me get together, physically and mentally. He gets me to join the team. My first mission, which I accept, is to deal with an angry young mutant named Rusty (Julian Dennison). Unfortunately, my (lethal) attempt to save him from his abusive orphanage throws us into the "Icebox." And then, a cyborg badass from the future named Cable (Thanos! I mean, Josh Brolin!) shows up. He wants to kill Rusty because he'll grow up into a supervillain.
Sounds sane.
What, no, it doesn't! I have to save him before he goes evil! I break out of the Icebox with a plan. I assemble a squad of mutant heroes to break out Rusty before he does something reckless. Like what?! Gee, like, free an unstoppable mutant named Juggernaut and kill his abusive caretakers, which sets him down a path of evil...
He just did that first thing, didn't he? Uhh... Gotta stop him from doing the other thing!
And I gotta step in and review this film!
AHH.... ow.
Reynolds joins returning writers Rhett Reese and Paul Wernick for this latest screenstory. It tramples on superhero movie cliches as much as its predecessor. It throws in a surprise cameo or two. Even Deadpool's new super team, the X-Force, is an elaborate joke. But it treats its characters' tragedies seriously. At least as seriously as the film allows it. Deadpool's loss is tragic, but his suicide attempt and the subsequent James Bond-ish opening credit sequence is pure black comedy.
What can we say about its characters? Quite a bit. Deadpool is still a fun merc, a sympathetic protagonist and all-around awesome antagonist to the fourth wall. Brolin as Cable plays what could've been a one-note cliche into a believable character. Dennison as Rusty is also believable as an angry mutant youth on the wrong path. Domino (Zazie Beetz) is awesome and her superpower of luck has funny results. The dour Negasonic Teenage Warhead (Brianna Hildebrand) and her cheery girlfriend, Yukio (Shioli Kutsuna), are great together.
Director David Leitch has a bigger budget from the last film, and he makes the most of it. Its best use is the motion capture for Colossus and Juggernaut. They look as real as the other actors despite their imposing sizes. The mutant power effects are also nicely done. The action scenes are as entertaining as the first film. Tyler Bates's score stands out from the old standards primarily for Juggernaut's imposing, yet silly theme. The aforementioned opening sequence is set to a strong ballad, Ashes, performed by Celine Dion.
Deadpool 2 is a bloody fun superhero romp. You should still think twice before you take the kids, if at all. You won't be disappointed if you see it. It's a superhero adventure that stands out from the crowd. But it still leaves things open for a spinoff. An X-Force movie is in the works, but after this movie, you'll wonder how it'll take shape. The midcredit scenes trample on Wade's character arc and the fourth wall some more. But it can get away with that easily.
Tuesday, May 15, 2018
The Death of Stalin
Some films like to spoil the story with its title. And that's what happens with The Death of Stalin. Directed and co-written by Armando Iannucci, this is a darkly satirical history lesson adapted from a French Graphic Novel. Let's see what we can learn here.
It's 1953 and Josef Stalin (Adrian McLoughlin) rules the Soviet Union with an Iron Fist. Anyone who speaks out against him "disappears." Maria Yudina (Olga Kurylenko) is a pianist who hates Stalin. She decides to tell him off in a strongly-worded letter. Stalin gets a good laugh over it and immediately suffers a cerebral hemorrhage which later kills him.
The Central Committe, which includes Nikita Khrushchev (Steve Buscemi), Georgy Malenkov (Jeffry Tambor) and Lavrentiy Beria (Simon Russell Beale), scramble to take command. They have their own self-interests in mind and won't hesitate to advocate them. Their political scheming plays out as they organize Stalin's funeral. Fun times?
It all plays out for 107 minutes. The characters act like estranged siblings squabbling over their late father's estate. They argue over petty things like Bishops attending the funeral and whose car gets to go first out of Stalin's driveway. We get some laughs over their political blundering. But their darkest deeds are played seriously. It seems the point was to make us question laughing at villains. But it felt like jarring mood whiplash.
The cast was a fine bunch of schemers. Tambor as Malenkov was good as the most sympathetic of the bunch. Buscemi's Khrushchev was an unexpected casting choice, but he still made a fine "good guy" who reveals himself in due time. Beale's Beria was pure evil, but his karmic kangaroo court felt excessive even for him. Rupert Friend stole the show as Vasily Stalin, Stalin's bumbling son. Jason Isaacs was also awesome as General Zhukov.
The film's best technical comrade is composer Chris Willis. His classically-influenced score adds some epicness to the satire. The whole soundtrack is just waiting to join a concert set list. Zac Nicholson's cinematography helps accentuate the film's darkest moments. These moments make Cristina Castali's production design feel appropriately claustrophobic. Her recreation of Stalin's Dacha and the Kremlin were visually appealing, as were Suzie Harman's costume designs.
One might question what's so funny about The Death of Stalin, and I did too at times. But its greatest strength is its thematic discussions. Revolutionaries who turn out worse than the toppled. All-Powerful governments that aren't what they're cracked up to be. Nice guys corrupted by power. You'll laugh and cringe at how these issues still persist today. Especially cringe.
It's 1953 and Josef Stalin (Adrian McLoughlin) rules the Soviet Union with an Iron Fist. Anyone who speaks out against him "disappears." Maria Yudina (Olga Kurylenko) is a pianist who hates Stalin. She decides to tell him off in a strongly-worded letter. Stalin gets a good laugh over it and immediately suffers a cerebral hemorrhage which later kills him.
The Central Committe, which includes Nikita Khrushchev (Steve Buscemi), Georgy Malenkov (Jeffry Tambor) and Lavrentiy Beria (Simon Russell Beale), scramble to take command. They have their own self-interests in mind and won't hesitate to advocate them. Their political scheming plays out as they organize Stalin's funeral. Fun times?
It all plays out for 107 minutes. The characters act like estranged siblings squabbling over their late father's estate. They argue over petty things like Bishops attending the funeral and whose car gets to go first out of Stalin's driveway. We get some laughs over their political blundering. But their darkest deeds are played seriously. It seems the point was to make us question laughing at villains. But it felt like jarring mood whiplash.
The cast was a fine bunch of schemers. Tambor as Malenkov was good as the most sympathetic of the bunch. Buscemi's Khrushchev was an unexpected casting choice, but he still made a fine "good guy" who reveals himself in due time. Beale's Beria was pure evil, but his karmic kangaroo court felt excessive even for him. Rupert Friend stole the show as Vasily Stalin, Stalin's bumbling son. Jason Isaacs was also awesome as General Zhukov.
The film's best technical comrade is composer Chris Willis. His classically-influenced score adds some epicness to the satire. The whole soundtrack is just waiting to join a concert set list. Zac Nicholson's cinematography helps accentuate the film's darkest moments. These moments make Cristina Castali's production design feel appropriately claustrophobic. Her recreation of Stalin's Dacha and the Kremlin were visually appealing, as were Suzie Harman's costume designs.
One might question what's so funny about The Death of Stalin, and I did too at times. But its greatest strength is its thematic discussions. Revolutionaries who turn out worse than the toppled. All-Powerful governments that aren't what they're cracked up to be. Nice guys corrupted by power. You'll laugh and cringe at how these issues still persist today. Especially cringe.
Monday, May 7, 2018
Avengers: Infinity War
I talked about it for years and now it's here.
Actually, it's been here.
I didn't see Avengers: Infinity War on its opening weekend because I was preoccupied with a 25th Anniversary screening of Super Mario Bros., a film I've seen plenty of times before since I was eight. It was worth it, just like this movie.
Thanos (Josh Brolin) the Mad Titan believes the universe is overpopulated. He just needs a way to get rid of half the universe. The Infinity Stones are that way but his minions haven't been much luck. So he sets off with his "Children" to get them himself. He already has two before the title appears. All the best Marvel Heroes, including the Avengers and the Guardians of the Galaxy, have to assemble to keep him from getting more. It's not that easy.
I think I've summed up this entire movie. But there's a bit more than that.
The film divides its massive cast into several groups. It's fun to see these disparate characters interact here as much as it was in the first Avengers. My personal favorites involve Thor and Rocket Raccoon's relationship and the banter from Iron Man and Spider-Man. It balances each front rather well considering the scale. Its large personnel means that this film, perhaps more than any other, requires familiarity with the other Marvel films. Certain characters have less screentime than you'd expect.
The real star of the movie is Thanos. He opens the movie displaying his physical and psychological prowess on The Hulk and Thor. He never stops being menacing from that first scene onwards. He steamrolls through our heroes and is willing to chat with them. His beliefs are understandable even if his methods are madness. He gives us a lot to think about after the film's cliffhanger ending.
Marvel's technical standards shine through. There's plenty of great action scenes set to a rousing Alan Silvestri score. The digital and real environments are perfectly realized. But the best effects are the motion capture used on Thanos and his "Children." Brolin and the other actors strongly emote through their CGI characters, none of whom look out of place with real actors. A few of them, like Ebony Maw (Tom Vaughan-Lawlor), look so lifelike you'd think they were live actors.
Infinity War is probably the bleakest Marvel film around. Literally nothing the heroes do can stop Thanos from unleashing death and destruction. Its 149 minutes seems like needlessly putting off the inevitable. Those expecting the usual heroics will be disappointed. It ends rather quickly because it is part one of two.
On the other hand, I thought it moved along rather well. The character interactions made it worth it. The death and destruction is tragic, but the Infinity Stones can reverse that. Marvel's future lineup means that some of it will get reversed. The darkest part is that we have to wait a year for the epic conclusion. But it'll keep us talking until then. The prerequiste end credit scene sets up Captain Marvel, a major player in Part Two, and who gets her own movie next March.
Actually, it's been here.
I didn't see Avengers: Infinity War on its opening weekend because I was preoccupied with a 25th Anniversary screening of Super Mario Bros., a film I've seen plenty of times before since I was eight. It was worth it, just like this movie.
Thanos (Josh Brolin) the Mad Titan believes the universe is overpopulated. He just needs a way to get rid of half the universe. The Infinity Stones are that way but his minions haven't been much luck. So he sets off with his "Children" to get them himself. He already has two before the title appears. All the best Marvel Heroes, including the Avengers and the Guardians of the Galaxy, have to assemble to keep him from getting more. It's not that easy.
I think I've summed up this entire movie. But there's a bit more than that.
The film divides its massive cast into several groups. It's fun to see these disparate characters interact here as much as it was in the first Avengers. My personal favorites involve Thor and Rocket Raccoon's relationship and the banter from Iron Man and Spider-Man. It balances each front rather well considering the scale. Its large personnel means that this film, perhaps more than any other, requires familiarity with the other Marvel films. Certain characters have less screentime than you'd expect.
The real star of the movie is Thanos. He opens the movie displaying his physical and psychological prowess on The Hulk and Thor. He never stops being menacing from that first scene onwards. He steamrolls through our heroes and is willing to chat with them. His beliefs are understandable even if his methods are madness. He gives us a lot to think about after the film's cliffhanger ending.
Marvel's technical standards shine through. There's plenty of great action scenes set to a rousing Alan Silvestri score. The digital and real environments are perfectly realized. But the best effects are the motion capture used on Thanos and his "Children." Brolin and the other actors strongly emote through their CGI characters, none of whom look out of place with real actors. A few of them, like Ebony Maw (Tom Vaughan-Lawlor), look so lifelike you'd think they were live actors.
Infinity War is probably the bleakest Marvel film around. Literally nothing the heroes do can stop Thanos from unleashing death and destruction. Its 149 minutes seems like needlessly putting off the inevitable. Those expecting the usual heroics will be disappointed. It ends rather quickly because it is part one of two.
On the other hand, I thought it moved along rather well. The character interactions made it worth it. The death and destruction is tragic, but the Infinity Stones can reverse that. Marvel's future lineup means that some of it will get reversed. The darkest part is that we have to wait a year for the epic conclusion. But it'll keep us talking until then. The prerequiste end credit scene sets up Captain Marvel, a major player in Part Two, and who gets her own movie next March.
Wednesday, April 18, 2018
Rampage
Midway's Giant Monster Mash Rampage bashed into the arcades in 1986. A few more arcade and home games followed before its last incarnation, Rampage: Total Destruction. The monsters are back from their decade of dormancy for a big screen escapade, also called Rampage. It's neither the worst nor the best video game movie. But it's a decent pre-summer monster movie.
Two bad humans, Claire Wyden (Malin Akerman) and her brother Brett (Jake Lacy), run the evil Enegyne corporation. Their latest invention is a pathogen that makes animals bigger and angrier. "Project: Rampage" goes horribly right on their space-station, as its monster lab rat kills all but one crew member. Her escape pod blows up and sends three canisters of the monster pathogen across the States.
One such canister crashes into the San Diego Wildlife Sanctuary and is found by an albino gorilla, George. He becomes a big problem overnight. Davis Okoye (Dwayne Johnson), the ex-army man and primatologist who raised George, tries to help him. Kate Caldwell (Naomie Harris), an ex-Energyne scientist, tells Davis what's happening to George. A secret agent man, Agent Russell (Jeffrey Dean Morgan), takes George into custody.
Meanwhile, the other crashed canisters create Ralph the Wolf and Lizzie the Crocodile. Claire uses a sonic transmitter to lure the giants to Chicago. It's up to Davis, Kate and Agent Russell, to go to Energyne headquarters to find a way to reverse the pathogen before the city goes down.
Director Brad Peyton realizes a screenplay by four people, including Lost showrunner Carlton Cuse. It opens with a scene that mixes Gravity with Aliens. Davis and George's first scene sets up their fun chemistry. And when George mutates, it rarely stops to breathe before another action scene. That's true with the Chicago rampage that takes up the last third of the movie. The relentless action may exhaust a few viewers and thrill many more. As for me, I liked the comic bits but the drama didn't faze me. And I can't help but think how short-sighted the villains were in attracting the monsters. Did they have a plan to keep their HQ from getting punched out by angry monsters? I didn't hear one.
The human cast is pretty good. The main humans are memorable for a movie this simple. Johnson and Morgan are their reliable tough guy selves, and Harris makes for a strong ally. Claire and Brett made some entertainingly short-sighted villains. Meanwhile, Burke (Joe Manganiello), an Engyne mercenary, is the most memorable waste of a character in recent cinema. He's got a lot of bluster but he's only here to give Ralph a named snack.
The film succeeds in its technical aspects. The monsters are perfectly rendered CGI characters. The motion capture work for George and his fellow gorillas is strong. Lizzie and Ralph make for formidable giant beasts. Even the mutant lab rat in the opening is creepy. Their rampages provide plenty of destruction and mayhem. The sound designers give them strong growls, snarls and roars. The best aspect is Andrew Lockington's thunderous score, especially in its opening scene.
Rampage is an adequate monster movie. It's sure to fill a good matinee spot before Infinity War comes next week. Its story and characters could've used more substance. But its monster smashing makes it worthwhile. Hopefully, its existence renews interest in the franchise. I'm willing to play the new arcade game out now.
Two bad humans, Claire Wyden (Malin Akerman) and her brother Brett (Jake Lacy), run the evil Enegyne corporation. Their latest invention is a pathogen that makes animals bigger and angrier. "Project: Rampage" goes horribly right on their space-station, as its monster lab rat kills all but one crew member. Her escape pod blows up and sends three canisters of the monster pathogen across the States.
One such canister crashes into the San Diego Wildlife Sanctuary and is found by an albino gorilla, George. He becomes a big problem overnight. Davis Okoye (Dwayne Johnson), the ex-army man and primatologist who raised George, tries to help him. Kate Caldwell (Naomie Harris), an ex-Energyne scientist, tells Davis what's happening to George. A secret agent man, Agent Russell (Jeffrey Dean Morgan), takes George into custody.
Meanwhile, the other crashed canisters create Ralph the Wolf and Lizzie the Crocodile. Claire uses a sonic transmitter to lure the giants to Chicago. It's up to Davis, Kate and Agent Russell, to go to Energyne headquarters to find a way to reverse the pathogen before the city goes down.
Director Brad Peyton realizes a screenplay by four people, including Lost showrunner Carlton Cuse. It opens with a scene that mixes Gravity with Aliens. Davis and George's first scene sets up their fun chemistry. And when George mutates, it rarely stops to breathe before another action scene. That's true with the Chicago rampage that takes up the last third of the movie. The relentless action may exhaust a few viewers and thrill many more. As for me, I liked the comic bits but the drama didn't faze me. And I can't help but think how short-sighted the villains were in attracting the monsters. Did they have a plan to keep their HQ from getting punched out by angry monsters? I didn't hear one.
The human cast is pretty good. The main humans are memorable for a movie this simple. Johnson and Morgan are their reliable tough guy selves, and Harris makes for a strong ally. Claire and Brett made some entertainingly short-sighted villains. Meanwhile, Burke (Joe Manganiello), an Engyne mercenary, is the most memorable waste of a character in recent cinema. He's got a lot of bluster but he's only here to give Ralph a named snack.
The film succeeds in its technical aspects. The monsters are perfectly rendered CGI characters. The motion capture work for George and his fellow gorillas is strong. Lizzie and Ralph make for formidable giant beasts. Even the mutant lab rat in the opening is creepy. Their rampages provide plenty of destruction and mayhem. The sound designers give them strong growls, snarls and roars. The best aspect is Andrew Lockington's thunderous score, especially in its opening scene.
Rampage is an adequate monster movie. It's sure to fill a good matinee spot before Infinity War comes next week. Its story and characters could've used more substance. But its monster smashing makes it worthwhile. Hopefully, its existence renews interest in the franchise. I'm willing to play the new arcade game out now.
Friday, April 13, 2018
Isle of Dogs
It's hard to believe Wes Anderson has only done two animated films. The first, Fantastic Mr. Fox, came out in 2009. His latest one, Isle of Dogs, is out now. It makes for a visually appealing animated movie even if it has some issues.
In the not too distant future, the city of Megasaki, Japan, is gripped with "Dog Flu." Mayor Kobayashi (Kunichi Nomura, who is also one of Anderson's three co-writers) orders all dogs quarantined and dumped onto Trash Island. One such quarantined dog is Spots, the bodyguard of the Mayor's ward and nephew, Atari (Koyu Renkin). Atari commandeers a small plane to the "Isle of Dogs" to get him back. The plane sputters out and he crashes. But he's OK.
On the Isle, a pack of dogs, led by Chief (Bryan Cranston), try to stay alive. They find Atari and agree to help him find Spots. The Mayor and his personnel try to get Atari off the Isle. Meanwhile, a pair of scientists, Professor Watanabe (Akira Ito) and Yoko Ono (the same), discover a cure for Dog Flu that Kobayashi wants to cover up. An American transfer student, Tracy (Greta Gerwig), organizes a movement to expose the truth behind Dog Flu.
The screenplay, co-written with Jason Schwartzman and Roman Coppola, is a good one. Anderson's deadpan wit sits and stays throughout the story. Its story and stakes play best with pet owners. The ending relies on a masterful bait-and-switch maneuver. The film renders the dogs and some humans in perfect English, while the majority are in unsubtitled Japanese. It renders the language barrier between humans and dogs well, but I understand why it might rub others the wrong way.
The cast is a strong bunch. Chief is a good dog. He starts the film as a loner trying to lead a pack, but the others don't take heed. His bond with Atari and the showdog Nutmeg (Scarlett Johansson) makes him lovable. His pack, Duke (Jeff Goldblum), Boss (Bill Murray), King (Bob Balaban) and Rex (Edward Norton), are a funny pack of memorable characters. Atari is a flat protagonist with an understandable goal. Meanwhile, the strict Mayor Kobayashi has a change of heart. The language barrier surely makes me wish I could converse flawlessly in Japanese.
But the artistic and aural values aren't hampered by the language barrier. The puppet characters and their settings are uniquely designed and quirky. The animation is strong; the best bits involved the characters' scuffles mostly obscured by cartoon clouds. Tristan Oliver's cinematography renders the animation in a wonderfully wide field of vision. Alexandre Desplat has composed a memorable soundtrack in traditional Japanese styles; he even throws in bits of Kurosawa's Seven Samurai and Drunken Angel.
Isle of Dogs has me waiting for Wes Anderson's next animated film. His style translates that flawlessly into animated form. It never loses its quirky appeal throughout its 101 minutes. Hopefully, the film will inspire people to read up on Japan as it is. It's still a winner, though maybe not the winner. I'm waiting for the rest of this year's animated films.
In the not too distant future, the city of Megasaki, Japan, is gripped with "Dog Flu." Mayor Kobayashi (Kunichi Nomura, who is also one of Anderson's three co-writers) orders all dogs quarantined and dumped onto Trash Island. One such quarantined dog is Spots, the bodyguard of the Mayor's ward and nephew, Atari (Koyu Renkin). Atari commandeers a small plane to the "Isle of Dogs" to get him back. The plane sputters out and he crashes. But he's OK.
On the Isle, a pack of dogs, led by Chief (Bryan Cranston), try to stay alive. They find Atari and agree to help him find Spots. The Mayor and his personnel try to get Atari off the Isle. Meanwhile, a pair of scientists, Professor Watanabe (Akira Ito) and Yoko Ono (the same), discover a cure for Dog Flu that Kobayashi wants to cover up. An American transfer student, Tracy (Greta Gerwig), organizes a movement to expose the truth behind Dog Flu.
The screenplay, co-written with Jason Schwartzman and Roman Coppola, is a good one. Anderson's deadpan wit sits and stays throughout the story. Its story and stakes play best with pet owners. The ending relies on a masterful bait-and-switch maneuver. The film renders the dogs and some humans in perfect English, while the majority are in unsubtitled Japanese. It renders the language barrier between humans and dogs well, but I understand why it might rub others the wrong way.
The cast is a strong bunch. Chief is a good dog. He starts the film as a loner trying to lead a pack, but the others don't take heed. His bond with Atari and the showdog Nutmeg (Scarlett Johansson) makes him lovable. His pack, Duke (Jeff Goldblum), Boss (Bill Murray), King (Bob Balaban) and Rex (Edward Norton), are a funny pack of memorable characters. Atari is a flat protagonist with an understandable goal. Meanwhile, the strict Mayor Kobayashi has a change of heart. The language barrier surely makes me wish I could converse flawlessly in Japanese.
But the artistic and aural values aren't hampered by the language barrier. The puppet characters and their settings are uniquely designed and quirky. The animation is strong; the best bits involved the characters' scuffles mostly obscured by cartoon clouds. Tristan Oliver's cinematography renders the animation in a wonderfully wide field of vision. Alexandre Desplat has composed a memorable soundtrack in traditional Japanese styles; he even throws in bits of Kurosawa's Seven Samurai and Drunken Angel.
Isle of Dogs has me waiting for Wes Anderson's next animated film. His style translates that flawlessly into animated form. It never loses its quirky appeal throughout its 101 minutes. Hopefully, the film will inspire people to read up on Japan as it is. It's still a winner, though maybe not the winner. I'm waiting for the rest of this year's animated films.
Wednesday, April 4, 2018
Ready Player One
Ernest Cline's debut novel, Ready Player One, thrives on one's encyclopedic knowledge of pop culture. That sounds awesome, but an encyclopedia doesn't have the pace of a film. The book's concepts are distilled perfectly in Steven Spielberg's film version. It's a wondrous distillation.
In 2045, Wade Watts's (Tye Sheridan) reality is an overcrowded and poor Earth. He escapes the dreary existence of Columbus, Ohio into the VR world of the OASIS. As his Avatar, Parcival, he can do whatever he wants at anytime. There's an Easter Egg hidden in the OASIS left behind by its late creator James Halliday (Mark Rylance). The first person who gets all three keys to the Egg inherits Halliday's massive fortune and the OASIS itself. Wade spends his time deciphering Halliday's hints by exploring the man's virtual library.
Eventually, Wade finds the first key and gets the game going. He's soon joined by his pals, Aech (Lena Waithe), Daito (Win Morisaki) and Sho (Philip Zhao) and the enigmatic hacker Artemis (Olivia Cooke). The evil businessman Nolan Sorrento (Ben Mendelsohn) wants the Egg too for his own evil purposes. He'll even kill people to get it. The "High Five" will have to outwit Sorrento in both the real and virtual worlds to get there first.
The screenplay, by Cline and Zak Penn, is just as referential as its source. Most of the references take the form of the players' recognizable Avatars. You'll probably miss one or two references for every one you get in the film's massive crowd shouts. Your understanding won't live or die if you don't get every single reference. There's a meaningful story amongst the iconography. The key to the keys is understanding Halliday as a person and not repeat his mistakes. The film plays peoples' obsession with the OASIS for black comedy early on. But the resolution, which embraces the real world, is a strong one.
The human cast is a great one. Wade is a likable hero with an understandable goal to escape poverty. The in-game Quest and his time with Artemis helps him become selfless. His friends are a likable bunch of misfits in both realities. Rylance perfectly conveys Halliday as withdrawn, socially-awkward and warm. He's a great presence throughout the picture. Mendolsohn is a strong villain with moments of comedy. His henchman, I-ROK (TJ Miller), is wonderful comic relief and a formidable villain too.
The film succeeds on its technical promises. The OASIS and its Avatars are stunning CGI designs. The Avatars are as photo-realistic as the Orcs in Warcraft.. Even the most obvious CGI is forgiven due to its Virtual Reality setting. Its recreation of the Overlook Hotel lobby from The Shining looks like actual footage. The rest of the production design results in one impressive world after another. That even includes the dreary real world. The soundtrack, whether Alan Silvestri's score or the classic standards, is a memorable mix.
Ready Player One is one of the most delightfully geeky movies in years. It's another great film from the man who helped invent the modern blockbuster. A few elements could've used more depth but its 140 minutes were a satisfying adventure. This is another film that needs to be seen on the big screen. It's worth any price.
Wednesday, March 28, 2018
Pacific Rim Uprising
Pacific Rim was one of those films that should've been a smash. But it wasn't in the States. It owed much of its success to the international box-office. It now has a sequel thanks to that international success. Pacific Rim Uprising is that sequel and it is surprisingly fine.
The first film ended with the Kaiju and their Creators defeated. Ten years later, the Pan-Pacific Defense Corps and their Jaegers keep the Pacific Rim safe from trouble. Jake Pentecost (John Boyega), son of the first film's Stacker Pentecost and a former Jaeger pilot, sells Jaeger parts on the black market. Jake fights over a part with street urchin Amara (Cailee Spaeny) and they're both arrested. They're drafted into the PPDC.
Jake is reunited with his rival co-pilot Nate Lambert (Scott Eastwood). Amara has to deal with being the greenhorn. There's also a rogue Jaeger, Obsidian Fury, on the loose. The Shao Corporation threatens to render Jaegers obsolete with its drones. CEO Liwen Shao (Jing Tian) is unaware that her drones are part of a conspiracy to bring back the Kaiju. A surprise attack leaves Jake, Lambert and the Cadets to fight the Kaiju. They'll have to work together to stop them from igniting Mt. Fuji.
It's the directorial debut of Spartacus showrunner Steven S. DeKnight. He's one of four writers credited with the screenstory and screenplay. The film elaborates on its predecessor's plot points in acceptable ways. The mastermind's identity is one case. It's disappointing since he was likable, but it made sense considering what happened to him in the first film. A few plot points go by so fast and may confound a few viewers.
The human cast is OK. They make the best of this screenplay. Jake and Amara make for good co-leads. Lambert was a decent rival, though the center of his and Jake's rivalry, Jules, is barely there. Amara's co-cadets get some development, but not enough. It's a pity because one of them bites it during the final battle. The returning cast had a few highlights, though Ron Perlman's presence was sorely missed.
The film's visual style deeply contrasts the first film. The two follow different principles, but they still work. The Kaiju and Jaegers are both wonderfully designed and realized. Their designs are unique even if their names go by too fast. One of the best was Amara's personal diminutive Jaeger, Scrapper. The environments they inhabit, both real and CGI, are great feats of production design. The sound design was good as was Dan Mindel's cinematography.
Pacific Rim Uprising is a nice depiction of fighting robots and monsters. Its 111 minutes are paced well and make for an easy matinee. Its human cast is likable and the giants are still impressive. I thought the first film ended conclusively and it didn't necessarily need a sequel. But it was worth the wait. My screening was seventeen minutes late; hope yours is on time.
The first film ended with the Kaiju and their Creators defeated. Ten years later, the Pan-Pacific Defense Corps and their Jaegers keep the Pacific Rim safe from trouble. Jake Pentecost (John Boyega), son of the first film's Stacker Pentecost and a former Jaeger pilot, sells Jaeger parts on the black market. Jake fights over a part with street urchin Amara (Cailee Spaeny) and they're both arrested. They're drafted into the PPDC.
Jake is reunited with his rival co-pilot Nate Lambert (Scott Eastwood). Amara has to deal with being the greenhorn. There's also a rogue Jaeger, Obsidian Fury, on the loose. The Shao Corporation threatens to render Jaegers obsolete with its drones. CEO Liwen Shao (Jing Tian) is unaware that her drones are part of a conspiracy to bring back the Kaiju. A surprise attack leaves Jake, Lambert and the Cadets to fight the Kaiju. They'll have to work together to stop them from igniting Mt. Fuji.
It's the directorial debut of Spartacus showrunner Steven S. DeKnight. He's one of four writers credited with the screenstory and screenplay. The film elaborates on its predecessor's plot points in acceptable ways. The mastermind's identity is one case. It's disappointing since he was likable, but it made sense considering what happened to him in the first film. A few plot points go by so fast and may confound a few viewers.
The human cast is OK. They make the best of this screenplay. Jake and Amara make for good co-leads. Lambert was a decent rival, though the center of his and Jake's rivalry, Jules, is barely there. Amara's co-cadets get some development, but not enough. It's a pity because one of them bites it during the final battle. The returning cast had a few highlights, though Ron Perlman's presence was sorely missed.
The film's visual style deeply contrasts the first film. The two follow different principles, but they still work. The Kaiju and Jaegers are both wonderfully designed and realized. Their designs are unique even if their names go by too fast. One of the best was Amara's personal diminutive Jaeger, Scrapper. The environments they inhabit, both real and CGI, are great feats of production design. The sound design was good as was Dan Mindel's cinematography.
Pacific Rim Uprising is a nice depiction of fighting robots and monsters. Its 111 minutes are paced well and make for an easy matinee. Its human cast is likable and the giants are still impressive. I thought the first film ended conclusively and it didn't necessarily need a sequel. But it was worth the wait. My screening was seventeen minutes late; hope yours is on time.
Saturday, March 17, 2018
The Hurricane Heist
Now what do we have here? The Hurricane Heist? The title says it all. It's not a groundbreaking film but it's a fine movie for an easy distraction.
They say that when a hurricane's a-comin, you best get out of dodge. But if you're Perkins (Ralph Ineson), a Treasury agent, you use that storm to cover your tracks for a heist. The place is a Treasury Facility in Gulfport, Alabama, where the storm of the century, Hurricane Tammy, is a-comin'. There's $600 million in discontinued money waitin' for retirement. Perkins and his crew decide to make do with the cash. But mechanical failures wait to block 'em right away.
Agent Casey (Maggie Grace) decides she doesn't want part of it. So when Perkins tells her to get a mechanic, she uses the opportunity to rally some help. Breeze (Ryan Kwanten), said mechanic, and his storm-chaser brother Will (Toby Keebel), are the help. They saw their father crushed to death during a similar storm years back. They have to help her outwit the bad guys and keep the money safe. At least until they get to the shredder.
This film premise was realized by four writers and realized by director Rob Cohen. There's plenty of wild weather action but also plenty of flat characters. They're cliche character types you might've seen better in other movies. Perkins gets the honor of being flat and inconsistent. He prides himself in his plan to take the money without killing anybody. But he gets bloodlust when something goes awry. Hypocrite? Maybe. But there's little transition between the moods. It also gets needlessly complicated when the sheriff (Ben Cross) turns out to be in on the heist. He quickly gets discarded soon after without a fuss.
The characters are second-fiddle to the visual effects and they're pretty good. The demon face in the clouds was creepy, even if it was questionable. The weather provided opportunity for many wild stunts. The biggest of these is the climactic chase to outwit the worst of the storm and thwart Perkins. The sound design perfectly voiced the monster storm and kept it from overshadowing the characters.
The Hurricane Heist is big and dumb. But it's serviceable for an easy afternoon matinee. Don't raise your expectations too high or else you'll be disappointed. I wasn't. I thought it was decent. It'll probably build an easy audience if SyFy gets a hold of it. It'll fit right in with Sharknado.
They say that when a hurricane's a-comin, you best get out of dodge. But if you're Perkins (Ralph Ineson), a Treasury agent, you use that storm to cover your tracks for a heist. The place is a Treasury Facility in Gulfport, Alabama, where the storm of the century, Hurricane Tammy, is a-comin'. There's $600 million in discontinued money waitin' for retirement. Perkins and his crew decide to make do with the cash. But mechanical failures wait to block 'em right away.
Agent Casey (Maggie Grace) decides she doesn't want part of it. So when Perkins tells her to get a mechanic, she uses the opportunity to rally some help. Breeze (Ryan Kwanten), said mechanic, and his storm-chaser brother Will (Toby Keebel), are the help. They saw their father crushed to death during a similar storm years back. They have to help her outwit the bad guys and keep the money safe. At least until they get to the shredder.
This film premise was realized by four writers and realized by director Rob Cohen. There's plenty of wild weather action but also plenty of flat characters. They're cliche character types you might've seen better in other movies. Perkins gets the honor of being flat and inconsistent. He prides himself in his plan to take the money without killing anybody. But he gets bloodlust when something goes awry. Hypocrite? Maybe. But there's little transition between the moods. It also gets needlessly complicated when the sheriff (Ben Cross) turns out to be in on the heist. He quickly gets discarded soon after without a fuss.
The characters are second-fiddle to the visual effects and they're pretty good. The demon face in the clouds was creepy, even if it was questionable. The weather provided opportunity for many wild stunts. The biggest of these is the climactic chase to outwit the worst of the storm and thwart Perkins. The sound design perfectly voiced the monster storm and kept it from overshadowing the characters.
The Hurricane Heist is big and dumb. But it's serviceable for an easy afternoon matinee. Don't raise your expectations too high or else you'll be disappointed. I wasn't. I thought it was decent. It'll probably build an easy audience if SyFy gets a hold of it. It'll fit right in with Sharknado.
Wednesday, March 14, 2018
A Wrinkle in Time
2003: Madeleine L'Engle's novel A Wrinkle in Time debuts as a TV movie in Canada and in the States the following year. It was instantly forgotten by all.
Present day. The iconic story is ready for its cinematic life. Directed by Ava DuVernay, the movie is visually delightful but it has some logical issues.
It was a dark and stormy night. Meg Murry (Storm Reid) can't stop thinking about her scientist father, Alex (Chris Pine). It's been four years since he vanished while studying instantaneous interstellar travel via Tesseract. Her adopted brother, Charles Wallace (Deric McCabe), is unnaturally smart and prone to befriending strange people. One of them is Mrs. Whatsit (Reese Witherspoon), who tells the kids that their father is out there. Meg's classmate Calvin O'Keefe (Levi Miller) visits them just as they meet Mrs. Who (Mindy Kalling) and Mrs Which (Oprah Winfrey). The three Mrs. are astral travelers who fold space and take the kids to another planet.
Yes, Dr. Murry discovered the ability to "tesser" through space. But he was seized by "IT," not the clown, but an evil black mass. IT is located on the planet Camazotz. The kids have to go there to extract Dr. Murry. But IT won't give up without a fight and the kids will have to do it alone.
Jennifer Lee and Jeff Stockwell's screenplay does its best to realize the deeply philosophical book. While its basic story is understandable, there's a few logical issues here. A big one is that Charles Wallace turns evil because he saw through an illusion. How does that work? Apparently, he was hypnotized by IT's servant Red (Michael Pena), but it should've been clearer. The nature of Camazotz, and that name itself, were also bewildering. Calvin's issues with his abusive father is never resolved after it appears once in an exposition vision. It also takes a while to get going and is over somewhat quickly.
The kids have definite screen presence. McCabe is especially good at playing Charles Wallace's unnatural smartness and his brainwashed snide self. Reid makes for a good heroine who finds her confidence. Miller made for a good, loyal friend as Calvin. Rowan Blanchard makes the most of her limited screentime as Meg's mean girl arch-nemesis, Veronica. The three Mrs. were perfectly eccentric characters.
There's much to admire with the visuals. There's an eclectic display of colorful alien worlds, creatures and costumes on screen. Tobias A. Schliessler's cinematography displays them perfectly. It almost felt like a live-action Ghibli film; in fact, a Ghibli film of this might be a good fit. Spencer Averick's editing had one glaring flaw early on: when the kids go to meet Mrs. Who, they're walking a dog. When they enter her house, the dog is absent (but turns up later). Ramin Djawadi's score is good, but you'll likely remember the songs more than the score.
A Wrinkle in Time is not a perfect family film but it's watchable. You might have to fill in a few logical gaps yourself but it's worth the astro trip. At least on a matinee budget on flatscreen. Perhaps someone can figure out what to do for the next film version by watching this. It's certainly more memorable than the TV movie.
Present day. The iconic story is ready for its cinematic life. Directed by Ava DuVernay, the movie is visually delightful but it has some logical issues.
It was a dark and stormy night. Meg Murry (Storm Reid) can't stop thinking about her scientist father, Alex (Chris Pine). It's been four years since he vanished while studying instantaneous interstellar travel via Tesseract. Her adopted brother, Charles Wallace (Deric McCabe), is unnaturally smart and prone to befriending strange people. One of them is Mrs. Whatsit (Reese Witherspoon), who tells the kids that their father is out there. Meg's classmate Calvin O'Keefe (Levi Miller) visits them just as they meet Mrs. Who (Mindy Kalling) and Mrs Which (Oprah Winfrey). The three Mrs. are astral travelers who fold space and take the kids to another planet.
Yes, Dr. Murry discovered the ability to "tesser" through space. But he was seized by "IT," not the clown, but an evil black mass. IT is located on the planet Camazotz. The kids have to go there to extract Dr. Murry. But IT won't give up without a fight and the kids will have to do it alone.
Jennifer Lee and Jeff Stockwell's screenplay does its best to realize the deeply philosophical book. While its basic story is understandable, there's a few logical issues here. A big one is that Charles Wallace turns evil because he saw through an illusion. How does that work? Apparently, he was hypnotized by IT's servant Red (Michael Pena), but it should've been clearer. The nature of Camazotz, and that name itself, were also bewildering. Calvin's issues with his abusive father is never resolved after it appears once in an exposition vision. It also takes a while to get going and is over somewhat quickly.
The kids have definite screen presence. McCabe is especially good at playing Charles Wallace's unnatural smartness and his brainwashed snide self. Reid makes for a good heroine who finds her confidence. Miller made for a good, loyal friend as Calvin. Rowan Blanchard makes the most of her limited screentime as Meg's mean girl arch-nemesis, Veronica. The three Mrs. were perfectly eccentric characters.
There's much to admire with the visuals. There's an eclectic display of colorful alien worlds, creatures and costumes on screen. Tobias A. Schliessler's cinematography displays them perfectly. It almost felt like a live-action Ghibli film; in fact, a Ghibli film of this might be a good fit. Spencer Averick's editing had one glaring flaw early on: when the kids go to meet Mrs. Who, they're walking a dog. When they enter her house, the dog is absent (but turns up later). Ramin Djawadi's score is good, but you'll likely remember the songs more than the score.
A Wrinkle in Time is not a perfect family film but it's watchable. You might have to fill in a few logical gaps yourself but it's worth the astro trip. At least on a matinee budget on flatscreen. Perhaps someone can figure out what to do for the next film version by watching this. It's certainly more memorable than the TV movie.
Wednesday, February 21, 2018
Early Man
The chaps at Aardman Animations are here with another Plasticine romp. Early Man is a fun Stone Age adventure with Football (Soccer) and hi-jinks. Let's see if we can explain it.
In the film's pre-history, the first Football was the meteor that killed the dinosaurs. The Cavemen who found it knew not what it was, except that it was very hot, and passing it around like a hot potato made for a fun game. Years later, Football is worshiped as the "Sacred Game" by Lord Nooth (Tom Hiddleston) and his Bronze Age kingdom. Nooth decides to make a nearby valley the site of a new mine.
That valley is where Dug (Eddie Redmayne) and his Stone Age tribe live. He doesn't take kindly to the invaders and challenges them to a Football match with the valley at stake. The tribe's cluelessness is their own worst enemy. Goona (Maisie Williams), a friendly Bronze Age girl and aspiring Footballer, helps them learn the ropes. How will Nooth react if the Cavemen beat his Bronzemen?
Director Nick Park and his co-writers, Mark Burton and James Higginson, keep things going well for 89 minutes. There's plenty of silliness from the cast to keep kids entertained. A few notable characters include Grubup, a caveman with a pig head and Hognob (Park), an actual pig who acts like a dog. Lord Nooth makes for a funny, snooty villain. But some of the Football humor might not register for American audiences (I got a reference to "Early Man ... U(nited)," though). Its dramatic conflict is a bit light although the tribe's aversion to forced labor is understandable. A few other members of the tribe are just there.
The Plasticine characters look as memorable as their environments. The movement photographed by Dave Alex Riddett is pretty good but the opening sequence is amazing. A cockroach witnessing the meteor's explosion provided another great gag. Harry Gregson-Williams and Tom Howe's score works as both a majestic and light soundtrack.
Early Man is a good start for animated films this year. It's not the best Stone Age parody but it gets things done. This is sure to be fun for kids and Football-savy adults. You might see a preview of Aardman's next adventure, starring Shaun the Sheep, during the trailers. It doesn't have a clear title or release date yet, but that trailer was funny.
In the film's pre-history, the first Football was the meteor that killed the dinosaurs. The Cavemen who found it knew not what it was, except that it was very hot, and passing it around like a hot potato made for a fun game. Years later, Football is worshiped as the "Sacred Game" by Lord Nooth (Tom Hiddleston) and his Bronze Age kingdom. Nooth decides to make a nearby valley the site of a new mine.
That valley is where Dug (Eddie Redmayne) and his Stone Age tribe live. He doesn't take kindly to the invaders and challenges them to a Football match with the valley at stake. The tribe's cluelessness is their own worst enemy. Goona (Maisie Williams), a friendly Bronze Age girl and aspiring Footballer, helps them learn the ropes. How will Nooth react if the Cavemen beat his Bronzemen?
Director Nick Park and his co-writers, Mark Burton and James Higginson, keep things going well for 89 minutes. There's plenty of silliness from the cast to keep kids entertained. A few notable characters include Grubup, a caveman with a pig head and Hognob (Park), an actual pig who acts like a dog. Lord Nooth makes for a funny, snooty villain. But some of the Football humor might not register for American audiences (I got a reference to "Early Man ... U(nited)," though). Its dramatic conflict is a bit light although the tribe's aversion to forced labor is understandable. A few other members of the tribe are just there.
The Plasticine characters look as memorable as their environments. The movement photographed by Dave Alex Riddett is pretty good but the opening sequence is amazing. A cockroach witnessing the meteor's explosion provided another great gag. Harry Gregson-Williams and Tom Howe's score works as both a majestic and light soundtrack.
Early Man is a good start for animated films this year. It's not the best Stone Age parody but it gets things done. This is sure to be fun for kids and Football-savy adults. You might see a preview of Aardman's next adventure, starring Shaun the Sheep, during the trailers. It doesn't have a clear title or release date yet, but that trailer was funny.
Black Panther
Black Panther was one of the best characters in Captain America: Civil War. Now, once again played by Chadwick Boseman, he's back in his own same-titled movie. The end result is another win for Marvel and for director/co-writer Ryan Coogler.
The African nation of Wakanda formed around a meteorite containing the metal Vibranium. Their king, the Black Panther, gained super powers from a heart-shaped herb. Eventually, they secretly became the most advanced country in the world.
Years later, Prince T'Challa becomes king after the assassination of his father, T'Chaka (John Kani) during Civil War. His first order of business is to recover a Wakandan artifact from arms dealer Ulysses Klaue (Andy Serkis). T'Challa soon encounters Klaue's cohort, Erik "Killmonger" (Michael B. Jordan). Killmonger seeks to avenge the oppression of Blacks around the world by arming them with Vibranium weapons. His goal becomes easier when he usurps T'Challa's throne in ritual combat.
T'Challa recovers to face Killmonger again. T'Challa is aided by his ex-lover, agent Nakia (Lupita Nyong'o), his sister Shuri (Letitia Wright), his all-female Dora Milaje bodyguards and CIA agent Everett Ross (Martin Freeman). They have to hurry before the first weapons leave Wakanda.
There's much to praise about the supporting cast. Everyone, including Shuri, Nakia, the Dora Milaje member Okoye (Danai Gurira) and Ross are strong characters. They all get a memorable moment to help T'Challa take down Killmonger. Klaue makes for a funny, yet creepy villain; I have mixed thoughts about his eventual fate. The Shaman Zuri (Forest Whitaker) is a strong mentor figure. A grand highlight is M'Baku (Winston Duke), leader of the mountainous Jabari tribe, who goes from rival to ally.
Killmonger deserves his own paragraph. His smug attitude may rub people the wrong way but we understand his tragic story. His fighting ability backs up his boasts all the way. It's great to see T'Challa defeat Killmonger and take back the throne. But the audience is affected by the bitterness that turned him bad.
What about our hero, T'Challa? T'Challa is a good man learning to be a great leader. He spares M'Baku in ritual combat and gets an ally in the climax. He's not sure how to live up to the legacy but he learns soon enough. The moment he resolves to challenge Killmonger again is awesome. His story has him learn "might does not make right" and "with great power comes great responsibility." And it's a lesson certain people should learn.
Coogler's brings along his usual band of Marvels, consisting of editors Claudia Castello & Michael P. Shawver, cinematographer Rachel Morrison and composer Ludwig Göransson. This leads to some tense, colorful action scenes with a memorably sleek soundtrack. Wakanda is a perfectly designed Utopia and its colorful production and costume design is outstanding. T'Challa's Black Panther suit is alluring with its glowing purple highlights. Wonder Woman was ignored by the Oscars but hopefully they won't make the same mistake here.
The African nation of Wakanda formed around a meteorite containing the metal Vibranium. Their king, the Black Panther, gained super powers from a heart-shaped herb. Eventually, they secretly became the most advanced country in the world.
Years later, Prince T'Challa becomes king after the assassination of his father, T'Chaka (John Kani) during Civil War. His first order of business is to recover a Wakandan artifact from arms dealer Ulysses Klaue (Andy Serkis). T'Challa soon encounters Klaue's cohort, Erik "Killmonger" (Michael B. Jordan). Killmonger seeks to avenge the oppression of Blacks around the world by arming them with Vibranium weapons. His goal becomes easier when he usurps T'Challa's throne in ritual combat.
T'Challa recovers to face Killmonger again. T'Challa is aided by his ex-lover, agent Nakia (Lupita Nyong'o), his sister Shuri (Letitia Wright), his all-female Dora Milaje bodyguards and CIA agent Everett Ross (Martin Freeman). They have to hurry before the first weapons leave Wakanda.
There's much to praise about the supporting cast. Everyone, including Shuri, Nakia, the Dora Milaje member Okoye (Danai Gurira) and Ross are strong characters. They all get a memorable moment to help T'Challa take down Killmonger. Klaue makes for a funny, yet creepy villain; I have mixed thoughts about his eventual fate. The Shaman Zuri (Forest Whitaker) is a strong mentor figure. A grand highlight is M'Baku (Winston Duke), leader of the mountainous Jabari tribe, who goes from rival to ally.
Killmonger deserves his own paragraph. His smug attitude may rub people the wrong way but we understand his tragic story. His fighting ability backs up his boasts all the way. It's great to see T'Challa defeat Killmonger and take back the throne. But the audience is affected by the bitterness that turned him bad.
What about our hero, T'Challa? T'Challa is a good man learning to be a great leader. He spares M'Baku in ritual combat and gets an ally in the climax. He's not sure how to live up to the legacy but he learns soon enough. The moment he resolves to challenge Killmonger again is awesome. His story has him learn "might does not make right" and "with great power comes great responsibility." And it's a lesson certain people should learn.
Coogler's brings along his usual band of Marvels, consisting of editors Claudia Castello & Michael P. Shawver, cinematographer Rachel Morrison and composer Ludwig Göransson. This leads to some tense, colorful action scenes with a memorably sleek soundtrack. Wakanda is a perfectly designed Utopia and its colorful production and costume design is outstanding. T'Challa's Black Panther suit is alluring with its glowing purple highlights. Wonder Woman was ignored by the Oscars but hopefully they won't make the same mistake here.
Black Panther makes the best use of its 134 minutes. It's an exciting Marvel adventure which blends the past, present and future in one stunning vision. Its ending was one of the most meaningful ends to a superhero story in years. It leaves us a lot to think about our real world. T'Challa's next appearance in Avengers: Infinity War is even more anticipated now. This film definitely deserves to be seen on the big screen.
Tuesday, February 13, 2018
Call me by your name
I was disappointed last year that the Anime mega-blockbuster Your Name didn't play locally. As that title lingers in my mind, we now have Call Me By Your Name, which only now started playing locally. The coincidences end in the title and my review begins.
In 1983, Elio Perlman (Timothee Chalamet) spends the summer in the Italian countryside. His father (Michel Stuhlbarg), a professor, has invited grad student Oliver (Armie Hammer) over as a research assistant. Elio is perplexed by how Oliver uses "later" as a goodbye. But they hit it off once Elio learns that Oliver is Jewish like him.
Elio and Oliver become closer as they spend time with each other. Oliver tells Elio to "call me by your name and I'll call you by mine" as a sign of endearment. But they know that society might not accept their relationship. There's a lot of complicated feelings between them.
James Ivory, of Merchant-Ivory, adapted the screenplay from Andre Aciman's novel. Aciman also has a cameo as Mounir, a friend of Elio's father. Director Luca Guadagnino keeps the film going at a slow pace. It's a while before Elio and Oliver's relationship goes from subtext to text. One can emphasize with Elio and Oliver as they struggle with their feelings. Their chemistry is endearing and their relationship is great. Before long, they're separated when Oliver's stay ends. Elio is left with the memories of his summer romance. In the end, Mr. Perlman tells Elio that he has nothing to be ashamed of with his relationship.
There's not much of an original score, save for Sufjan Stevens's softspoken songs. One of the most memorable is the now-Oscar nominated Mystery of Love. It's a perfect summary of a summer romance and its aftermath. The scene it plays in highlights cinematographer Sayombhu Mukdeeprom's great view of the Italian countryside. The last shot of the movie, during which most of the credits play, highlights another great song from Stevens, Visions of Gideon.
Call Me by Your Name is a fine movie. Its 130 minutes are slow, but the characters make it worth it. It's a movie where peoples' emotions are their worst enemy. The last few scenes leaves the film on a memorable note. Guadagnino wants to do sequels, but this can stand on its own just fine. If they are made, then hopefully the sequels are as equally memorable as this film.
In 1983, Elio Perlman (Timothee Chalamet) spends the summer in the Italian countryside. His father (Michel Stuhlbarg), a professor, has invited grad student Oliver (Armie Hammer) over as a research assistant. Elio is perplexed by how Oliver uses "later" as a goodbye. But they hit it off once Elio learns that Oliver is Jewish like him.
Elio and Oliver become closer as they spend time with each other. Oliver tells Elio to "call me by your name and I'll call you by mine" as a sign of endearment. But they know that society might not accept their relationship. There's a lot of complicated feelings between them.
James Ivory, of Merchant-Ivory, adapted the screenplay from Andre Aciman's novel. Aciman also has a cameo as Mounir, a friend of Elio's father. Director Luca Guadagnino keeps the film going at a slow pace. It's a while before Elio and Oliver's relationship goes from subtext to text. One can emphasize with Elio and Oliver as they struggle with their feelings. Their chemistry is endearing and their relationship is great. Before long, they're separated when Oliver's stay ends. Elio is left with the memories of his summer romance. In the end, Mr. Perlman tells Elio that he has nothing to be ashamed of with his relationship.
There's not much of an original score, save for Sufjan Stevens's softspoken songs. One of the most memorable is the now-Oscar nominated Mystery of Love. It's a perfect summary of a summer romance and its aftermath. The scene it plays in highlights cinematographer Sayombhu Mukdeeprom's great view of the Italian countryside. The last shot of the movie, during which most of the credits play, highlights another great song from Stevens, Visions of Gideon.
Call Me by Your Name is a fine movie. Its 130 minutes are slow, but the characters make it worth it. It's a movie where peoples' emotions are their worst enemy. The last few scenes leaves the film on a memorable note. Guadagnino wants to do sequels, but this can stand on its own just fine. If they are made, then hopefully the sequels are as equally memorable as this film.
Thursday, February 8, 2018
I, Tonya
Imagine Rashomon mixed with the TV movie The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom. Granted, I haven't seen that movie, but I'll guess that's the experience with another dark, real-life comedy, I, Tonya. It's off my to-see list.
Tonya Harding (Margot Robbie) was a skating prodigy at age four. Her cruel mother, LaVona Golden (Alison Janney), took her out of school to skate. She proves herself as a professional skater, but she fails to impress the stuffy judges. She still makes the Winter Olympics in 1992 and 1994. Her closest competition is Nancy Kerrigan (Caitlin Carver). Tonya's unstable husband, Jeff (Sebastian Stan), decides to threaten Nancy to give Tonya an edge. His accomplice, Shawn (Paul Walter Hauser), takes it a step too far. It doesn't go well for anyone.
Steven Rogers's script frames the story with "wildly contradictory, totally true interviews" with Tonya and others. Tonya and Jeff, in particular, try to paint the other as unstable and abusive. We see their mutual antagonism as their fights play out on screen. You'll laugh at some of the characters' less admirable acts. The actual assault on Nancy Kerrigan is dark, but her assailants' incompetence is funny. Characters break the fourth wall a few times, sometimes to address the last interviewee, including the last line.
The cast does wonders on the ice. Robbie, as Tonya, is equally sympathetic and contemptible. She displays no compassion for Nancy, but is understandably upset when the attack happens. Her unprofessional conduct fails to endear sympathy, but her breakdown after she is banned from the sport does. Janney as LaVona has a rancid attitude, but she does care about Tonya in her own way. Stan as Jeff believably goes from loving to violent in any scene. Hauser as Shawn starts off a lovable idiot who reveals himself a psychopath ... who's still an idiot. Julianne Nicholson is also memorable as Tonya's longtime coach, Diane Rawlson, one of the few wholly sympathetic characters.
The film's technical achievements also stick the landing. Its Oscar-nominated editor, Tatiana S. Riegel, keeps it going smoothly for 119 minutes. Tonya's skating scenes are outstanding and fit nicely with the music selections. A few subtle visual effects and Nicolas Karakatsanis's long takes add to these scenes' energy. The surprisingly un-Oscar nominated makeup team convincingly age Tonya and the others throughout the years. Costume designer Jennifer Johnson's recreations of Tonya's self-made costumes are perfectly colorful designs.
I, Tonya is one of the darkest sports comedies around. We see its characters as self-serving jerks and as sympathetic characters. It doesn't entirely glorify or deride their selfish behavior. We're left wondering which of them is telling the truth. It'll leave you guessing while you laugh. It was worth waiting for it.
Tonya Harding (Margot Robbie) was a skating prodigy at age four. Her cruel mother, LaVona Golden (Alison Janney), took her out of school to skate. She proves herself as a professional skater, but she fails to impress the stuffy judges. She still makes the Winter Olympics in 1992 and 1994. Her closest competition is Nancy Kerrigan (Caitlin Carver). Tonya's unstable husband, Jeff (Sebastian Stan), decides to threaten Nancy to give Tonya an edge. His accomplice, Shawn (Paul Walter Hauser), takes it a step too far. It doesn't go well for anyone.
Steven Rogers's script frames the story with "wildly contradictory, totally true interviews" with Tonya and others. Tonya and Jeff, in particular, try to paint the other as unstable and abusive. We see their mutual antagonism as their fights play out on screen. You'll laugh at some of the characters' less admirable acts. The actual assault on Nancy Kerrigan is dark, but her assailants' incompetence is funny. Characters break the fourth wall a few times, sometimes to address the last interviewee, including the last line.
The cast does wonders on the ice. Robbie, as Tonya, is equally sympathetic and contemptible. She displays no compassion for Nancy, but is understandably upset when the attack happens. Her unprofessional conduct fails to endear sympathy, but her breakdown after she is banned from the sport does. Janney as LaVona has a rancid attitude, but she does care about Tonya in her own way. Stan as Jeff believably goes from loving to violent in any scene. Hauser as Shawn starts off a lovable idiot who reveals himself a psychopath ... who's still an idiot. Julianne Nicholson is also memorable as Tonya's longtime coach, Diane Rawlson, one of the few wholly sympathetic characters.
The film's technical achievements also stick the landing. Its Oscar-nominated editor, Tatiana S. Riegel, keeps it going smoothly for 119 minutes. Tonya's skating scenes are outstanding and fit nicely with the music selections. A few subtle visual effects and Nicolas Karakatsanis's long takes add to these scenes' energy. The surprisingly un-Oscar nominated makeup team convincingly age Tonya and the others throughout the years. Costume designer Jennifer Johnson's recreations of Tonya's self-made costumes are perfectly colorful designs.
I, Tonya is one of the darkest sports comedies around. We see its characters as self-serving jerks and as sympathetic characters. It doesn't entirely glorify or deride their selfish behavior. We're left wondering which of them is telling the truth. It'll leave you guessing while you laugh. It was worth waiting for it.
Wednesday, January 31, 2018
Phantom Thread
In 1971, Daniel Day-Lewis started his film career playing a young vandal in Sunday Bloody Sunday. We now get to see the film he's promised will be his last. It's Phantom Thread, a dark, yet happy love story.
Day-Lewis is Reynolds Woodcock, a fashion designer in 1950s London. His life is nice and orderly. His sister, Cyril (Leslie Manville), helps ensure it. But then he meets a waitress named Alma (Vicky Krieps). They fall in love and she becomes his assistant. Reynolds soon doesn't take kindly to his routine getting disrupted. Alma just wants to be a part of it. She might have to do something desperate.
Writer/Director Paul T. Anderson keeps things going for a surprisingly quick 130 minutes. Not one minute felt a second longer. It was an involving Gothic Romance that was equally dark and funny. Reynolds' obsessive stubbornness is either one given the situation. Alma turns him around at the end, though. The ending might have some question their version of "happily ever after." I did.
Day-Lewis is great as usual as Reynolds. He's a soft-spoken man with a tortured past. We understand his mindset even if we don't agree with his outbursts. Krieps as Alma is just a strong performance as his. She's an endearing character who genuinely loves Reynolds. But she finds herself overwhelmed by his aloofness. She wins out with an extreme act of desperation. Manville's Cyril is relatively low-key but her dry wit makes her a memorable character.
Mark Bridges dresses the characters in memorable fashions. They're not extravagant but their colors are still striking. There's quite a few fascinatingly eerie scenes photographed by an uncredited cinematographer, such as a New Years Eve party. The production and makeup design complete another great recreation of the 1950s. Jonny Greenwood earned his first Oscar nomination for another memorably eerie score. Though, I must say the opening theme was a bit loud.
Phantom Thread is a film that'll keep you thinking after the end. I had a few conflicting thoughts about the movie. But it's not as completely off-kilter as I feared. So we must wish Daniel Day-Lewis the best with his future endeavors as he ends his film career in a memorable way. It's not a conventional love story but it's a well-told one.
Day-Lewis is Reynolds Woodcock, a fashion designer in 1950s London. His life is nice and orderly. His sister, Cyril (Leslie Manville), helps ensure it. But then he meets a waitress named Alma (Vicky Krieps). They fall in love and she becomes his assistant. Reynolds soon doesn't take kindly to his routine getting disrupted. Alma just wants to be a part of it. She might have to do something desperate.
Writer/Director Paul T. Anderson keeps things going for a surprisingly quick 130 minutes. Not one minute felt a second longer. It was an involving Gothic Romance that was equally dark and funny. Reynolds' obsessive stubbornness is either one given the situation. Alma turns him around at the end, though. The ending might have some question their version of "happily ever after." I did.
Day-Lewis is great as usual as Reynolds. He's a soft-spoken man with a tortured past. We understand his mindset even if we don't agree with his outbursts. Krieps as Alma is just a strong performance as his. She's an endearing character who genuinely loves Reynolds. But she finds herself overwhelmed by his aloofness. She wins out with an extreme act of desperation. Manville's Cyril is relatively low-key but her dry wit makes her a memorable character.
Mark Bridges dresses the characters in memorable fashions. They're not extravagant but their colors are still striking. There's quite a few fascinatingly eerie scenes photographed by an uncredited cinematographer, such as a New Years Eve party. The production and makeup design complete another great recreation of the 1950s. Jonny Greenwood earned his first Oscar nomination for another memorably eerie score. Though, I must say the opening theme was a bit loud.
Phantom Thread is a film that'll keep you thinking after the end. I had a few conflicting thoughts about the movie. But it's not as completely off-kilter as I feared. So we must wish Daniel Day-Lewis the best with his future endeavors as he ends his film career in a memorable way. It's not a conventional love story but it's a well-told one.
Monday, January 15, 2018
Paddington 2
Everyone's favorite literary bear from darkest Peru is back in Paddington 2. It's easily the best film of the year so far. Did I give away too much? Perhaps, but let's continue.
Paddington (Ben Whishaw) lives a happy life with the Browns in London. He's also chums with the neighbors except for grumpy, paranoid Mr. Curry (Peter Capaldi). Meanwhile, Paddington's Aunt Lucy (Imelda Staunton) is about to turn 100 and he doesn't have a gift. Paddington finds an antique pop-up book of London in kindly Mr. Gruber's (Jim Broadbent) shop. Aunt Lucy always wanted to go to London and this book is the next best thing. Paddington decides to do odd jobs around town to buy it.
The pop-up book has the clues to a hidden treasure. That is why a has-been actor named Phoenix Buchanan (Hugh Grant) wants it too. So he breaks into Mr. Gruber's shop and takes it. Paddington is accidentally pegged as the thief and thrown into prison. He annoys the prisoners by dying their uniforms pink while on laundry duty. He earns their respect when he befriends the hardened cook Knuckles (Brendan Gleason). Soon, the whole prison is bright and cheerful.
Meanwhile, the Browns set off to investigate the theft and exonerate Paddington. Paddington waits for them to set everything right. But the other prisoners want Paddington to join them on their escape attempt. What's a bear to do?
Director Paul King co-wrote the screenplay with Simon Farnaby. It continues the adventures of Michael Bond's best bear with the same charm as the first one. It's an optimistic world where Paddington can charm even the most hardened criminal. In this movie, the most irredeemable people are grumps like Curry and Judge Biggleswade (Tom Conti). Its messages about friendship and acceptance are as relevant just as they were three years ago. If only this world was the real one.
What about Paddington's supporting cast? The Browns, including Henry (Hugh Bonneville) and Mary (Sally Hawkins), are still a nice bunch. They each get a moment in the train chase climax. The prisoners, especially Knuckles, are gruff yet lovable chaps. Buchanan makes for a delightfully hammy villain who proves himself formidable in the climax. If not for his hubris, he might have gotten away with it. Paddington's neighbors are a nice bunch of characters and their unwavering support of him was nice. Curry and Biggleswade were capably mean folks.
The first film's visual style is maintained here. It seamlessly transitions between locales and time periods through great editing (by Mark Everson and Jonathan Amos), cinematography (Erik Wilson) and visual effects. The imagine spot where Paddington sees himself and Aunt Lucy explore the pop-up book is a highlight. Paddington himself is still a great creation of CGI. The jailbreak sequence is perfectly visualized just like the doll house scene in the first film. The prison changing from gloomy to bright was a great feet of production design.
Paddington 2 came out in November in the UK last year. It's now a welcome diversion from the January slowness in the States. It's an amiable movie that kids and adults will love together. It's funny and meaningful and all around good natured. Let's hope there are more great family films on the way.
Paddington (Ben Whishaw) lives a happy life with the Browns in London. He's also chums with the neighbors except for grumpy, paranoid Mr. Curry (Peter Capaldi). Meanwhile, Paddington's Aunt Lucy (Imelda Staunton) is about to turn 100 and he doesn't have a gift. Paddington finds an antique pop-up book of London in kindly Mr. Gruber's (Jim Broadbent) shop. Aunt Lucy always wanted to go to London and this book is the next best thing. Paddington decides to do odd jobs around town to buy it.
The pop-up book has the clues to a hidden treasure. That is why a has-been actor named Phoenix Buchanan (Hugh Grant) wants it too. So he breaks into Mr. Gruber's shop and takes it. Paddington is accidentally pegged as the thief and thrown into prison. He annoys the prisoners by dying their uniforms pink while on laundry duty. He earns their respect when he befriends the hardened cook Knuckles (Brendan Gleason). Soon, the whole prison is bright and cheerful.
Meanwhile, the Browns set off to investigate the theft and exonerate Paddington. Paddington waits for them to set everything right. But the other prisoners want Paddington to join them on their escape attempt. What's a bear to do?
Director Paul King co-wrote the screenplay with Simon Farnaby. It continues the adventures of Michael Bond's best bear with the same charm as the first one. It's an optimistic world where Paddington can charm even the most hardened criminal. In this movie, the most irredeemable people are grumps like Curry and Judge Biggleswade (Tom Conti). Its messages about friendship and acceptance are as relevant just as they were three years ago. If only this world was the real one.
What about Paddington's supporting cast? The Browns, including Henry (Hugh Bonneville) and Mary (Sally Hawkins), are still a nice bunch. They each get a moment in the train chase climax. The prisoners, especially Knuckles, are gruff yet lovable chaps. Buchanan makes for a delightfully hammy villain who proves himself formidable in the climax. If not for his hubris, he might have gotten away with it. Paddington's neighbors are a nice bunch of characters and their unwavering support of him was nice. Curry and Biggleswade were capably mean folks.
The first film's visual style is maintained here. It seamlessly transitions between locales and time periods through great editing (by Mark Everson and Jonathan Amos), cinematography (Erik Wilson) and visual effects. The imagine spot where Paddington sees himself and Aunt Lucy explore the pop-up book is a highlight. Paddington himself is still a great creation of CGI. The jailbreak sequence is perfectly visualized just like the doll house scene in the first film. The prison changing from gloomy to bright was a great feet of production design.
Paddington 2 came out in November in the UK last year. It's now a welcome diversion from the January slowness in the States. It's an amiable movie that kids and adults will love together. It's funny and meaningful and all around good natured. Let's hope there are more great family films on the way.
Molly's Game
I can't wait for this Oscar season to end ... and the nominations haven't been announced yet! There are plenty of movies left to see this year. There are even movies I could've seen already but didn't.
I can now scratch one item off my left-to see list: Molly's Game. Aaron Sorkin reworked Molly Bloom's memoir into the screenplay of his directorial debut. The end result has the same style and finesse from Sorkin's usual work.
Molly Bloom (Jessica Chastain) was a skier in her youth. A nasty fall on the slopes ended her skiing career and her Olympic dreams. She found work as the office assistant of the nasty Dean Keith (Jeremy Strong). Her duties include helping him organize his underground poker game. There, she meets influential people among her weekly players. When Keith unfairly fires her, she redirects her players to her own poker game. She soon finds herself very legally wealthy.
But the FBI still doesn't like it. They arrest her on the suspicion that she's working for the Russian mob. She hires Charles Jaffey (Idris Elba) as her lawyer, who takes the case even though she's broke. The FBI is willing to reimburse her if she gives up her client list. Molly and Jaffey have to persuade the Government that her business is legit.
Much of the film shuffles back and forth in time. We see Molly, as a child, trained by her stern father, Larry (Kevin Costner). We see her get involved with the poker game and its clientele, all of whom have their names changed in the story. And we see her and Jaffey prepare their case before the government. The exposition is stylish and fascinatingly detailed. We get to know Molly's mindset as she opens the film narrating about the worst things that can happen to an athlete. Her time running the poker game moved by nice and easy. The main story felt slower by comparison.
Jessica Chastain was excellent as Molly. She's determined, competitive and also honest. She goes to great lengths to ensure she's running a legal business and is willing to defend it. We can get on her side as she protects her clientele from the government. Elba as Jaffey is a great support for Molly. He proves that when he goes from temporarily defending Molly to full-time during her first hearing. Among the supporting cast, some of the best include a surprisingly against type Michael Cera as the sleazy Player X and Costner as Larry. There's also Strong as Dean Keith, who finds new ways to make the audience hate him.
Editors Alan Baumgarten, Elliot Graham and Josh Schaeffer move the film at a nice pace. Molly's opening narration is illustrated to a quick and clear montage which describes, among other things, the angle of the Great Pyramids. They emphasize the tension when Molly is confronted and robbed by a nasty mobster. The aftermath, as photographed by cinematographer Charlotte Bruus Christensen, perfectly shows Molly at her lowest point. And without much words. Daniel Pemberton contributes another memorable soundtrack which perfectly accentuates Molly's professions.
I can now scratch one item off my left-to see list: Molly's Game. Aaron Sorkin reworked Molly Bloom's memoir into the screenplay of his directorial debut. The end result has the same style and finesse from Sorkin's usual work.
Molly Bloom (Jessica Chastain) was a skier in her youth. A nasty fall on the slopes ended her skiing career and her Olympic dreams. She found work as the office assistant of the nasty Dean Keith (Jeremy Strong). Her duties include helping him organize his underground poker game. There, she meets influential people among her weekly players. When Keith unfairly fires her, she redirects her players to her own poker game. She soon finds herself very legally wealthy.
But the FBI still doesn't like it. They arrest her on the suspicion that she's working for the Russian mob. She hires Charles Jaffey (Idris Elba) as her lawyer, who takes the case even though she's broke. The FBI is willing to reimburse her if she gives up her client list. Molly and Jaffey have to persuade the Government that her business is legit.
Much of the film shuffles back and forth in time. We see Molly, as a child, trained by her stern father, Larry (Kevin Costner). We see her get involved with the poker game and its clientele, all of whom have their names changed in the story. And we see her and Jaffey prepare their case before the government. The exposition is stylish and fascinatingly detailed. We get to know Molly's mindset as she opens the film narrating about the worst things that can happen to an athlete. Her time running the poker game moved by nice and easy. The main story felt slower by comparison.
Jessica Chastain was excellent as Molly. She's determined, competitive and also honest. She goes to great lengths to ensure she's running a legal business and is willing to defend it. We can get on her side as she protects her clientele from the government. Elba as Jaffey is a great support for Molly. He proves that when he goes from temporarily defending Molly to full-time during her first hearing. Among the supporting cast, some of the best include a surprisingly against type Michael Cera as the sleazy Player X and Costner as Larry. There's also Strong as Dean Keith, who finds new ways to make the audience hate him.
Editors Alan Baumgarten, Elliot Graham and Josh Schaeffer move the film at a nice pace. Molly's opening narration is illustrated to a quick and clear montage which describes, among other things, the angle of the Great Pyramids. They emphasize the tension when Molly is confronted and robbed by a nasty mobster. The aftermath, as photographed by cinematographer Charlotte Bruus Christensen, perfectly shows Molly at her lowest point. And without much words. Daniel Pemberton contributes another memorable soundtrack which perfectly accentuates Molly's professions.
Molly's Game is a strong directorial debut. It's a memorable story about a strong-willed woman who made her own destiny. Her cinematic victory felt sort of rushed, even at 145 minutes, but it was still rewarding. Her backstory is just as fascinating on-screen as on the page. It might come up short on Oscar night but it's still a winner.
Friday, January 12, 2018
The Post
Newspapers often make the news for reporting the news. The Washington Post is one. Its newsmaking qualities were depicted by Alan Pakula in All the President's Men. Steven Spielberg now depicts another story of The Post in, The Post.
It's 1971. Kay Graham (Meryl Streep) is the publisher of The Washington Post. Ben Bradlee (Tom Hanks) is the editor of The Post. They have a problem. They were just handed a shoe-box of documents related to the Vietnam War. The Pentagon Papers reveal the ugly truths behind the Vietnam War. The New York Times covered the Papers but were stopped by the White House. It's an important story that they can't publish. But newspapers such as theirs have to hold the government accountable. So what's a good newspaper to do?
Report.
Josh Singer and Liz Hannah's screenplay goes surprisingly quick for a wordy story. It's 115 minutes and it didn't feel like it. Graham's history was involving but I wish it was elaborated on. The New York Times, as a whole, was a way too minor character. The climactic Supreme Court showdown ends in both papers' favors, but we don't see the Times' part. The characters aren't really challenged by the Government until the very end. It's one of those movies that makes history a foregone conclusion. The movie even ends just as the Watergate break-in is discovered.
But a few technical choices make the film worth it. When whistleblower Daniel Ellsburg (Matthew Rhys) and his friends read the Pentagon Papers, we feel the magnitude of their disclosed contents. We also feel tension when someone brings up the possibility that the Times and the Post share the same source. The decision to rarely show Nixon, except from the back in a White House window, perfectly makes him an ominous threat. These are finely constructed scenes by editors Michael Kahn and Sarah Broshnar. John Williams provides another great score, as usual. There's also some finesse in the sound and production design.
There's a distinguished cast assembled. Hanks and Streep make for a likable pair of news-people. They're honest and diligent and you'll never doubt them. Alison Brie is memorable as Kay's daughter, Lally, as is Bruce Greenwood as Robert McNamara. Bob Odenkirk also makes an impression as Ben Bagdikian, The Post reporter who first receives the Papers. There's also some fine appearances by Michael Stuhlbarg (as Times reporter Abe Rosenthal) and Sarah Paulson as Bradlee's wife, Tony.
The Post is a good reminder for the importance of the free press. You might not agree with them but they have a big part to play. The film plays best for anyone not familiar with the whole story. It's still worth it even if you know the basic outcome of this whole affair. See it now while it's most relevant. And maybe find time to see All the President's Men.
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