Uncharted

Release: Friday, February 18, 2022

👀 Netflix

Written by: Rafe Judkins; Art Marcum; Matt Holloway

Directed by: Ruben Fleischer

Starring: Tom Holland; Mark Wahlberg; Antonio Banderas; Sophia Ali; Tati Gabrielle; Rudy Pankow

Distributor: Sony Pictures

 

 

**/*****

For the uninitiated, Uncharted is a popular series of video games that debuted on Playstation 3 in 2007. Hate to say it, but the 2022 movie adaptation starring Tom Holland and Mark Wahlberg will not be considered the standard-setter its source has become heralded as. Hardly anything in the movie qualifies as bad, but just as much is actually worth remembering in the end.

Relying on good, old-fashioned movie star power to provide some sense of personality, Uncharted follows adventure-seeker Nathan Drake (Holland) on a quest to find out what happened to his older brother Sam (Rudy Pankow) who disappeared from his life when circumstances forced him to leave the Boston orphanage they grew up in. Whip ahead 15 years and Nate, now a bartender in New York who pickpockets patrons for minor thrills, is given an opportunity to put his specific skillset to better use.

A sleepwalking Mark Wahlberg plays fortune hunter Vincent ‘Sully’ Sullivan. More loyal to money than to people, Sully is as basic a character as they come and the portrayal does not exactly go above and beyond. He is after a massive treasure chest stashed away by famed explorer Ferdinand Magellan. He thinks he knows its general location but needs Nate’s help in pinpointing it. More valuable to Nate however is what Sully may know about his brother’s fate.

So they reluctantly team up, a career opportunist and a naive newbie working together about as well as oil and water as they assemble various valuable pieces (a key, a diary, a map) in an increasingly complex puzzle. However some of the pieces require further assistance to access, and so an already awkward partnership is further destabilized when they rendezvous with Sully’s contact Chloe Frazer (Sophia Ali) in Barcelona. Mysterious and shifty, she’s a veteran of Sully’s game of deception and will do whatever it takes to ensure history will not repeat itself. 

In the villainous camp we have Santiago Moncado (Antonio Banderas) who, as the last living descendant, is desperate to restore the Moncado name in view of the historical embarrassment of his ancestors having lost the treasure. Banderas brings some menace but ultimately he’s outshined by the striking-looking Tati Gabrielle, who dials up the intensity as Jo Braddock, a ruthless mercenary who has her own designs on Moncado’s long lost loot.

All these competing interests theoretically make the movie more involving, especially when you have a dysfunctional group of good guys to keep an eye on as well. Because everything is so safe and routine the competition is not as exciting as it should be. However Uncharted comes more to life in the stunt work, which is kinetic, often inventive and infused with a decent amount of comedy. Peter Parker’s Cirque du Soleil moment at an art auction and the grand finale where everything is literally up in the air are memorable passages in a voyage that’s content to skim the surface of its themes and ride almost entirely on the likability factor of its in-demand leading man.

There’s no ‘I’ in TEAM. But there is a ‘ME’ if you move the letters around

Moral of the Story: Uncharted is an undemanding escape in which the compass always points to the wreckage of superior adventure films. The title is a misnomer for a film that is the very definition of average, one that shows the challenges of translating active participation of gameplay into the passive entertainment of movie watching. It’s entirely inoffensive and easy to get along with but if you’re looking for a more robust adventure, check out a younger, pre-Spidey Tom Holland in 2016’s underrated gem The Lost City of Z

Rated: PG-13

Running Time: 116 mins.

Quoted: “Nuns. Why is it always nuns?” 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

The Bob’s Burgers Movie

Release: Friday, May 27, 2022 (limited)

👀 Hulu

Written by: Loren Bouchard; Nora Smith

Directed by: Loren Bouchard; Bernard Derriman

Starring: H. Jon Benjamin; John Roberts; Dan Mintz; Eugene Mirman; Kristen Schaal; Kevin Kline; Larry Murphy; Gary Cole; Nick Kroll

Distributor: 20th Century Studios

 

***/*****

The Bob’s Burgers Movie is a summer breeze of an adventure that may not be remembered for long but is nonetheless an entertaining extension of the Emmy-winning series that began in 2011. Whether this flirtation with murder and conspiracy deserved the big screen treatment is up for debate.

Whether it deserved to be dropped into theaters quite so unceremoniously is probably the better question. One of the defining qualities of the show is the underdog status of the Belcher family and how humble Bob (H. Jon Benjamin) just can’t get no respect. So it is apropos that whatever hope this little upstart had of doing business got crushed by the big boys of the box office — eaten alive by Jurassic World: Dominion and choked out by the lingering contrails of Top Gun: Maverick. Like the store front, did anyone passing through the cineplex actually see the sign?

You can just add this real-world scheduling snafu to the plate of general misfortune that Bob has been handed through 12 seasons and counting. Stoically he endures, empowered by his mustache and the enduring love of his eternally optimistic wife Linda (John Roberts). And there’s never a dull moment with three children — socially awkward Tina (Dan Mintz), musically inclined Gene (Eugene Mirman) and rabbit-ear-wearing Louise (Kristen Schaal) — constantly having misadventures.

After being denied an extension on a bank loan, Bob and Linda have one week to come up with the money or the lights go out permanently. But then a water line bursts and a sinkhole opens in front of the store, putting a damper on summer sales. With a (questionable) assist from their longtime friend and loyal customer Teddy (Larry Murphy), they go mobile in an attempt to keep operations going, taking to the nearby Wonder Wharf where they inadvertently cause further problems.

Meanwhile the kids are trying to get to the bottom of a mystery involving the murder of a former carnival worker named Cotton Candy Dan. Apparently the sinkhole isn’t just an inconvenience for business; it’s a crime scene, one that may even implicate their landlord, Mr. Fischoeder (Kevin Kline). Louise in particular is keen to figure out what’s going on, motivated to prove her bravery following an incident with bullies at school. The ensuing investigation finds the trio hopping all over town, confronting strangers while overcoming their own worst fears and insecurities in the process.

The Bob’s Burgers Movie doesn’t present the greatest threat the Belchers have ever faced, it’s merely the next one. Granted, the danger element is slightly more elevated than the average episode and there are a couple of heartfelt moments that bring the family closer together. As a movie based on a niched show, it was never going to be a hot seller in theaters. As a movie about embracing individuality and not giving up hope, Bob and his never-quitting family might just find themselves with a new lease on life on streaming, where people can stop in for as long (or as short) as they like. 

Let’s ketchup on a steak out

Moral of the Story: Even though it doesn’t skimp on the ingredients that have earned the show a devoted following, The Bob’s Burgers Movie is more likely to play better in front of audiences who haven’t spent much time around this grill. There are some revelations along the way but overall there just isn’t enough going on from a character standpoint to call this a significant chapter in the Belcher family legacy. (That being said, I have been known to binge-watch the heck out of minor little movies like this.) 

Rated: PG-13

Running Time: 95 mins.

Quoted: “Hello, is this the police? I want to report a . . . a thing happened!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

Pig

Release: Friday, July 16, 2021

👀 Hulu

Written by: Michael Sarnoski; Vanessa Block

Directed by: Michael Sarnoski

Starring: Nicolas Cage; Alex Wolff; Adam Arkin; Darius Pierce; David Knell

Distributor: Neon

 

 

****/*****

On the outside Michael Sarnoski’s directorial debut appears to be ripe material for Crazy Nic Cage. This is a story about a man living in the woods who gets his pig stolen, then ventures into the city to find his pignappers. Sounds like the recipe for a future cult classic Midnight Movie — John Wick only with oinks instead of barks.

Defiantly, Pig veers off that beaten genre path and gradually reveals itself to be a much deeper movie than action-driven, bloody retribution and one whose concerns go beyond a missing animal. An existential drama paired with a buddy adventure, the story encroaches on some familiar territory — grief and loss, change and disillusionment are perennially en vogue themes — but if you dig below the surface of those broader ideas you’ll find a lot more flavor as questions are raised about materialism and commerce, the price of things weighed against the value of relationships.

Everything in this movie feels fine-tuned, whether it’s Pat Scola’s beautiful framing of the pacific northwest, the powerful emotive quality of Alexis Grapsas and Philip Klein’s string-based score, or the near-palpable aroma of the exquisite dishes that come to bear quasi-supporting roles. But it’s the acting that tends to stand out. Truth be told, as headline-grabbing as its leading man is and though the cast sheet may be small, every performer brings their A-game and makes Pig a surprisingly absorbing experience.

Wisely calibrating the exotic impulses that have given rise to his larger-than-life persona, Nic Cage turns in one of his most affecting performances to date as Robin Feld, a respected Portland chef who has turned his back on city living for a more humble existence out in the woods. Subsisting on the outskirts of the City of Roses without so much as a cell phone, his only companion is his truffle pig upon whose snout he relies for some good eating and a bite sized bit of business. His lone contact with the outside world is Amir (Alex Wolff), an opportunist who sells locally-sourced luxury ingredients to the highest bidder in town, hoping one day to escape the shadow of his father Darius (Adam Arkin).

Introduced as the weekly headache Rob must endure, the loud and brash Amir is quickly pulled in as a full-time participant, his foibles swiftly coming under the microscope in the same way Rob’s privacy inspires questions. When a midnight assault shakes up his peaceful existence the two reluctantly team up and head to the city for answers. The ensuing adventure pulls us into a strange, esoteric world through a network of back passages and secret doors, while the most privileged access remains in the conversations shared throughout — keenly observed moments that give us a good sense of who these men are and what motivates them. Along the way, a series of revelations threatens the tenuous thread of trust they’ve managed to build, particularly as the full complexity of the film’s relationships comes into clearer focus.

As the list of potential thieves shrinks and Rob’s desperation grows, the superficial setting plays just as much of a role as any character, human or otherwise. Steeping the drama in the highfalutin, pricy world of haute cuisine, Sarnoski turns Portland’s bustling food scene into an ecosystem teeming with predators and disingenuous types. It’s a cold, harsh environment where business is kind of like the Wild West — there’s poaching and territorial disputes and a sense of lawlessness. What justice there is seems to be out of reach for Rob, a ghost on the scene for a good decade who has lost all the credibility he once had. It’s not a flattering portrait of foodie culture but it feels, like the dialogues throughout, brutally honest. 

Pig could have easily been overcooked in the wrong hands. Slow but never boring, downbeat and moody without being overwrought, the movie surprises beyond its centerpiece performance(s). There is a level of elitism to its world and to the characters that could serve as a barrier to entry and yet it all feels incredibly relatable, in large part due to the compassion Sarnoski finds for his characters and the trust he puts in his performers. One memorable sequence finds Rob and Amir preparing a meal for a special occasion. It’s an intimate moment that seems to encapsulate the slow-burn sojourn as a whole: Pig is a labor of love, each morsel ultimately savored because of the time and care put in to the preparation. Movie title be damned, Sarnoski’s vision is profoundly human.

Trying not to stew over it.

Moral of the Story: Though perhaps not one for animal lovers, Pig‘s emotional realism and enigmatic character work make it an easy recommendation for more than just Nic Cage apologists. 

Rated: R

Running Time: 92 mins.

Quoted: “We don’t get a lot of things to really care about.” 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.eater.com 

Everything Everywhere All At Once

Release: Friday, March 25, 2022

👀 Theater

Written by: Dan Kwan; Daniel Scheinert

Directed by: Dan Kwan; Daniel Scheinert

Starring: Michelle Yeoh; Ke Huy Quan; Stephanie Hsu; Jamie Lee Curtis; James Hong; Jenny Slate

Distributor: A24 

 

 

***/*****

No one makes a movie like Daniel Kwan and Daniel Scheinert, nor does anyone dare try. Relatively unknown as the guys behind viral music videos such as DJ Snake’s Turn Down For What, the writer/directors etched their shared first-name moniker into audiences’ minds forever with their supremely strange feature film debut Swiss Army Man in 2016. Now they return with a proposition that makes their first effort seem unadventurous by comparison.

With a fatter budget and increased confidence Daniels take massive swings for the fences with their own indie flavored multiverse movie. Everything Everywhere All At Once is undeniably the product of two of the most inventive and unapologetically odd filmmakers running around Hollywood at the moment. It is also a rare casualty of production company A24’s artist-friendly approach. Unfettered weirdness mutates from exhilarating to eventually exhausting over the course of two long and chaotic hours.

In the off-kilter and unpredictable world of Daniels nothing is certain except death, taxes and this pesky thing called Jobu Tupaki, an anarchic entity intent on destroying literally everything in existence. The story centers on a Chinese-American family whose matriarch is unwittingly pulled into a confrontation with this threat. In acquiring all kinds of abilities and insight jumping in and out of the various lives she might have lived she becomes the only one who can stop it. However, her ability to succeed may well hinge on her willingness to make amends with those closest to her.

The simple yet heavy question “what if my life went differently” is at the heart of this highly cerebral and often ridiculous journey. When we first meet her, Evelyn Wang (a dynamic Michelle Yeoh) is not exactly living the high life. Struggling to make ends meet with her laundromat, she is preparing for an audit by the IRS (represented by an amusingly frumpy Jamie Lee Curtis) while nervously awaiting the arrival of her intimidating father Gong Gong (James Hong). All is not well on the home front either as husband Waymond (Ke Huy Quan), at wit’s end trying to make their life happy, trails her around with divorce papers. Meanwhile daughter Joy (Stephanie Hsu) wants to introduce Gong Gong to her girlfriend Becky (Tallie Medel) but Evelyn doesn’t think that is a good idea.

There is enough tension and acrimony in the early going to serve a compelling family drama on network television. But this is Daniels, not This is Us, and so the film with all of its fantastical elements takes a rather circuitous route in elucidating what really matters. When we arrive at the IRS building the story takes on an entirely new life — The Matrix meets Boots Riley — and it’s as though Daniels have bailed on their early suggestion of more intimate drama. In an elevator, a transformation occurs and suddenly Evelyn’s pushover hubby becomes a kung fu master brimming with charisma. Like Morpheus, this more assertive Waymond from the “alpha-verse” has searched far and wide to find the right one for the job.

As it was with Swiss Army Man, the established rules and mechanisms that enable the action to tick forward can be challenging to accept. Here you’ll receive a crash-course in “verse-jumping,” learn what “mind-splintering” is (and perhaps, like me, experience it yourself) and encounter bagel-worshipping cults and people with hot dogs for fingers. Absurdism is part of the filmmakers’ appeal, but Everything Everywhere takes liberties with your goodwill — a moment in which a man flings himself across a room for the specific purpose of impaling himself on a sex toy seems like an easy cut to make.

Fortunately the performances are really good, particularly the dynamic between Yeoh and Quan. Together they imbue the narrative with just enough humanity to make the insanity relatable. Yeoh is a force to be reckoned with as she multitasks as both hero and an everywoman. Semi-retired actor Ke Huy Quan makes a triumphant return to the screen, falling toward the center of emotional devastation as a man who can’t imagine any version of his own life without his wife. As the daughter, Hsu fits in nicely as well, creating a character full of believable torment — a young woman caught between cultures who never seems to measure up to expectations.

Everything Everywhere toes the line between artistic freedom and pretentiousness. For all that this swirling mass of energy and ideas does differently and at times movingly, the cumulative effect is not entirely satisfying, the payoff frustratingly minimal for all the energy required to keep pace.

Gonna take this to another level.

Moral of the Story: Kung Fu Bagel. Enter the Bagel. Big Bagel in Little China. Whichever way you want to slice it, this crazy visual feast is unlike anything you’ll see this year. Personally, I don’t think the film’s messaging is particularly original or profound, but there’s certainly stuff here to strike an emotional chord. And I also do appreciate how the film’s conflict revolves around imperfect people vs chaos, rather than pure good vs pure evil. The villain(y) is refreshingly nuanced. 

Rated: R (for rocks!)

Running Time: 139 mins.

Quoted: “So, even though you have broken my heart yet again, I wanted to say, in another life, I would have really liked just doing laundry and taxes with you.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

The Scarlett Johansson Project — #10

Unlike certain things that are going on right now, this feature is indeed finally coming to an end. Believe it or not, the idea was not to drag this feature on until forever. (If you’re curious as to how things typically work, you can check the main Actor Profile page here.) Here we are at the end of a second year, finally bidding adieu to one of the most popular movie stars of this generation.

Setting my idealism aside, I am excited to have seen this latest project through and to have had so much good feedback on the roles I have chosen to cover. Unfortunately what ended up happening as far as role selection is concerned was not what I had intended, either; the original plan was to crowdsource ideas for which roles should be covered and then work from those, perhaps providing a link to the blogger’s site (should they have one) from the post they inspired me to create. In the end I inadvertently passed on an opportunity to build community by going with my own choices. It was never my intention to ignore others’ suggestions.

Besides, I’m 100% positive this suggestion would have made its way into the mix, some way, some how. Let’s be honest, you can’t really talk about certain actors without also considering their contributions to the Marvel Cinematic Universe. The cinematic landscape has been changed forever with Jon Favreau’s template-setting Iron Man in 2008. The prestige casting has only intensified since Robert “Sundance” Redford decided to loosen his tie and join the fun by playing Alexander Pierce in Captain America: The Winter Soldier. The end credits of Black Widow, as an even more bizarre example, features Julia Louis-Dreyfus for crying out loud. One wonders, when all is said and done, what self-respecting Hollywood actor will have actually failed to have landed an MCU gig of some kind, if not on the big screen then on the small. Of course, that’s with the presumption the MCU is a finite thing. 

Scarlett Johansson as Natasha Romanoff in Cate Shortland’s Black Widow 

Role Type: Lead

Premise: Natasha Romanoff confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises. (IMDb)

Character Background: Born in Russia in 1984, orphaned as a child and trained up to become a KGB spy through a brainwashing program targeting young women, Natasha Romanoff lived quite the complicated life. Or, as Cate Shortland’s Black Widow suggests, perhaps it was two lives, what with her being part of two adoptive families — one a little indie start-up you might know as the Avengers and the other a trio of Russian sleeper agents posing as American expats in suburban Ohio.

Making her MCU début in Iron Man 2 as a flirty undercover S.H.I.E.L.D. agent who was clearly never going to be just a simple foil for Tony Stark (or a sex object for that matter), the enigmatic redhead quickly became a fundamental part of the MCU fabric, earning increased screen minutes in The Avengers (2012) and notably Captain America: The Winter Soldier (2014), evolving from a sidekick to a significant role player in the process. Natasha Romanoff may be without superhuman or godly powers but her speed and brutality in hand-to-hand combat make her a force to be reckoned with — skills that are put on full display in her long-overdue solo film (not to mention, her propensity for dramatic fight stances).

Age of Ultron provided a glimpse of her past trauma as the team collectively reeled under hallucinations brought on by an enraged Wanda Maximoff, but it wouldn’t be until 2020 2021 that the specifics of that past would be brought into the full light (or in this case, dark) of day. Black Widow is the film that acquaints us with Natasha’s original adopted family — a true highlight being the dynamic between her and “sister” Yelena — as well as the source of her torment, the hissable spymaster Dreykov, the man who turned an entire generation of women into weapons.

And although the chronology remains an annoyance there is at least a sense of evolution with the way themes of independence and control are evolved through the character’s actions here. In Black Widow Natasha makes the decision to stop retreating from and instead start running toward those who oppress her, aspiring not only to rid herself of Dreykov but free all those still under his influence. Even if the thing that she must do in order to achieve her goal feels disappointingly been-there-done-that, in becoming a leader of women and an inspiration to her “sister,” Natasha’s arc feels emotionally and psychologically complete.

What she brings to the movie: Pathos, pride and consistency. I’d wager no two actors are more inseparable from their MCU personalities than Robert Downey Jr. and Scarlett Johansson. I say this in full recognition of all the fascinating roles she has made her own throughout a box office smashing career. Across an eight-film arc spanning more than a decade — nearly a third of her big screen career — Johansson has quite literally grown up with the character, one who has often been at the center of some of the most dramatic moments in the Infinity Saga. To say she knows Natasha well by the time Black Widow rolls around is some kind of understatement. 

It’s in her solo film where that comfort level is most felt, as we get to see Johansson flex more than her muscles in what has always been a physically demanding role. The weariness and cynicism in her performance feels true to where the character is at this point in time, itinerant and alone; down but hardly out. She also has this fantastic chemistry with Florence Pugh that makes this film human in ways it might not have been with different actors.  

In her own words: “When you find her in the beginning [of Black Widow] she’s just broken. By the end of the film the goal is to put her back together different than before, you know? I think Natasha has a lot of compassion and that’s not necessarily what I would have anticipated when we were filming Iron Man 2 or Avengers or whatever. You’ve seen glimpses of it and it’s developed over time, as we’ve been able to bring the character to the forefront in different instillaments, but she’s a very compassionate person and that passion is actually what drives a lot of her decision making. I mean, she’s also practical and pragmatic and I don’t think those two things have to necessarily work against each other. That part of her is what really touches me.”

Key Scene: A brutal trip down memory lane. There are so many good scenes between Johansson and Florence Pugh but one of the more poignant is this exchange between Johansson and Rachel Weisz, as the two reminisce over fake Christmases, fake traditions, fake family memories. It’s perhaps not a signature action scene but I’m always for the more grounded, human moments and this one’s a memorable one. 

Rate the Performance (relative to her other work):

***/*****


All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: www.imdb.com; interview excerpt courtesy of Ashley Robinson/Collider 

Red Notice

Release: Friday, November 5, 2021 (limited) 

👀 Netflix

Written by: Rawson Marshall Thurber

Directed by: Rawson Marshall Thurber 

Starring: Dwayne Johnson; Ryan Reynolds; Gal Gadot; Ritu Arya; Chris Diamantopoulos 

 

 

 

**/*****

A red notice is associated with something of very high value, such as an art thief of international notoriety. It’s what INTERPOL uses to identify and/or extradite highly wanted suspects. If you haven’t heard, there’s one out for writer/director Rawson Marshall Thurber, who is guilty of making a very expensive heist comedy featuring Dwayne Johnson, Ryan Reynolds and Gal Gadot feel cheap and lazy.

Originality is not the issue, although (and with due respect) it never has been with Thurber, who has set his sights on pure escapism and is now a three-time Dwayne Johnson collaborator. As his filmography has shown he’s a guy who likes to rub shoulders with big-name talent. But I’m not sure he’s ever rested on the laurels of his cast quite in the way he does here. Red Notice is expensive but creatively bankrupt — a two-plus-hour conveyor belt of farcical episodes that are forgotten as soon as they happen, all capped off by one of the most asinine endings you’ve seen in a while.

As the Cliff’s Notes prologue establishes, thousands of years ago some dude named Marc Antony gifted three bejeweled eggs to the war-mongering Cleopatra as a wedding gift and a symbol of his “devotion.” Don’t worry too much about brushing up on your Ptolemaic history though; this thing is mostly just jokes and good-looking actors being captured in the perfect light. In the present day, an Egyptian billionaire thinks it would be neat if he replicated the symbolic gesture for his daughter on her wedding day. Whoever can recover all three eggs and deliver them on the big day will become a very rich man or woman indeed. 

The leading trio has certainly ensured their own personal wealth, commanding $20 million a head, but we as viewers (or armchair critics) aren’t exactly enriched by watching reheated performances from other, better movies. This is the kind of pablum that tends to cool even the hottest of Hollywood celebs. Reynolds and The Rock do alright with the odd-couple dynamic but their characters are paper thin. Gadot fares better and seems like the only one who’s trying to do something more fun with her enigmatic character The Bishop, less a femme fatale as a rogue in rouge.

Thurber, who may never set the world on fire, knows how to make a good time happen but Red Notice finds him struggling to make a $200 million production come to life. Though DP Markus Förderer injects some energy with the rinse-and-repeat FPV drone shots that link us to every important place — we start in a priceless museum in Rome, make a daring prison escape in Russia, crash a masquerade ball in Valencia and dig into the rich history of Argentina’s underground, Nazi-stuff-stashing tunnels — the temperature in every room, or outside of them for that matter, remains the same. There is no tension to any of the developments, no significant stakes. But if you are looking for an obnoxious Ed Sheeran cameo, boy do I have the movie for you. 

The Bishop and her pawn

Moral of the Story: I was actually looking forward to Red Notice when it was first announced. Those expectations weren’t anything wild, but I also was not anticipating something so machine-processed. So for me it’s hard to overlook even the minor flaws. I very much doubt I’ll be wasting my time on the two sequels that are soon coming. I’ve done pretty well avoiding most of the crap that floats around on Netflix but this time their cute little algorithm got me. Looks like I’m the chump. 

Rated: PG-13

Running Time: 118 mins.

Quoted: “Do you know who I am? I was in The Game of Thrones! I’m Ed Sheeran, bitch!” 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: www.impawards.com; www.imdb.com

No Time to Die

Release: Friday, October 8, 2021

👀 Theater

Written by: Neal Purvis; Robert Wade; Phoebe Waller-Bridge; Cary Joji Fukanaga

Directed by: Cary Joji Fukanaga

Starring: Daniel Craig; Léa Seydoux; Rami Malek; Christoph Waltz; Ralph Fiennes; Lashana Lynch; Ana de Armas; Ben Whishaw; Naomie Harris; Jeffrey Wright; Billy Magnussen; Rory Kinnear

Distributor: Universal 

 

***/*****

The time has come for James Bond to move on to greener pastures. In an unlikely turn of events, arguably the world’s most ineligible bachelor is looking to settle down and bid cheerio to his obligation to protect Queen and country at all costs, even especially ones of a personal nature. All good things must come to an end and with endings we look for closure. Ah, but is closure always satisfying?

We saw him get close before. Tantalizingly, torturously close to leading a normal life. The departed Vesper Lynd still haunts him. In No Time to Die, we see him pay his respects at her tomb in the scenic Matera, Italy, which might feel like a deleted scene from Casino Royale if not for the staggering mark of maturity in “I miss you” — a line Daniel Craig delivers in such a way you really feel the weight of those 15 years. James Bond is all grown up now. You feel it most in the dialogue, which allows Craig to serve up his best performance yet as the iconic super-spy, the actor going beyond his era’s stiff upper lip stoicism and confessing to things you’ve never heard his or any Bond say before: “I love you;” “I’m truly sorry.”

No Time to Die is such a weird experience. Watching Bond soften like a Walls vanilla ice cream cone on a hot summer day is weird. It’s also wonderful. But for whatever reason, I just could not get into the action. Partly due to the buzz-killing aroma of Greek tragedy. Partly due to the fact that no stunt here really blows the roof off. And that ending really bothers me, so we may as well get it out of the way now. If packing Kleenexes in anticipation of the soap opera ending is what the people want in all their big franchise arcs, fine. Personally I feel there’s a way to be dramatic without going scorched earth. Is this perhaps why people lament The Dark Knight Rises so — that needling incongruity of the brooding vigilante suffering all only, ultimately, to be done a kindness?

You say tonally inconsistent; I say it’s compassionate.

Directed by Cary Joji Fukanaga, clearly a talented director capable of steering a massive ship, the overly dour, overly long story details Bond’s tango with foes both old and new as he is yanked out of retirement to save the world for one last time. There is a ton of moving parts in this movie and a daunting number of relationships to stay Onatopp of, though not all are worth the effort. The backbone of the film concerns tension between Bond and Madeleine (Léa Seydoux, reprising her role from Spectre), specifically the former’s shifting perception of the latter’s innocence/complicity. When the two are ambushed in Italy by Spectre assassins it’s déjà vu all over again with Bond unable to see Madeleine as anything but Traitor #2. More shaken than stirred, Bond buggers off to Jamaica where he is soon contacted by an old friend from the CIA in Felix Leiter (Jeffrey Wright) who’s desperate for his help in tracking down a kidnapped scientist (David Dencik). 

For all that gets shortchanged and is made unnecessarily cluttered, the conflict presented in No Time to Die offers more bang for your buck, presenting not one but two evil forces with which Bond and MI6 must contend. The inimitable Christoph Waltz returns as arch-villain Ernst Stavro Blofeld, here regrettably confined to a portable holding cell as if a Hannibal Lecter knock-off and doing most of his limited damage via a removable bionic eye that enables him to call the shots from a safe distance, this time with comically epic failing results.

When it comes to new threats, No Time to Die offers an expected bit of double-agent treachery with Billy Magnussen’s disturbingly smile-happy Logan Ash, and goes old-school with Rami Malek’s soft-spoken rage: “My family got wiped out by one man, now the entire world will pay!” On the one hand, you kinda have to love the Scaramanga-like excessiveness, yet that crazy leap in logic feels regressive, underscoring how good we had it with Le Chiffre’s far more nuanced, relatable desperation. And Bond, never one to mince words, is dead right: All his opponent is is another angry man in a long line of angry men, coming up a little short in terms of the gravitas required of a figure framed as the ultimate reckoning for 007.

Where No Time to Die truly frustrates however is in its handling of internal conflict within MI6. M (Ralph Fiennes)’s judgment is called into question with the revelation of Project Heracles, code for a dangerous bioweapon that targets victims’ DNA so anyone related to them is at risk as well. Supposedly there was a morally upstanding justification for its deployment, but in the wrong hands (i.e. Safin’s) it’s going to wipe out millions, including the entirety of Spectre. Bond and M are at loggerheads, which is fun to watch, especially with Fiennes getting to go a little bigger with the role than he has before, but it’s the flippant treatment of Nomi (Lashana Lynch) as Bond’s ostensible replacement that baffles. A fun, strong performance from Lynch is severely undermined by the decision to have her character fall back in line with SOPs, her agency the equivalent of borrowing the keys to the DB-5 for a quick joy ride.

Added all up, it really sounds like I hated this movie. At first, I think I did. Like Roger Ebert after watching the movie North. But Fukanaga and his writing team don’t deserve childish vitriol. No Time to Die is a messy dish but the meat and potatoes are there at the bottom. After all, the Craig era has always been infused with pain and coldness. His final outing is an odd blend of the past and the present, where throwbacks to classic lairs and bad-skinned baddies are welcomed while the mimicking of Tony Stark martyrdom feels off-brand and, yeah, unsatisfying. 

They’re bringing Knives Out at a gunfight

Moral of the Story: I’m extremely wary of my own reaction here. I had a similarly negative response to Quantum of Solace, the direct follow-up to Casino Royale. I have since gone back and watched that movie at least twice, and despite it bearing the worst title of any Bond film — of any movie really that has nothing to do with physics — I’ve appreciated it a bit more. It’s closer to a pure action movie. So it’s certainly more simplistic than something like No Time to Die. It’s possible I warm up to what Fukanaga and his writing team have done here but as of this moment it remains a big disappointment.

Rated: PG-13

Running Time: 163 mins.

Quoted: “It’ll be great! I’ve had three weeks training!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

Shang-Chi and the Legend of the Ten Rings

Release: Friday, September 3, 2021

👀 Theater

Written by: Dave Callaham; Andrew Lanham; Destin Daniel Cretton

Directed by: Destin Daniel Cretton

Starring: Simu Liu; Awkwafina; Tony Chiu-Wai Leung; Meng’er Zhang; Fala Chen; Michelle Yeoh

 

 

****/*****

Marvel Studios’ most recognizable batch of comic book origins stories are behind us, but given Shang-Chi and the Legend of the Ten Rings‘ strong box office haul it isn’t going to be falling on hard times any time soon. And the numbers are justified. This movie is as entertaining as it is absorbing.

Following somewhat in the footsteps of Black Panther (2018), Shang-Chi immerses the viewer in a culture largely relegated to the muddy riverbanks along the Hollywood mainstream. The 25th overall film in the MCU is one of the most visually delicious, featuring spectacular sets where the mise en scène is often its own character and where — finally! — flashy CGI actually supports rather than hinders. The production design is a lavish platter sampling everything from the urban to the rural to the mythical and where the exquisite, violent dance of Kung Fu is ensconced in the sophisticated and occasionally literal scaffolding around it.

Underneath the obviously heavy budget however lies a hero’s journey that’s just as rich with human emotion and soul, qualities that Short Term 12 director Destin Daniel Cretton is no stranger to and that are most welcomed in a movie of this scale. The story tells of a deeply personal conflict between an immortal, power-obsessed patriarch Wenwu (Tony Leung — Infernal Affairs; The Grandmaster) and his children, son Shang-Chi (Simu Liu — Women is Losers; Kim’s Convenience — TV) and daughter Xialing (Meng’er Zhang). Given the film’s title, the focus narrows to the father-son dynamic as Shang-Chi is forced to confront the trauma of his past and the man responsible for much of it.

As an origins story largely divorced from the Avengers era Shang-Chi feels like a breath of fresh air in a staling superhero environment, even as it honors the tradition of Marvel’s prescribed narrative formula. While Cretton and his writing team are granted the proper space to explore their own world that’s not to say they don’t have some fun tricks up their sleeve, bringing into the fold former foes from past movies who end up mercifully repurposed into something more useful. This story is only beginning but the first chapter lays a lot of emotional brickwork, almost to the point of being burdened by it. The pacing is not always ideal but the trips down nightmare lane are intriguing and rarely feel purely extraneous.

The exhaustive (maybe a little exhausting) narrative structure is most compelling when building up the villain, extensive flashbacks offering a rare opportunity to understand the man behind the monster. When Wenwu met his wife he vowed to give up his never-ending quest for power, the very quest that brought him to the clandestine village of Ta Lo where he first encountered her. Shunned by the residents the pair fled to start a family, a halcyon period that tragically wouldn’t last. As a heartbroken, tormented father Leung authors one of the best villains the MCU has yet seen, oscillating between sympathetic and menacing, coldly composed and dangerously delirious, yet passing on the histrionics a lesser actor might have pursued.

In response to loss Wenwu relapsed back into his old ways, resolving to toughen up his son to be an assassin worthy of joining the powerful Ten Rings organization, so named after the physical rings he discovered that gave him immortality. However, following in his father’s blood-stained shoes is a destiny Shang-Chi grew uncomfortable with and so he fled for sunny San Francisco, changing his name and starting up a new life parking cars for wealthy elites alongside best friend Katy (Awkwafina — The Farewell; Crazy Rich Asians), a proud underachiever whose mother lovingly prods her to jump-start her life. When the pair are attacked on a bus one afternoon, Shaun has some explaining (and traveling) to do, while Katy recognizes an opportunity to help a friend in need.

The star of the film is obviously Simu Liu, who handles the duality of his character’s emotional and physical sides with grace and finesse. He’s likable and convincing in the action scenes, particularly for playing a character famous for being proficient in multiple martial arts styles, but the film excels because of the tag-team effort. Awkwafina is the yang to Liu’s yin, her terrific camaraderie making it easy to get over the goofy stage name (real name Nora Lum) and embrace the 30-something actor/rapper as more than comic relief; she’s a genuine friend whose expressiveness also makes for a perfect audience surrogate, especially as the narrative takes leaps and bounds away from the pedestrian and into the fantastical.

Thematically the movie isn’t a radical departure, certainly when in view of this summer’s Black Widow whose central thrust was also about the futility of running from one’s past. These movies share assassins and miserable childhoods in common. But where Black Widow was cold and absolute in eliminating the architect of pain and suffering — and justifiably so — Shang-Chi is more interesting in the way it confronts those committed to similarly transgressive behavior. It knows, perhaps on the level of a Captain America: Civil War or Winter Soldier, that good guys and bad in reality come with their shades of gray. We’re told it’s always personal, but here’s a case where mourning feels more appropriate than celebration; the anguish over what must be done makes the obligatory climactic battle that much more grounded despite the high-flying theatrics.

As it turns out, Cretton’s first run with the Marvel big dogs is a beautiful movie in more ways than one, and a really exciting way to kick off a new, less familiar chapter. Ta Lo is the pinnacle at which all things conceptual come together, invariably violently. This fascinating bubble within the multiverse is where everything goes down, and yet almost every scene along the way overflows with meaning and symbolism. It’s a movie with a spectacular finishing move, but also one of measurable personal growth. The friendship dynamic refreshingly remains undisturbed by studio heads undoubtedly desirous of something more expected. At once crowd-pleasing and nuanced, Shang-Chi is a superior Marvel offering.

No one’s up in arms . . . yet

Moral of the Story: The fun factor is through the roof with Shang-Chi and The Legend of the Ten Rings. It’s also got a nice message to send, it looks fantastic and, though far be it from me to say this is true for all, seems a legitimately diverse, passionate and truthful representation of Chinese culture and traditions. Me to you: I freaking loved this movie and would see it again in theaters in a heartbeat. 

Rated: PG-13

Running Time: 132 mins.

Quoted: “Welcome to the circus.”

Feast your eyes on the Official Trailer from Marvel Studios here! 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; www.indiewire.com

Free Guy

Release: Friday, August 13, 2021

👀 Theater

Written by: Matt Lieberman; Zak Penn

Directed by: Shawn Levy

Starring: Ryan Reynolds; Taika Waititi; Joe Keery; Jodi Comer; Lil Rel Howery

 

 

 

***/*****

Following more the logic of the heart than the brain, Free Guy is a whacky but entertaining circus of big visual effects, videogame Easter eggs, and shameless (more like proud) product placement for parent company Disney, which now owns the world. It’s also the perfect environment for Ryan Reynolds to flourish, one in which cutting loose and just doing you is the whole point. Or was supposed to be!

The movie’s big draw is of course Ryan Reynolds doing his typical Ryan Reynolds thing, but this is also literally a love letter to gamers and coders. Being knowledgeable about technical stuff will surely elevate the experience though by no means is it a requisite. Free Guy takes a surprisingly high concept approach to a basic template. This is all about a guy (lowercase ‘g’) pursuing his dream girl, a pretty classic convention often obfuscated by all the chaos. Very little here is designed to be stored in the long-term memory. Instead director Shawn Levy and his writing team work overtime to stimulate the pleasure center of the brain as often as possible, injecting silliness, cartoonish violence and a surprising amount of heart into one hyperactive summer blockbuster.

In an open-world game called Free City, Guy (Reynolds) wakes up each morning in a Groundhog Day loop of obliviousness to what this place really is and his role in it. His best friend is Buddy (Lil Rel Howery — Get Out; Bird Box), the cheerful security guard at the bank where Guy works as a teller. Neither has a clue that their lives are a programmed simulation. One day on his way to work he passes a woman humming a Mariah Carey tune and is smitten. He pursues her but unfortunately that train goes off the rails. However something profound has changed within him.

Molotov Girl’s the name and “Leveling Up” is the game he must play if he is to impress her. So of course the eternally upbeat and decreasingly naive Blue Shirt Guy plays along, but he won’t gain experience by doing what most players do — holding NPCs (non-player characters) hostage, blowing things up, generally being lawless savages. No, he’s going to do good deeds, a strategy that earns him Molotov Girl’s respect and a cult following. In fact he fast becomes a “player” of interest for many throughout the world plugged into Free City, represented in a series of stilted cameos by real YouTube celebrities and gamers.

His increasing autonomy also attracts the attention of game developer Antwan (Taika Waititi), for whom the brilliant code writers Keys (Stranger Things‘ Joe Keery) and Millie (Jodie Comer — Killing Eve; Star Wars: The Rise of Skywalker) work as dogs for their master. I mentioned before how very little is going to be remembered for long, and if you’re a fan of the Kiwi comedian that’s definitely a good thing. He’s actually pretty awful as the movie’s one-note villain whose whole deal is stealing other people’s work and being as insufferable as possible. In fairness, the character isn’t written to be anything more but his acting is of a quality where you suspect the director didn’t have the cohones to edit his Oscar-winner.

Maybe the director didn’t feel like meddling because he has so much on his plate. Free Guy is arguably over-ambitious, particularly considering a sequel has already been green-lit. What’s going to be left to tell? Yet for all that it is burdened with, the story moves pretty fluidly as it hops in and out of the game, an anarchic environment inspired by the likes of GTA, Fortnite and The Sims, with spirited input from the young Keery and Comer keeping us invested in the affairs of the real world. Concurrent to the Guy plot is a heist involving precious data which could incriminate Antwan and potentially save Free City from his future nefarious plans. To get there, Millie and Keys need to access a secret location called The Stash, and they could really use some help.

Combining the playground aesthetic of Ready Player One, the voyeurism of The Truman Show and The Matrix‘s march toward salvation, Free Guy is a Frankenstein of elements and homages that somehow ends up morphing into its own ridiculous thing. I mean, where else are you going to see Reynolds as an evil David Hasselhoff avatar whose coding is disturbingly incomplete and whose face is super-imposed on an actual bodybuilder? Okay, so I lied. That’s one thing you’re never going to forget from this movie.

Lucky Guy

Moral of the Story: Huge entertainment value trumps logical storytelling and one seriously annoying villain. Because I am a big fan of Ryan Reynolds’ comedic act Free Guy is probably my favorite blockbuster of the year. It’s far from perfect but it is really fun and super easy to get along with, even for non-gamers such as myself. 

Rated: PG-13

Running Time: 115 mins.

Quoted: “Is this what recreational drugs feel like?”

Check out the pretty sweet new music video for Mariah Carey’s Fantasy here! 

All content originally published and the reproduction elsewhere without the expressed written consent o the blog owner is prohibited. 

Photo credits: http://www.impawards.com; 20th Century Studios 

Terminator: Dark Fate

Release: Friday, November 1, 2019

👀 On Demand 

Written by: David Goyer; Justin Rhodes; Billy Ray

Directed by: Tim Miller

Starring: Linda Hamilton; Arnold Schwarzenegger; Mackenzie Davis; Natalia Reyes; Gabriel Luna

Distributor: Paramount Pictures

 

 

***/*****

Terminator: Dark Fate is the best installment in the series since Judgment Day and it’s not even close. That said, having never been a die-hard I have gotten along pretty well with most of the sequels, even the mind-bendingly-complex-and-not-in-a-good-way Terminator Genisys, so what do I know?

One thing I know is that this movie was fated to be poorly received. Faith in this once glorious franchise has been steadily eroding ever since we entered the 2000s. In 2019, oh how the mighty have fallen: In America Dark Fate basically flat-lined, barely recouping a quarter of its $185 million budget. Losses for the studios involved topped $130 million. That’s even more damning considering it is directed by the guy who made Deadpool. It seems this female-led retcon of one of the most convoluted storylines in franchise filmmaking history was destined to become the next Terminator film to disappoint. The question was whether it would disappoint in the same way or if it would mix things up by being disappointing in other areas.

Dark Fate, in fact, does neither. Director Tim Miller and his writing team create a solid action movie underpinned by relevant themes and bolstered by the welcomed return of original characters plus a few memorable new ones. James Cameron also resurfaces as producer, ensuring fidelity to not just the general formula that brought tremendous fame to the doorstep of Arnold Schwarzenegger and Linda Hamilton, but specifically to  style and tonality. Bitter and violent but with a streak of humor persisting through all the hardscrabble survival shit (mostly at the expense of Arnie, but hey it’s welcomed), the story is stripped down and actually coherent. The action is visceral and the acting frequently intense.

Twenty-five years after Sarah Connor thwarted Judgment Day, and the future is repeating itself anyway. The details are almost a matter of semantics; instead of Skynet, there is now Legion. Somewhere along the line, someone screwed up. Artificial intelligence gained the upper hand. The machines have once again sent back in time a representative to crush a human uprising before it can even begin. This upgraded model of terminator called the Rev-9, besides sounding like a new line of Mazda sport car, makes the T-1000 obsolete. He is played coolly (and cold-bloodedly) by Marvel’s Agents of S.H.I.E.L.D.‘s Ghost Rider Gabriel Luna. His mission is to track down and eliminate the de facto new John Connor — a teenage girl named Dani Ramos (Natalia Reyes) who lives an unassuming life as a factory worker in Mexico City.

This is of course the part where you’re expecting Arnie’s T-800 to drop out of thin air to protect the girl, kick some robot ass and maybe disappear from whence he came (or into a vat of liquid metal). But like with the androids we carry around in our pockets some updates are more significant than others. Arnie is indeed back, not with a vengeance but rather a conscience. Filling in his old shoes is a hybrid of human and terminator not-so-subtly named Grace (Mackenzie Davis). She has also been sent back to convince Dani of her role in the human resistance while also contending with unexpected roadblocks, such as Sarah Connor and her own beliefs in fate.

No, this movie does not throw heavy punches of originality. Signature one-liners, even when delivered by the legendary Linda Hamilton, feel like hand-me-downs rather than organic reactions. It’s not like this latest chapter doesn’t do anything to set itself apart. Dark Fate carries some heavy emotional baggage and the script occasionally hits some poignant notes as its leading trio of women confront loss and grief. That weight is mostly shouldered by the older and wiser Sarah Connor and her complicated relationship with the T-800 but it’s also a pain shared by all involved, whether that’s Dani receiving a brutal crash course in terminator-human relationships or Grace recounting her experiences of surviving the apocalypse through flashback.

Retreading old footsteps does not make a movie bad however. It’s when directors and producers forsake the spirit of the original in an attempt to chart a new course that often leads to trouble. Dark Fate is made with an obvious reverence for Cameron’s seminal sequel. I consider its familiarity a strength. And if indeed it is the last hurrah (and it sure looks that way) I would also consider it an homage to greatness. If given a choice between a safe and familiar package and a narrative so convoluted you don’t even care where or when you are on the timeline, I will always choose the former.

Two headaches for the price of a not-even-wanted one

Moral of the Story: I think the mileage you get out of this one really depends on whether you think the homage is unwarranted or if it is kinda cool. Or, indeed, if you even view it as an homage. Genisys was, by comparison, a regrettable reboot of the series with a young Sarah Connor and it technically introduced the dad-joke-making Terminator, so you can’t go around blaming Dark Fate for that. This movie undoes all of that stuff, all the way back to Rise of the Machines. I think it is a big shame there will be no future installments as I really enjoyed this cast and seeing Hamilton back in action was really satisfying. 

Rated: R

Running Time: 128 mins.

Quoted: “Do you believe in fate, Sarah? Or do you believe we can all change the future every second by every choice that we make? You chose to change the future. You chose to destroy Skynet. You set me free. Now, I’m going to help you protect the girl, because I chose to.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: IMP Awards; IMDb