Jurassic World Dominon Review: Fans Will Love It! Anyone Else Should Wait For Streaming.
Let’s cut straight to the point on this. Jurassic World Dominion is great for fans of the franchise and may be disjointed and unbelievable to anyone else. If you are looking for fan service, it’s rich with it. Otherwise, this may be a good streaming pick later.
First, with a word like dominion in the title, you would think that dinosaurs are assorting their dominance in the world. Semantics don’t matter as the species just live among us in this film. Credit goes to screenwriters Emily Carmichael and Colin Trevorrow for creating a world that feels lived in and thought out. What if dinosaurs really lived among us? What would a black market for dinosaurs look like? What would the PETA equivalent look like in this world? They’ve thought of it all, accept how to tell a cohesive story.
The film has a Steve Jobs-like CEO, Lewis Dodgson (Campbell Scott), as its villain. Dodgson was a minor character from the original film and was a corporate rival of the park’s creators. He’s now is the head of a massive company called Biosyn. It’s the type of tech company that is heavily guarded and you have to have an invite to get on campus. He’s bioengineered locusts that eat the crops of the world, in order to control the world’s food supply.
This is where the gang loosely comes together. Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) are looking after Maisie Lockwood (Isabella Sermon), a teenager who Fallen Kingdom revealed to be a clone of a deceased scientist. She holds the key to stopping the disaster and everyone wants a piece of her…kind of literally. We get a globe trotting race to stop impending disaster and the re-introduction of fan favorites Sam Neill, Laura Dern, and Jeff Goldblum. How they all link up is where you have to suspend disbelief. It’s that kind of a film where you really need to just, not think. “It’s a film about dinosaurs!” I hear you yelling at me. I get that, but that doesn’t mean that we have to accept characters being in one location in one scene and appearing in a distant location in the immediate following scene with no context as to how they got there unless they were The Flash.
This film introduces the always interesting Mamoudou Athie as Ramsay and DeWanda Wise as Kayla. Kayla is a black pilot who smuggles whatever for the right price. She provides a source of keep it real comedy that is needed for some of the unrealistic moments in the film. Sermon is the heart of the film as she wars with is she real or not. Jeff Goldblum is his charming, old man swagged out self as Ian Malcolm. His humor is much welcomed as well.
There is a major gripe I’ve had with big beasts/monster movies in cinematic history and that is the fact that, since King Kong (1933), we’ve seen how a white character can bring a beast under control with a touch. This is a film where white characters lift their hand and stare down a dinosaur to make it back down. It happens multiple times throughout this film and this imagery is worrisome because seeing yourself on the big screen is important. King Kong, Godzilla, Frankenstein (before it tosses the girl into the lake), any Potter film and more beasts are always under this spell. Shot sizes and cinematography matters. There is a subconscious message that, against impossible odds, white characters can tame a beast. Hollywood needs to stop planting this in its viewers’ minds or at least spread the wealth in these preposterous situations and reflections of power. Let a little girl from Nepal stare down the next dinosaur!
Off of my soap box, it would definitely be of use to revisit Fallen Kingdom, Jurassic Park, and maybe even Jurassic World for this to catch easter eggs. For fans of the franchise, this is likely to be a good time. If you’re not a huge fan, save your money this weekend, or go see Top Gun: Maverick again!
Rating: C-
Top Gun: Maverick Review- Definition of A Must See!
This is why we go to the movies! It’s a cliche phrase that may be tossed around on some movie trailers or posters, but it’s not cliche when it’s true. Top Gun: Maverick is why we go to the movies! We want to be entertained, yes, but we also want emotional storytelling that tells us something about ourselves and the world around us. We want the thrill of suspense, to root for characters, to be in awe of cinematography, and to share the collective experience of unity in watching a film with strangers.This movie gives you that and more!
We catch up with Captain Pete ‘Maverick’ Mitchell (Tom Cruise) in present day. He’s a captain when he should be an admiral. The navy looks at him as a problem, but judging by the leather jacket he dawned over 30 years ago that’s now full of patches, he’s likely done more good than bad in his service. He’s still pushing the limits as he tests an expensive aircraft for the US Pacific Fleet. This film’s premise is simple and something we’ve seen before, but in the hands of a team of skilled writers (Ehren Kruger, Eric Warren Singer, Christopher McQuarrie) it somehow feels original.
Maverick is the best of the best and thus is called in to train the best of the best in the next generation of Top Gun pilots. There is a dangerous mission that anyone in their right mind would call a suicide mission. For the sake of space, the new recruits go by the call signs Phoenix (Monica Barbaro), Bob (Lewis Pullman), Payback (Jay Ellis), Fanboy (Danny Ramirez), and Hangman (Glen Powell). Perhaps the most important recruit is Lt. Bradley ‘Rooster’ Bradshaw (Miles Teller); he’s Goose’s (Maverick’s former wingman) son and there’s obvious history between Rooster and Maverick.
Here’s where the film soars. Exposition, history, and where relationships stand is told as needed and without belaboring the point. The audience can fill in the gaps, but the cast carries the weight of decisions made throughout the years in their performance. The theme of time and the facets of young vs. old, wisdom vs. fearlessness, and new birth vs. extinction are analyzed here. There’s a dual message happening on screen and off screen. On one hand, we see Maverick as he tries to whip the young recruits into shape. On the other, we see an aged Tom Cruise, one of the last of the Hollywood stars who would bring audiences out simply by name. The film is a summer blockbuster by definition and the cinematography of Claudio Miranda frames these characters in a larger than life way that harkens back to the days of Hollywood stars. Even the end credits seem to tip its hat to the era of movie stars who were inaccessible due to a lack of cell phones and social media, and therefore were giants in the public eye. There’s an intimacy and love from the cast and crew that went into making this movie that is both seen on the screen and felt as you watch it.
The nostalgic call backs and cameos help create that loving feeling. Minus one seen, they all work perfectly and don’t detract from the film but add to it. This sequel is a thousand times better than its Regan era, military propaganda predecessor, but there’s beauty in the way the two are linked decades apart. There’s beauty in seeing the aging of its characters physically across the films. There’s beauty in seeing a more mature, thoughtful film with a solid story and multiple things at stake.
This is a must see film. See it on the largest screen you can with the best sound system in theaters. I haven’t clapped, yelled in excitement, and cried with an audience in a theater in a long time! You feel like you’re in the cockpit with these pilots, there’s little to no fat in the story and each beat is earned in beautiful ways. You’re still reading? Get your keys, order your ticket and get to the theater!
Rating: A
"Senior Year" Review: What the kids call Cringe!
There have been plenty of child stuck in an adult’s body movies. I could name a few good ones: Big, 13 Going On 30, Little. They’re always a little over the top, you have to go with the premise, but it hits the right notes in the end. Senior Year is not one of these films. It may follow the cookie cut examples of others, but its sweet messages are buried under so many cringeworthy moments.
Rebel Wilson is Stephanie, a coma patient who has recently woken up after a cheerleading stunt went horribly wrong twenty years prior. For her, she is still a 17 year old in the middle of senior year mentally, but life has gone on. Her friends have grown up and Martha (Mary Holland) and Seth (Sam Richardson) are now the principal and librarian of her old high school. Her ex-boyfriend Blaine (Justin Hartley) has married her nemesis, Tiffany (Zoe Chao). The biggest issue for Stephanie is that after coming to the United States from Australia, she was treated as an outcast. So she willed her way into popularity as head cheerleader and was not far from her dream of becoming prom queen. So what else would you want to do in a world where everything is so vastly different? Re-enroll in high school and become prom queen, duh!
This is the premise we are given and have to work off of for the entire movie. This is a small town where a 37 year old can do this. As Stephanie adjusts to the new cultural norms, writers Andrew Knauer, Arthur Pielli, and Brandon Scott Jones throw all of the throwback jokes they can muster. Even the ones that got thrown into the trash. They retrieved those and reinserted them in the script. Brittany Spears, Abercrombie, Von Dutch- anybody or thing early 2000s is at Stephanie’s disposal to talk about. Yet, it’s in her education of current culture and how she maneuvers it that the movie gets right and horribly wrong.
One of the first lessons she learns is that you can’t say gay anymore unless it’s a positively affirming statement. Its statements like these that show the gap in changes in society from the early 2000s to the present, but they aren’t discussed for further analysis. Stephanie’s plan and execution to be popular in high school is adjusted to present day by chasing after followers via social media. Therein lies the film’s emotional pull in sending a message that chasing after followers can be dangerous. However, seeing this from a 37 year old feels vastly wrong. Stephanie encourages the cheerleading squad to be raunchy in their cheers (yes, somehow she gets on the cheerleading team) and throws the party she never got to for teens. An adult pushing sexy dance moves, underage drinking and following your heart to adolescents is terrible when you step back from the movie and look at it.
I watched this movie because I needed something on in the background while doing work. Perhaps that would work for you too. As long as it’s the last thing in your Netflix queue, you can crack into this one.
Rating: D
"The Batman" Review: The Greatest Depiction of The World's Greatest Detective
The Batman is difficult to write about because there are so many things to talk about. Where do you start? Simply put, this may be the greatest depiction of the world’s greatest detective on the big screen!
The film starts in a Gotham City where criminals fear the bat symbol in the sky, but the Gotham Police Department doesn’t quite trust the masked vigilante yet. That’s not entirely true, at least one person does, James Gordon (Jeffrey Wright). So when the mayor is killed by The Riddler (Paul Dano), Batman (Robert Pattinson) gets to visit the scene under skeptical eyes.
This is the crux of this Neo-noir film. Key political figures in Gotham are getting picked off by The Riddler one at a time and Batman has to solve it. Along the way his paths intertwine with Selina Kyle (Zoe Kravitz) aka Catwoman. I’d rather you go into the film as cold as possible so that you can enjoy the movie like I did, but I will talk about key elements here that don’t spoil the plot.
The direction from writer/director Matt Reeves is spectacular. This is the same man that brought us films like Cloverfield, Dawn of The Planet of The Apes, and War of The Planet of The Apes. So every moment and action sequence is well thought out and planned. Reeves partnership with cinematographer, Greig Fraser, paints Gotham in shadows and red. The red hues of dusk and dawn are used throughout the film for exterior shots. Fire burns and bullets also fly to illuminate characters with natural lighting. It sets a tone for this film that is kept throughout.
The ensemble cast at work is amazing in part because of the writing and due to the diligence of the film’s performers. The characters feel lived in and real. They aren’t comic portrayals as we’ve seen in some iterations of Batman movies, but people with histories. While some of the history is told in the film, much of it is in the physicality of the actors. Zoe Kravitz is on one as she plays three roles in this film in my opinion. There’s the girl who works in the club, Selina and Catwoman. Each hat she wears has varying levels of vulnerability. Jeffrey Wright gives a solid, subdued character performance as usual. You may hear people say that Colin Farrell is unrecognizable as Oswald Cobblepot and it’s true. The makeup and prosthetics have a lot to do with that physically, but he brings the trauma that Oz (as he’s called) would have gone through over the years into this character who has a chip on his shoulder with visions of power. Multiple outlets have reported that Paul Dano lost sleep in getting into the Riddler’s mindset and it shows on screen. Not bags under his eyes, but the twisted evil genius is there. His motivation is palpable.
Perhaps the major question you want me to answer is how is Pattinson as Batman. If I answered that, I’d taint the film for you either way. However, this is one of the first times I’ve seen Batman as an authentically feared entity. Criminals are supposed to fear him and they have in prior films but not like this. Here, the score from Michael Giacchino is fantastic being both brooding and haunting. It can play as a horror score at times and western showdown at others. Sound and the lack of it is used to accentuate the mythic status Batman is starting to achieve in this world. Reeves camera pushes into the darkness and looks for the boogie man like it would in a horror film.
The film is written in a style reminiscent of an old gumshoe. Batman narrates at points throughout the movie. As I said in the opening, this may be the greatest depiction of the world’s greatest detective because finally, we see the intelligent, detective side of Batman. We’re led throughout the two hour and fifty five minute run time by screenwriting that gives us what we need to know and keeps us asking what’s coming next. So use the restroom ahead of time and try not to get a large icee. This is absolutely one you don’t want to miss!
Rating: A
"Marry Me" Review: A Dull Film That Leaves Profound Questions
Jennifer Lopez has plenty of good rom-coms under her belt. There’s something about her charm that as far as Jenny has been removed from the block, she still feels like Jenny from the block. Marry Me is not going to be one of the hits that goes in the collection. Perhaps the concept would work with better casting but this formulaic, supposed feel-good romantic film lacks heart and left me asking questions about screenwriting, ageism, and the biases film culture has created.
For context, let’s talk about the film so we can get to the meat and potatoes. Kat Valdez (Jennifer Lopez) is a singer/songwriter superstar. She plans to marry her fiancé Bastian (Columbian music star Maluma) after performing their huge hit, Marry Me. Right before she steps on stage for the big event a scandal strikes with video evidence of Bastian cheating. So what would any rational person do? She goes on stage and decides to marry a random guy in the audience instead.
Enter Charlie (Owen Wilson), standing in the crowd with a “marry me” sign beside his tween-age daughter Lou (Chloe Coleman), a major Kat Stan! Kat makes a split second decision based on sight. Let’s pause here for a second. Glances, physical appearance and how the camera captures it is a part of romantic comedies. The way the camera frames its subject, with help from lights and gels, are a part of the fantasy or romance that we get hooked into in the storytelling. Since the Golden Age of Hollywood, these cinematic techniques have helped us fall in love with stars on screen. So, for nearly 100 years, at least five generations in families, we’ve been taught what is beautiful and how to gaze at a subject by the big screen. So Kat locks eyes with Charlie and makes a big decision. She doesn’t learn until later that he’s a mild-mannered single dad and math teacher (all the things that make him a down to Earth guy). Stay with me.
From there we get a reverse Can’t Buy Me Love set up in which Kat and Charlie proceed with the on stage marriage. They decide to keep the stunt going as Kat’s adoring fans can’t get enough of this fairytale, unbelievable story. Charlie is fine with this new adjustment in his life, but is fervent about continuing life as a teacher and all around drama-free guy. As the two get to know each other, we quickly see how opposites attract. Charlie’s normal and simple life contrasts against Kat’s busy, notorious and calculated life. Charlie has his funny best friend, Parker (Sarah Silverman) and Kat has her funny best friend Melissa (Michelle Buteau) who talk in their ear along the journey. It’s the tried and true set up of a film of this type. Will they end up together? It’s the question we want to know the answer to and this movie blandly tells it.
Wilson is a robot, barely opening his mouth wide enough to get his lines out. Charlie’s body is stiff in most scenes in contrast to Kat’s movement; she’s literally dancing and moving in pretty good song and dance numbers throughout the film. While Lopez gives us charm and age-defying looks, it’s hard to get past the unequal weight of her counterpart bringing the film down. So suddenly, it becomes evident that we’re dealing with a real life global super star on the screen. Kat as a character isn’t a stretch for Lopez because she can identify with the life. This is what pulled me out of the film. Even if we take J Lo’s real age off the table, it’s evident she’s not twenty something. In fact, late thirties could be the least we’ll give her. So why does a woman who isn’t a spring chicken just getting into the music business in this film, making a split second decision to marry a stranger? Why does she not know how to call for transportation? Why does she not know to put the cap on a blender before starting it? For the film it may be cute, but when you think critically it isn’t.
Still with me? So in my head I started thinking, she’s too old for this film from a wisdom perspective. Kat should be smarter than this! However, if she doesn’t have the knowledge and wisdom at this age, why wouldn’t writers John Rogers, Tami Sagher, and Harper Dill do the work to give us Kat’s arrested development backstory? Instead, it’s simplified to the fact that people do these things for her. This was an opportunity to make a mature love story. It’s one in which making impetuous decisions due to trauma or baggage can hit anyone at any age. It would fill in the plot holes, give character development and evolve the genre. Instead, I kept thinking they should have casted Ariana Grande and another young male star for the role because they’re too old to be acting like this. Charlie could still be a math teacher but taking care of his dead brother’s daughter making him even more loveable. Perfect.
Thus, this question of ageism kept pushing its way in my mind. Why did I feel this way? Why am I judging Owen Wilson’s looks, movements and why I felt he was so old visually in comparison to J Lo? Can only young people make silly decisions? Do we look at youth and excuse their lack of wisdom due to age but expect more from older people while overlooking the baggage that we all carry that may stunt their growth in certain areas? These thoughts on a micro level made me think about the macro and how we’ve arrived at this point in cinema.
Marry Me is a below average romantic comedy, but the questions it leaves, in my opinion, are profound. I Want You Back is out this weekend, and in it we get a more grounded film of the same genre with characters who are older but their impetuousness is explained. It’s funnier and the chemistry is there! It’s an example of how we can take what we’ve seen over the past hundred years and show growth in storytelling and what beauty is on screen. A part of beauty is getting older, imperfections, overcoming mistakes, being flawed, and so much more. Hopefully, we can see that in films and redefine what it looks like while not being afraid to make popcorn fun too!
Rating: D+
"Blacklight" Review
If you’ve seen a Liam Neeson action movie since he starred in Taken in 2008, you’ve seen Blacklight. It’s the same old, don’t let the wrinkles fool you, “this agent has forgotten more than you’ve learned kid” type of tale. Truth be told, I love these types of films. Give me my ninety minute running time, some snacks and I’m down for the ride. This, however, is a near two hours of Neeson phoning in his schtick and it’s barely worth a streaming watch.
Travis Block (Neeson) is a government operative who is ready to throw in the towel in search of a life where he can be a better grandpa. He wasn’t the best father to Helen (Yael Stone) and he wasn’t a good husband to her mother. While the chance at redemption is his focus, the recent death of political figure, Sofia Flores (Mel Jarnson), needs his attention. Travis has a best friend/former war buddy/handler of sorts with FBI director Gabriel Robinson (Aidan Quinn). Gabriel is the type of best friend that says he appreciates Travis making something happen only to call him his weapon later in the film. It’s the call me back in to the game that we’ve seen in films like “Fortress”, “Out of Death”, or “Survive the Game” that has been done better.
As the film moves along we’re introduced to Dusty Crane (Taylor John Smith). He’s the young operative that just might blow the “silent hand’s” cover. He must be stopped by Travis, but the closer that Travis gets to Dusty the more things aren’t as they seem. If Travis can’t help, who can? A journalist (Emmy Raver-Lapman) who is willing to tell the truth at all costs, that’s who!
So it goes. Can everyone survive long enough to get the truth out to the world? Sprinkling in some nice chase sequences and fight scenes, writer/director Mark Williams has a bland action film that could be background noise as you do the dishes. This one just isn’t interesting.
Rating: D
"I Want You Back" Review: This Ones A Keeper!
I Want You Back is a great choice for a good laugh on Amazon Prime! It’s a good spirited, romantic comedy that’s just in time for Valentine’s Day weekend. While it is a little long for the conventional film of its kind, the plot development is hysterical enough to keep you engaged from scene to scene. It hits all the right notes of a modern rom-com and dare I say could be a classic!
The film gets straight into the action with a break up between two couples: Emma (Jenny Slate) and Noah (Scott Eastwood), and Anne (Gina Rodriguez) and Peter (Charlie Day). Feeling emotional from their breakup, Emma and Peter retreat to the office building’s stairwell one day to have a good cry and meet each other in their grief. This chance meeting turns into a friendship in which the two lament about their exes and eventually hatch a plan to get them back. Peter will befriend Noah and remind him of the one who got away. Emma will try to seduce Logan (Manny Jacinto), Anne’s new boyfriend, and cause Anne to run back to Peter. At least, that’s the plan!
Slate and Day are laugh-out-loud funny with spitball comedy chemistry! Emma and Peter are fully realized characters on screen. You can almost write in their histories yourself based on the way they move through life, the decisions they make, and their dialogue. Emma suffers from a bit of arrested development (her roommates are young college students because she can’t afford the rent on her own) and she’s a hopeless romantic. Peter has a heart for the elderly but lacks confidence in chasing his dreams. The banter between the two is a game of tennis that is exciting to watch.
Director Jason Orley pays particular attention to the frame within this film. Leading lines point to his characters in the stairwell, sitting at a cafe, standing in a crowd or changing in a changing room. The mise-en-scene (stage design and arrangement of actors) in the film is noteworthy for a comedy in this genre, which isn’t something I would usually say. No, this isn’t high art, but there is care and intention in the frame. So what does it do for the film? It helps with the character and scene development. For instance, in a scene where Emma and Peter hash out their plan, they are sitting in a courtyard in front of a giant building. The building dwarfs them in scope while emphasizing the big plan they’re putting together. In another scene, Anne and Logan face each other in the foreground while Emma stands in between them in the background. The framing of shots mean something in many scenes which is refreshing to see.
Editing doesn’t get enough love in well executed rom-coms. Editor Jonathan Schwartz has as much to do with the comedic timing as Day and Slate. The film gives us what we need to know about a particular moment and cuts to the next event. It’s the choice of cuts- whether jumps, crosscuts, fades or smash cuts- that work to further the film’s laughs. A cut from an emotionally sweet moment during a children’s musical to men spraying champagne in a club is a part of the beautiful, unexpected mashup of thought this film is at times.
In short, I Want You Back fires on all cylinders from top to bottom. At its core, writers Isaac Aptaker and Elizabeth Berger have shaped a story that understands tropes of the past and looks to circumvent them. When it does fall into cliché it earns the moment. The film has a long-running time just under two hours, but the sketches of comedy built-in getting there is worth the ride. This film is a keeper!
Rating: A-
"Hotel Transylvania: Transformania" Review- May The Franchise Rest In Peace
Hotel Transylvania: Transformania puts the nail in the franchise’s coffin and not a single tear was shed. It’s another film that can bring the family together, but it’s not very inspired. The stakes are logical, it builds on prior films, but there’s no special magic here.
The one thing that Drac (Brian Hull) has always held against Jonathan (Andy Samberg) whether seriously or in jest, is the fact that he isn’t a monster. So it would make sense that when Drac is ready to give his famous hotel to Mavis (Selena Gomez), realizing that Jonathan would help run it as well puts Drac on edge. In fact, he gets cold feet and states to Johnathan that he won’t be able to allow them to inherit the hotel due to a real estate clause that calls for the hotel to be monster owned.
What’s a loving, wanting to impress dad, slightly insecure son going to do to ensure the hotel is bequeathed to Mavis and himself? He talks to Van Helsing (Jim Gaffigan) about being turned into a monster. Of course, things don’t go as planned and we get to spend the remaining running time in a search for the cure for the monsters who have become humans and the human who has become a monster.
It’s hard not to like the good-hearted nature of the ensemble. The addition of voice actor Brian Hull, in replacement of Adam Sandler as Drac, is like a cat in the Matrix. You know something is a bit off if you really listen to Drac’s voice, but otherwise it’s a seamless handoff of the character. Overall, this is a slapstick comedy that earns its sympathy chuckles.
If you’re of a certain age, you remember that when movies would go straight to video it usually meant they weren’t very good. We’re living in an age when movies that go to streaming instead of theaters or a simultaneous release have the same meaning. This wasn’t a Toy Story 3 bow that felt like an end of a franchise and was done beautifully. Instead, this was squeezing the franchise for the last bit of blood it had left. May it rest in peace. You can watch this with the kids on Amazon Prime today!
Rating: C-
"The 355" Review: You've Seen This...Done Better
The only thing refreshing about The 355 is an all female lead ensemble cast. It has the bones of a decent spy film but is missing the muscle and sinew to bring it all together. You’ve seen this before and done so much better!
The film starts with a military team crashing in on the house of a warlord. The shootout ends with one lone agent, Luis (Edgar Ramirez) retrieving a drive that has the power to take planes out of the sky and shut down power grids. It’s a weapon of mass destruction that will start World War III and that’s all you need to know because how it functions doesn’t really make much sense. Thus we have our McGuffin (an object in a movie that everyone wants) that the film keeps as the center.
We’re slowly introduced to our cast of characters. Mace (Jessica Chastain) and Nick (Sebastian Stan) work for the CIA and are going after the drive when Marie (Diane Kruger) steps in to get it. As not to spoil the plot, one by one other agents from agencies around the world come in to the fold. Khadijah (Lupita Nyong’o), Graciela (Penelope Cruz), and Lin Mi Sheng (Bingbing Fan) all step up willingly or unwillingly to help stop possible annihilation of the world.
Character development is poor in a genre that demands it. It takes smart writing to We’re given scenes that inform us that Khadijah has a boyfriend and Marie is a lone wolf trying to evade the shadow of her father’s past, but they don’t have any depth to them. The movie plays out like a beat sheet from a first draft of a better espionage flick. As much as I love Jessica Chastain, she is gifted two fight scenes that seem to go on far longer than needed in this film. Some of the choreography plays out like a one size fits all when it should have played to each particular character’s strengths and physicality.
Co-writer/director Simon Kinberg has good and great films to his producer credits: Logan, Deadpool, Deadpool 2, Chappie, and more. Producing is a different skill than directing though. This film lacks direction. The best action directors can get the audience acquainted with the setting and space a scene is being shot in with an establishing wide-shot and then push in on action. There are so many times where characters enter a setting but seem to have magically appeared in a space due to poor camera direction and editing.
The 355 has the formula of a spy film but lacks needed elements to make the equation add up to a satisfying outcome. The cast have given us memorable performances in the past, but this will be a film that we quickly forget about and that they were involved in. It may be worthy of a Netflix night, but definitely not worth getting out in these COVID streets to see in theaters!
Rating: D+
"Sing 2": Sophomore Jitters But Still A Good Time!
Sing 2 suffers from the sophomore jitters. The film goes bigger than Sing but relies on the same “Buster Moon (Matthew McConaughey) must prove himself” ideal that we saw in its predecessor. That said, it’s still a fun time in the theaters with the family.
We already know the main players, so Sing 2 throws us into the group’s latest performance. It’s a beautiful rendition of Alice in Wonderland that showcases Meena (Tori Kelly), Ash (Scarlett Johansson), and Johnny (Taron Egerton) in their own ways. Buster, however, wants to go bigger! He has a dream of taking his team to perform in the entertainment center of the world, Redshore City, but not just anyone can get a show in this Las Vegas style city. You have to get the approval of Mr. Crystal (Bobby Cannavale), a wolf who seems to be head of the mob in Redshore.
After sneaking their way into an audition for Mr. Crystal, Moon and associates have Crystal’s backing with a blank check under one condition: they promise to have rock star-turned recluse Clay Calloway (Bono) in the show. The only problem is, they don’t know where Calloway is themselves. Thus, this starts a race to create a unique show fit for the high expectations of a Redshore City show, Mr. Crystal’s intimidating persona, and getting Calloway to come out of seclusion.
The theme of overcoming the odds and believing in yourself is front and center again. Which is great for kids and families. However, getting to the point that the team is seeing their dreams come true in the race to pull off an amazing show is based on Moon lying his way into that position. The film never addresses this and thus there is a conflict of morals in the messaging. “Hey kids, you can do anything you put your mind to, even if you don’t tell the truth to get there along the way!” If there is a Sing 3, which there very well could be, writer/director Garth Jennings, needs to rethink Buster’s constant need to lie and somehow successfully pull off tasks. Life doesn’t work that way.
That big issue aside, the movie is fun and fast moving. A special shoutout has to be given to the Animation Department and Patrick Delage, the animation director. Sing 2 essentially is a movie that showcases a broadway style theatrical show and the animators nail it! From behind the scenes to the set design, everything looks and feels like a big theatrical show.
New characters, Porsha Crystal (Halsey), Suki (Chelsea Peretti) and Nooshy (Letitia Wright) are fun to watch and worth mentioning. Porsha is Mr. Crystal’s daughter who can sing like an angel but can’t act to save her life, forcing the Moon to choose between talent and pleasing Mr. Crystal. Suki is Mr. Crystal’s chief of staff of sorts whose animated bob and wardrobe is worth studying in and of itself in terms of character design. Nooshy is a street cat that has the performing skills that can’t be taught, or maybe they can if she can help Johnny.
The stakes are higher, sets are bigger and better, and the songs are just as fun as they were in Sing. My kiddos watched the screener I received five times within three days. I kid you not. So the kids will love the film! It’s a good time at the movies this holiday season!
Rating: B+
"Encanto" Review: Disney Has Another One!
My initial thought as Encanto started was that it was a Columbian version of The Incredibles, but I quickly realized that was an unfair judgement and cheap comparison. Instead, the film is a beautiful statement on family, the gifts/talents we’re all born with, and a fresh cultural perspective that Disney does earnestly. With catchy musical sequences, this is guaranteed to be another Disney classic!
The Madrigal family has been imbued with special, magical gifts since matriarch, Abuela Alma (Maria Cecilia Botero) escaped to Colombia. Mirabel (Stephanie Beatriz) gives us our eyes into the family. In fact, she introduces us to all of her family members after village children ask her what her gift is. Luisa (Jessica Darrow) is super strong, Isabela (Diane Guerrero) can make beautiful flowers grow, Camilo (Rhenzy Feliz) is a shape shifter, Pepa (Carolina Gaitan) controls the weather and the list goes on. The only issue is, Maribel doesn’t have a gift.
It’s been years since the last time a gift was given out and tonight is Antonio’s (Ravi Cabot-Conyers) turn to receive. While Antonio receives the gift of speaking to animals, Maribel has a vision of the house starting to fall apart. This alarms Abuela, who is already on edge. With the weight of not having a gift on her shoulders, Maribel takes it as a personal mission to figure out what’s going on with the house and why the Encanto seems to be on the fritz.
What’s fascinating here is that Maribel authentically does not have a gift like the rest of her family. Thus the film spends time analyzing what it means to feel like an outsider in your family. It shows the pressure that Maribel’s sisters, Isabela and Luisa, are enduring. Luisa always gets the job done and takes on literal and figurative weight without question. Isabela is told that she is the perfect granddaughter and Abuela drills it home. When you strip back the layers, you start to see that Abuela’s trauma of losing her husband and not having a fairytale life has become the vision she has for Isabela. This vision is a box that Isabela is trapped in. So while Encanto is an awesome music filled, adventure, it addresses very real and deep issues we can see in our own family.
It’s hard to choose which song will be your favorite as there are so many instant classics! Mirabel is easy to fall in love with as a kind-hearted character seeking to keep her family together while dealing with her own insecurities. Encanto is easily the best animated film out this year! Go see it in theaters or stream it on Disney +!
Rating: A
"Eternals" Review: A Step In A New Direction!?
Eternals is far from the Marvel films we’ve come to expect. There is generally a formula to these films. You have a problem that occurs, heroes who respond, big action set pieces and spoon fulls of comedy sugar along the way. Co-writer/director Chloe Zhao takes this film in a dramatic direction with spoon fulls of action along the way. With a complex story and multiple characters to get to know, this is another step in the staircase of Marvel that feels like a set up to take us somewhere new.
A group of immortal beings have been on Earth since BC time. They came and have helped civilization advance forward, but have remained in the shadows trying not to interfere as much as possible. The Eternals are a rag tag group with special powers. Ajak (Salma Hayek) leads the group as the maternal figure who has the power to heal and give wise advice. Ikaris (Richard Madden), Kingo (Kumail Nanjiani), Gilgamesh (Don Lee), and Thena (Angelina Jolie) are the frontline warriors, each imbued with unique powers to fight. The thinkers of the group are the young illusionist, Sprite (Lia McHugh), speedster Makkari (Lauren Ridloff), master inventor Phastos (Brian Tyree Henry) and telepath Druig (Barry Keoghan). Sersi (Gemma Chan), whom much of the film revolves around, can transmute inanimate matter and finds herself somewhere in between the warriors and thinkers.
The non-linear story jumps through history while grounding itself in present day, not long after the events of Avengers: Endgame. With fifty percent of the planet back, a countdown to an apocalyptic event has started. The Eternals must decide if they will intervene to protect the species they’ve grown to respect and love or continue to stand by.
Zhao’s vision for the film is fully manifested. Much of the movie’s flashbacks are shot at golden hour, giving a soft, warm hue to the cinematography. Her camera frames subjects in an affectionate way. She bottles the feeling you have when you’re falling in love with someone and in a room full of people, it’s just you and that person, and pours it on screen. It’s that tenderness that infuses throughout the film to give MCU fans something that feels wholly different and unique.
As beautiful as the film is, it can drag along at times with its two and a half hour plus running time. The character building and backstory that has to occur in an origin story is hum drum at times with certain characters receiving more love than others. With ten Eternals to introduce to an audience, that can be a task. Overall, the task is achieved but not without the price of a bit of fatigue in getting there.
Then there’s the topic of sexuality. Sexuality in this film feels forced rather than the “firsts” it desires to display. Parents of younger children be warned, two of the Eternals get busy in a mid-shot that shows them naked (while bodies cover private areas) but leaves no question to the thrusting going on. So if you haven’t had the sex talk, you’re going to have to after this. There’s a same sex kiss as well. The reason this all seems forced is because, well (semi-spoiler alert if you haven’t read the comics ahead), the Eternals are humanoids and can’t breed amongst themselves. So logically, reproduction and sexuality doesn’t seem to make sense as the story unfolds in this world.
Special attention needs to be given to the performance of Harish Patel as Karun. In the film, he follows Kingo around as his manager/personal cameraman. Patel provides not only humor throughout the film, but touching moments that would be hard to perform in the hands of a lesser character actor! Even though he is a side character, we should give that man his props and flowers for his performance!
Zhao and company shoot for the stars and land somewhere in Earth’s orbit. This isn’t a bad film. You can get lost in its entertainment. However, it truly feels like a stepping stone to open other parts of the MCU. This film feels like a door to opening more of the Marvel Cinematic Universe (MCU) in two ways. One is that the Eternals unlocks a new characters layer in the MCU as we learn about Eternals, Celestials and deviants. The second is the arthouse influence from Zhao’s direction that will shift the blockbuster feel we’ve experienced in the past to possibly give us more of an independent vibe in these films. We’ve seen the shift in Disney+ shows, but this is certainly different. Overall, if you’re a fan of the MCU you’ll be entertained. If not, you can catch up to this when it streams!
Rating: C+
"The Harder They Fall" Review: A Refreshing Western Genre Entry
The Harder They Fall is a stylish, fully realized vision from co-writer/director Jeymes Samuel. Rooted in the western genre it borrows French New Wave characteristics as well. With a stellar cast, engaging dialogue, and a bumpin’ soundtrack, this movie is not only an entertaining watch but memorable as well. With a predominately black cast, the film tells a fictional, swagged-out tale of real-life black cowboys who once roamed the American West.
The film starts out giving us the backstory of Nat Love (Jonathan Majors) as a child. After witnessing the murder of his parents and receiving a scar from Rufus Buck (Idris Elba), we find Nat as an adult years later on the path to finishing his revenge. Layered through this journey we’re introduced to Mary Fields (Zazie Beets), Bass Reeves (Delroy Lindo), Trudy Smith (Regina King), and Cherokee Bill (Lakeith Stanfield) amongst other notable/familiar faces. That’s about all I’ll reveal as far as the plot goes because how the story unfolds is where so much of the enjoyment lies.
There are way too many beautiful shots to talk about in this film but let’s dig into a couple. In a scene where Cherokee Bill is introduced to us, he slowly glides down the center of the train, center framed while the rest of the gang is blocked by his head. He gives a young boy an alternative telling him to “put the gun down or we’ll kill everyone on this train”. When no movement is made, Bill draws his weapon and simultaneously arms from fellow gang members shoot out of his head in the background. This camera placement and blocking of the actors conveys the danger while showing us in one shot, a stylistic but thoughtful use of framing. This is consistent throughout the film as Samuel uses his camera to show instead of tell.
Samuel takes his framing even further with the use of music and sound. Whether it’s pushing in on a character to the thump of a gun hitting the floor or the kick of a drum in the soundtrack, there is intentionality on full display. Two percussion hits reveal one character behind another in step with a camera move to the right. Samuel’s chucking of conventional framing and attention to the fact that we, the audience, are aware we’re watching a movie, has French New Wave written all over it but shows his creativity in constructing a movie that draws on western genre traits while being refreshingly unique.
Cinematographer, Mihai Malaimare Jr. (The Master, Jojo Rabbit) adds his gift of painting with light to the film. The colors in each scene are vibrant while shifting from cool to warm temperatures with ease. Understanding when to implement the shift in palettes may be missed by the average viewer, but it builds this story to perfection. When a character tells something from their past, warm colors are used to bolster the vulnerability of discussing an old memory.
The dialogue in this film is handled masterfully in its delivery from each main cast member. Silence is used where it’s needed to allow the visuals of the film to speak for themselves. If someone speaks, it's important to the forward progression of the film’s storytelling. Otherwise, nothing needs to be said. The southern drawl or New Orleans accent of characters not only rings authentic but serves as a layer to this delicious cake of a film. Each cast member gives nuance and life to their role. To highlight one individual performance would slight this ensemble of no weak links. The soundtrack of the film fills in the role of an additional, unseen character, telling a part of this tale. Turn on the subtitles and you’ll see the lyrics align perfectly with each scene they are heard in.
At a two hour and ten minute running time, you won’t notice it. The Harder They Fall is engaging from start to finish and if we got more from this world we’d be lucky! Grab your popcorn and turn on Netflix as soon as you can!
Rating: A
"No Time To Die" Review
With the 25th Bond film out for release this week, No Time to Die is a perfect send-off for the longest tenure of the Bond series (Daniel Craig). Due to pandemic, the 2020 release received as many date changes as the screenwriters working on the script. And now the film is finally hitting the silver screen on October 8th. Also, as a caveat to the release, Daniel Craig is receiving a star on the Hollywood Walk of Fame, near fellow Bonder, Roger Moore (1973-85). As the ride for Craig comes to an end, it only made sense for Cary Joji Fukunaga (first American director of the Bond Film) to bring the cast together to deliver an action-packed nod to the last 15 years of the Bond series. Although it follows the standard blueprint for a Bond film (the villain who has a plan for world domination, and the only agent that can get the job done is 007 with the help of MI6), this version gives us more of a look behind the curtain of Bond as a man, more than an agent.
The picture picks up after the Spectre, with Bond and Madeline (Lea Seydoux) living their best lives off the grid in Italy. While they’re enjoying their time together, Madeline reveals that she has some secrets that she wants to tell Bond, but she wants him to visit Vespers Tomb (love interest from Casino Royale) and say his final good-byes. Unfortunately, the Spectre assassins decide to intervene and lay waste to Bond. Thinking Madeline has something to do with this fiasco, Bond grows furious as he fends for his life and decides to go separate ways.
Five years later, Bond is living well, enjoying retirement and out of pocket from MI6 (so much that the Agency actually thought he died), until his fellow friend Felix Leiter (Jeffery Wright) and his new partner Logan Ash (Billy Magnussen), ask him to come out of retirement and help them with a mission. The mission is to locate and take down Valdo Obruchev (Davis Dencik), a Russian scientist who has designed a bioweapon technology that could put the world at risk. After he declines their offer, he meets Nomi (Lashana Lynch, the new 007), who gives him some reasons to reconsider. His visit from Nomi causes Bond to go back to MI6 headquarters to talk to M (Ralph Fiennes) and their back-and-forth exchange ultimately leads Bond and the old 00 crew, Eve Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him to solve the mystery. While digging, Bond later finds out that Lyutsifer Safin (Rami Malek), a terrorist leader, is behind all of the chaos. Bond’s goal is to stop Safin’s plan, as he realizes he has way more to fight for this time around.
One of the intriguing takeaways from this movie was the production. Linus Sandgren (known for Lala Land) worked wonders on some of the camera work and action angles. His work gives the experiential feeling that you’re in the passenger seat with Bond dodging every bullet with him. The movie has an End Game-like (Marvel) approach that involved closing a saga and a run time (not for the faint bladder). Clocking in at 2 hours and 43 minutes to be exact, while the film keeps you engaged and on the edge of your seat for the majority of the time, shaving fifteen minutes would have been welcomed.
The acting is certainly one of the best parts of the film, as the new 00 characters and the old ones mesh well together. Lynch came in with a point to prove in showing she could be the new 007; she did justice to the character by matching Craig’s gritty and violent take, but in a noble way. Ana de Armas (Paloma) debut as a 00 agent shows that Bond is not the only assassin that can wear formal wear and get the job done. Malek’s acting is usually superb (I still think of him as Freddy Mercury), but his role as Lyutsifer Safin wasn’t as momentous. Ernest Blofeld (Glenn Wrage) has more of an impact in the movie.
This movie was made for IMAX screens, so if you go to theatres, the IMAX experience is your best bet. The action scenes alone make it well worth it. I imagine this movie to be in the running for some award nods this season, whether for visuals, action, or score. If you’re a fan of opulent cars, innovative gadgets, live actions, super soldier guns and ammo, and/or lavish cities with an occasional scotch or stirred martini, you should enjoy this film. Bond fans won’t be disappointed. Also, if you stay until after the credits, you’ll also catch a quick teaser about the Bond Future (it’s not a Marvel post credit scene). For years Craig’s reported that he’s been ready to hang up the mantel, so in this movie they made sure his last ride was memorable and the one we’ll be referring to for a while (at least until the next 007 takes the helm).
The new future of looking for a new 007 can play out different ways — whether it’s a prequel or continuation of where the story left off, we will be in uncharted territory. Right now, it’s been reported that the next Bond search won’t begin until 2022, but Craig gave some stellar advice for the next character who takes on the role: “The best way to succeed is to Not be S#*t!” For whoever’s fortunate to step into the role next, they’ll have a tall order to fill — thanks to Daniel Craig.
Rating: B
"Dear Evan Hansen": When Adaptations Go Wrong
Dear Evan Hansen is Netflix’s You the musical! If you’re a fan of You, you understand how the main character seems like a nice person, has an interesting internal dialogue that no-one else hears, but at the end of the day is a stalker/killer. While Evan Hansen (Ben Platt) isn’t a stalker or killer in this film, he certainly has the same underlying creep factor. So this may be enjoyable for some, but I’m flabbergasted as to how anyone would believe this film is a drama/musical when it should be labeled a psychological thriller.
Evan Hansen has a social anxiety disorder that makes it hard for him to make friends. As much as he’d love to, it’s extremely difficult. He’s on medication and writes letters to himself as instructed by his therapist. After Connor Murphy (Colton Ryan) intercepts one of these letters and then commits suicide with the note on him, his parents believe Connor’s only friend was Evan. Evan runs with the lie because Cynthia (Amy Adams), Connor’s mom, is absolutely distraught over Connor’s death while his father, Larry Mora (Danny Pino), is numb. Seeing it as an opportunity to bring healing and maybe get closer to his crush, Zoey (Kaitlyn Dever), Connor’s sister, Evan goes full method acting.
The film is guaranteed to make you as anxiety ridden as its main character, but maybe not for the reasons intended by director Stephen Chbosky. That’s because you have to get over the fact that high school senior, Evan Hansen, is played by 28 year old Ben Platt. That’s if you can go along with the film’s premise, which all of the characters in the film do, leaving its audience befuddled as to why they go with the rouse. The mixture of serious dramatic acting with giant musical numbers feels so out of touch for cinematic adaption from the Tony and Grammy winning play.
The film has its moments in shining a light on how we treat death. The same jocks that ridicule Connor one day, take a solemn selfie in front of his locker the next. Students create The Connor Project in honor of the boy no one seems to have really known, but it brings the entire town together. There are plenty of moments where you think the film is going to make an important statement on suicide, grief, and loss but it never commits to bringing that to light.
I give Dear Evan Hansen credit that it takes itself seriously as a film adaptation. Unfortunately, this is an uneven film. Themes of having empathy for others, understanding we all have something to contribute to the world and recognizing we all have insecurities are lost in the sauce of the uncomfortable, awkwardness of the melodrama of it all. I mean, bursting out into song is expected in musicals, but singing in the midst of a serious conversation doesn’t feel right here. Maybe this worked on stage, but it doesn’t on screen.
Rating: D
"Old" Review: Great Concept, Faulty Execution
When you hear the name M. Night Shyamalan, it doesn’t stir up exciting emotions about cinema. Instead, it’s generally a frustrating mixture as to whether he’s a hack or not. Don’t get me wrong, I think he has talent. I clearly enjoyed The Visit but had issues with After Earth. It’s the constant back and forth battle of his legacy. The premise of his films are always intriguing enough to make you watch, but they don’t quite live up to the excitement of a trailer. Never one to disappoint, Shayamalan’s latest, Old, has interesting concepts and poor execution.
The film has the set up of a horror film. A young family arrives at a resort after winning a sweepstakes. It’s supposed to be one last great outing before the parents tell their kids some news. Guy (Gael Garcia Bernal), Prisca (Vicky Krieps), Maddox (Alexa Swinton), and Trent (Nolan River) are excited to be there. We’re slowly introduced to other couples and families on the resort property. The kind resort manager (Gustaf Hammarsten) suggests that our main family visits a secluded private part of the beach that no one knows about and they take him up on the offer.
Of course, they quickly find out that they weren’t the only ones told about this strip of paradise. Perhaps as swiftly, they also learn that the beach is aging their bodies. Like any good horror film, there are enough people on the beach to have some start leaving the flick in interesting ways due to the situation. Will anyone survive?
Old is another one of Shyamalan’s exercises in camera movement and blocking. I wouldn’t say its masterful camerawork but it is intentional. His camera focuses on what he wants us to see by keeping characters in the foreground with chaos happening in the background, dollying from one part of the beach to another while action is taking place where the camera just left, and giving us angles that exaggerate situations. There is definitely someone behind the camera telling this story, but a mixture of poor performances and weak plot points make the controlled camera engage in a fight between art and a train wreck.
One of the biggest problems with Old is the delivery of lines in the film. It sounds like many of them are doing a live table reading of the script. Vicky Krieps struggles to deliver her lines clearly but her Luxembourg accent muddies it. The chemistry of the cast is missing minus the brother/sister relationship in Maddox (Thomas McKenzie as the 16 year old version) and Trent (Alex Wolff as the 15 year old version). If the cast could have received a few more days to bond before rolling the camera, this may have been more believable. Instead you have many talented actors give a good solo performance while not responding to one another to create an ensemble. The heart of the film’s characters being a mediocre ensemble makes solid performances with chemistry from Nikki Amuka-Bird and Ken Leung go under the radar.
Once the why is revealed, it makes a lot of sense. In fact, it may make you want to read the graphic novel it was based on, “Sandcastle”. Old could have been greater if it was given a little more time and fleshing out. Instead, much like its young characters, it ages rapidly and misses key beats that were important to its development. Not a bad flick to catch when it goes streaming and you’re looking for something to watch though.
Rating: C
"Black Widow" Review: The Long Awaited MCU Espionage Thriller
Black Widow opens with arguably one of the top 3 openings in a Marvel film to date! Much like its television shows, Black Widow doesn’t feel like most Marvel films. It’s an espionage thriller with a mix of super heroes. It start strong, lulls, and finds its footing again. A solid entry in the development of a long-overdue solo film for Natasha Romanoff (Scarlett Johansson).
The film is a snapshot of what happened after the battle of Leipzig/Halle Airport in Captain America: Civil War. It starts further back in Natasha’s childhood, setting up an understanding of her psyche and her family dynamics. The opening sequence is equal parts you name it Spielberg kids scene and Jason Bourne action. From there, the film is off to the races sending us to present post-battle life.
While this film struggled to the release finish line, the film’s secret weapon is its ensemble cast. Florence Pugh’s entrance into the Marvel Cinematic Universe (MCU) is worth the film being created alone. As Natasha’s sister, Yelena, Pugh establishes herself as a take no prisoners, dark humor, force to be reckoned with. There is no doubt that she will make a mark and quickly become a fan favorite in future films. David Harbour and Rachel Weisz bring the gravity and nuance to their roles as Natasha’s parents. Harbour’s comic timing as a dad reliving his greatest battles/missions is reminiscent of Mr. Incredible from The Incredibles, but a real life version.
There are some pacing issues with this stand alone film. Somewhere in act two the film comes to a halt as it settles into one of its themes of family. While the moment provides reflection and character building, it’s hard not to notice the difference in pace and change of tone. It’s as though we can see writer, Eric Pearson, step into a hole and try to write his way out without thinking of how to skip the hole in the first place.
Ultimately, Black Widow is a fun, espionage installment in the MCU with big set pieces and action sequences that give a nice curtain-call for Romanoff. We know her fate, but now we know a little more of her backstory. Most importantly, she has a sister that we’ll see a lot more of!
Rating: B-
The Forever Purge Review: The Installments Keep Going, Why Shouldn't the Purge Itself?
The Purge franchise has seemed to always tell us something in its themes. We’ve seen racial tension touched in The First Purge, family strife in The Purge, and in the latest installment we see immigration tackled. The Forever Purge takes a look at what its America may look like if citizens continued The Purge after the most recent bloody 12 hour night.
The film opens with married couple Adela (Ana De La Reguera) and Juan (Tenoch Huerta), giving coyotes money to get them across the border from Mexico into America in search for a better life. Ten months later they seem to be on that path. Adela works in a kitchen while Juan works on the wealthy Tucker family’s ranch. The Tucker patriarch, Caleb (Will Patton), is impressed by Juan but Caleb’s son, Dylan (Josh Lucas), has issues with the hired help.
As the work day ends, preparation for The Purge begins. The Tucker family locks down in their secure home while Adela and Juan take a bus full of Mexican workers to a space that provides armed protection. This Purge isn’t about the 12 hours of mayhem though, it’s about what happens after. As Adela and Juan return to work, it becomes clear that some people are extending the annual sanctioned mayhem by continuing to kill and destroy. Thus, the survive the night films that we’ve become accustomed to seeing starts.
This installment is full of sermons and lectures on America’s malicious history of disenfranchising the poor and people of color. Colonialism and The American Dream are parts of conversations. In one scene, a swastika tattooed prisoner calls out every gun that he hears firing; he talks about the specific rhythm of the guns and calls it “American music”. It’s meant to be a creepy moment, but it rings full of authentic truth. We’re known for the fight for our 2nd amendment rights, so the film continues its analysis of who we are as Americans yet also continues its awkward handling of truth. It gives us stereotypes and archetypes to make its points.
Perhaps its most ironic moment is found in Americans running for the Mexican border in order to escape the Forever Purge. The film pays specific attention to the white Americans reliance on Mexican and Indigenous help to get across the border while being chased by white Americans who believe the country should be purged of those who don’t look like them. It’s a matching bookend to its beginning as Mexican news talks about American “Dreamers”.
Director Everardo Gout handles the action and blocking of scenes well. The film is entertaining for what it is and what you’d expect. Ana De La Reguera is a refreshing addition to women who can handle themselves in the killing fields. As her character navigates the turn of events, its evident there is much more to her than meets the eye, but it’s De La Reguera’s performance that is fun to watch. While writer/creator James DeMonaco may have written something that could have been straight from the headlines a year ago when it was supposed to be initially released (it was filmed in 2019), the film feels a bit dated.
However, you wade through its social commentary, the action and kills you’ve come to expect are there. I saw this at home and that’s just the way this film should be seen in my opinion! It’s a great streaming flick but not necessary for your first time back in theaters!
Rating: C+
"F9" Review: For True Fans Only
There’s no question, F9 is for the fans! If you have a problem with submarines, shootouts where trained military miraculously miss one person running away, airstrips that last forever…you’ve probably checked out a couple installments ago anyway. This film gives you the story rooted in family that you’ve grown to love and the superhuman, physics law breakin’ action true fans have come to expect. I’ll admit, this die hard fan is a ten second car away from riding off to the sunset on this franchise as well.
The film starts in the past to give us more backstory on Dom (Vin Diesel). From there the film plays out exactly as you would expect. There’s a big action set piece to get our heroes back in the action after finding out a world destroying weapon has potentially gotten into the hands of new villain, Jakob (John Cena), who is Dom’s long lost brother. (This is all trailer info of course.) In fact, the trailer gives away most surprises. The question is, how does it all connect?
How does it all connect is a question that, like family, is a through line through the franchise. How did Han (Sung Kang) survive? How have we never heard about Dom’s brother? Are they really going to space with a car? All questions are answered in their own zany ways. In fact, the film gets meta as Roman (Tyrese Gibson) and Tej (Chris Bridges) talk about how they never get killed or seriously hurt throughout all of their adventures.
Has the Fast & Furious franchise jumped the shark? You would have thought it had when they jumped a submarine, but it persists and we love it for its insanity. However, this installment is really pushing its limits. Whether they talk about invincibility or Dom lands like Superman with an explosion behind him (close enough that you’d think he’d feel it or cover his head) we’re entering Marvel territory here. My grandfather used to tell me a story of how he fought 100 men on a bridge in the Korean War. It’s a classic in our family, but we knew it was fake. Some screenwriter must have heard grandpa’s story though and took it seriously! This can’t go on much further like this. Check the record, I’m a huge fan! So I say this with absolute love and respect. The franchise needs young blood and a change of direction, otherwise 10 should be the final bow.
Real fans will not be disappointed, but I believe your faith will be tested. The film’s pacing is a bit clunky as we deal with so many flashbacks to explain one particular aspect of the past. However, the family theme is there, nearly all major characters are here and the insane action is definitely front and center! I’d highly suggest watching 1, 4, 5, and 6 if you want to go into this with a fresh memory of who is who and what’s what. Otherwise, get ready for an entertaining time at the movies. See it in theaters for the best experience!
Rating: C+
"The Marksman" Review: A Paint By Numbers Flick
What if the man with a particular set of skills was being chased by men with a particular set of skills? I’m mixing movies, but “The Marksman” is a slow burn film more in line with a Clint Eastwood “get off my lawn” type of film. In fact, the main character says “why’d you have to cross my land?” at some point in the movie. It’s the mixture of storylines we’ve seen before with no innovation that makes this film marked for death.
Jim (Liam Neeson) is a recent widower who is trying to keep his ranch afloat. His wife’s battle with cancer has taken a toll financially and he’s behind on his mortgage. While he tries to figure out how to make ends meet, he does find comfort at the bottom of a bottle.
In an instant, his life is changed when Rosa (Teresa Ruiz) and her eleven year old son, Miguel (Jacob Perez), try to cross his land on the Mexico/US border. The mother/son duo are running from Maurico (Juan Pablo Raba), an underboss in a nameless Mexican cartel. Jim has a standoff with the cartel that ends with people dead on both sides. This results in Jim reluctantly honoring Miguel’s mother’s dying wish to get him to Chicago to reunite with family.
The film becomes more of a buddy road trip picture over action film as Jim begins to bond with Miguel. Jim is from an older time. He doesn’t carry a cell phone, has to use a map to get across the country, and automatically assumes Miguel doesn’t speak English because he doesn’t speak (which gives some rather cringeworthy moments of dialogue as Jim tries to communicate). As most movies like this go, both characters eventually open up to one another and grow together as they try to evade the cartel.
Mark Patten’s cinematography is beautiful. The undeniable majesty of sunsets and country landscapes are captured exquisitely throughout the film. The extreme wides of an old western flick mixes in with the tight shots of modern action giving the film a nostalgic feel, much like its protagonist. Particular attention should be given to Juan Pablo Raba’s performance as Maurico. The villain of the film has to be believable and Maurico is scary. At any time he seems like he could go crazy, but he’s also a soldier who has a considerable amount of constraint. Rather than playing Maurico as full on bad guy, Raba gives him glimpses of humanity throughout different beats of the film that don’t make Maurico look weak but rather a human who has evolved into a monster.
There’s so much about this film that is predictable unfortunately. A trained marine who uses his credit card along the highways while being chased by the cartel doesn’t make much sense. A map is dropped with the destination point circled in bold red. It’s a very paint by numbers film with less emphasis on action than conversation. Neeson is certainly filling the shoes of the aged, stoic action hero Clint Eastwood has left behind. Unfortunately, this movie misses the mark and will get left behind in the genre as well.
Rating: C-