Jungle Cruise

Posted on August 7, 2021 by Tom

Release: Friday, July 30, 2021

👀 Theater

Written by: Michael Green; Glenn Ficarra; John Requa

Directed by: Jaume Collet-Serra

Starring: Dwayne Johnson; Emily Blunt; Jesse Plemons; Jack Whitehall; Paul Giamatti; Édgar Ramírez

***/*****

The long, predictable meanders of the river are more enjoyable when you’ve got a good crew to float with. Such is the case with Jungle Cruise, a family-friendly adventure deeply indebted to the charms of Dwayne Johnson and Emily Blunt, playing a mismatched pair on a dangerous mission deep into the heart of the Amazon circa the early 1900s.

Jungle Cruise remains rooted in classic adventure tropes even as the whole kit-and-caboodle swings wide of classic status and despite the expensive, flashy CGI ballast. There’s a map, a hidden treasure, cursed conquistadors (the film at its most unfortunate, casting a slew of Latinx actors, most notably Édgar Ramírez, and extras in thankless background roles smothered in digital Disneymagic), a bad guy after the same treasure, and even a wisp of romance, although this proves to be about the only thing Johnson and Blunt fail at as a team. Less trope-y is the characterization of the aforementioned competition, Jesse Plemons in fine bizarre form as a largely submarine-bound German memorably seen consulting a swarm of bees on navigational strategy.

On strategy, helming this old-school-feeling rig is director Jaume Collet-Serra, who sets aside his more violent filmmaking tendencies in favor of a breezy, good-natured bit of escapism where the exploration (and exploitation) of character foibles and differences outweigh more tangible narrative concerns. The plot finds Blunt’s danger-courting, pants-wearing Dr. Lily Houghton traveling to the Brazilian jungle in search of a riverboat captain willing to take her and her brother MacGregor (a third-wheeling but really fun Jack Whitehall) to the secret location of the Tears of the Moon, a mythical tree whose incandescent pink petals she believes could change the course of modern medicine and, thus, her status amongst her peers who all too happily laugh a lady out of any serious discussion. Meanwhile, Plemons’ Prince Joachim is hoping to get there first, thinking it could change Germany’s fortunes in the Great War.

Johnson’s Frank Wolff, a down-on-his-luck river guide with more puns in the bank than dollar bills, is motivated to journey down the Mighty Amazon due to his increasing debt to port manager Nilo (a haggard-looking Paul Giamatti). Naturally, personalities and philosophies clash immediately and about as comically as MacGregor’s wardrobe choices do with the climate. Along the way a mutual respect for one another is eventually gained. However, trust turns out to be more of an uphill battle for the Houghtons, who understandably tire of Frank’s penchant for pranking. As it turns out, there is more to Frank than deception and a pet jaguar.

Jungle Cruise is the latest in a line of movies “inspired by” real theme park rides. Like the actual Disney World attraction itself, for maximum enjoyment it helps to not get too curious about how the machinations work. Once you look over the sides and see the rails guiding the thing along a lot of the fun tends to get lost. Jungle Cruise is a cash grab but there are certainly more cynical ones out there.

So quiet you can’t even hear the critics chirping

Moral of the Story: I’m not sure I should be admitting this, but I actually got to experience this movie in an empty theater. Much to my surprise, it didn’t make much of a difference. Jungle Cruise, like many a Marvel movie, just seems like it would play better to a packed house. And it probably still does. Yet it speaks to the charisma of the two leads that I had a good time anyway. Plus the beer probably didn’t hurt (Señor Krunkles IPA — pretty sweet, hoppy and fruity. Made for a great pairing.)

Rated: PG-13

Running Time: 127 mins.

Quoted: “I had a girlfriend once, she was cross-eyed. Didn’t work out. We could never see eye to eye!”

Check out the creepy-crawly jungle-brawly trailer here!

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

Moana

Posted on December 9, 2016 by Tom

Release: Wednesday, November 23, 2016

[Theater]

Written by: Jared Bush

Directed by: Ron Clements; John Musker; Don Hall; Chris Williams

Moana might just be Frozen‘s spiritual, tropical sequel. But to be honest, I’m only just guessing that — I never saw Frozen. Couldn’t stand the hype. When hype for a film made by a film company I generally do not care for reaches Frozen levels, I tend to break out in hives. So I, you know, let it go.

I was similarly skeptical of Moana but eventually was won over by the casting of The Rock as a demigod named Maui, a boastful but affable caricature of the man himself who plays a major role in Moana (newcomer Auli’i Carvalho)’s voyage. Turns out, Carvalho and Dwayne Johnson go together like peanut butter and jelly. These two are wonderful together and they make a thoroughly clichéd adventure more palatable. (Plus Maui sports tattoos that come to life and with which he frequently interacts. Such was the novelty of the concept I was left wondering what Mike Tyson’s face tattoo would say or do.)

Moana is a film about empowerment and finding your higher calling in life — not exactly a first for Disney. But their latest finds separation by not only introducing a confident young woman but through an exploration of a culture that is woefully underrepresented in modern cinema. The Mouse House has often gotten by with formulaic storytelling dressed up in different outfits, and in Moana we don the cloth of a deeply spiritual Polynesian tribe. Our heroine, in a time-honored tradition, must confront her own limitations by putting herself through a series of physical and often emotional tests that will determine not only her future but that of her own people, a once-proud band of intrepid voyagers who have come to settle on the island of Monutui.

Moana, heiress to and the daughter of Chief Tui (Temuera Morrison) and Sina (Nicole Scherzinger), has a great fondness for the ocean. She’s captivated by its beauty and its infiniteness. Constantly drawn to the water’s edge as a child, she one day discovers a gem stone in the shallows, which happens to be the heart of an island goddess named Te Fiti. The stone was stolen by the demigod Maui in his attempt to gift humanity with the power of life and in a resulting fight it was lost to the depths. Now the ocean has seemingly chosen Moana as the one to restore it and to rid the Pacific islands of the darkness that has slowly been spreading ever since, a darkness that eventually hits Monutui.

When vegetation on the island starts dying off and fish become scarce, Moana suggests venturing beyond the reefs to search for what they need. Her father angrily rebuffs her, reminding her that her place in society is not on the ocean, but rather on land to take care of her people. With the encouragement of her eccentric grandmother Tala (Rachel House) who shows her a secret cave in which a fleet of boats have been permanently stored away — proof positive of her people’s history — Moana sets out on the open water, along with a mentally defective rooster named Heihei, to find Maui and to restore Te Fiti’s heart. When she finally encounters the demigod she starts to gain an understanding of what she has gotten herself into.

You see, Maui has lost his hook. And no that’s not a euphemism for him going insane. Although he is a bit kooky. Wouldn’t you be, though, if you had been stranded on a desert isle for an unspecified amount of time? Look what happened to Tom Hanks. Isolation is cruel and unusual punishment; it has turned a pro wrestler into a legitimate American Idol contestant. That’s right: The Rock can sing. And he can sing well. His moment comes in the form of ‘You’re Welcome,’ an upbeat little diddy that, resist as you might, will get your toes tapping. In it, he regales us with tales of badassery and tattooery. He’s “a hero of men.” But he’s lost his hook, the thing that gives him power to physically transform, to the monsters dwelling in the black depths of the Pacific.

Thus we get yet another one of those “You scratch my back, I scratch yours” subplots that ~~Disney Animation~~ animated films are so fond of, but rather than pad the run time the journey to the briny bottom gives us more insight into the mystical qualities of this universe. Down there we also get to meet Jemaine Clement‘s vainglorious crab Tamatoa. He gets a musical number of his own, also fun. Maybe now is a good time to point out how neither of these songs quite measure up to that of Carvalho’s ‘How Far I’ll Go.’ In fact ‘Shiny’ feels tedious when compared. Carvalho is going to be a force to be reckoned with in the coming years. Her singing only serves to reinforce her character’s mental tenacity. It’s actually pretty inspiring. And every bit as empowering.

Moana is 100% devoted to character. The adventure itself not only builds it, but the film centers around a strong, likable young female. Not a damsel in distress. Not a drama queen. A real human being with hopes and aspirations, quirks and flaws. Apparently there were efforts made by the filmmakers to reduce the role gender would play in the narrative. A first draft, written by Taika Waititi, identified Moana as the only daughter in a family of five or six brothers, a detail that was later changed to her being an only child so greater emphasis could be placed on her journey of self-discovery. Despite those efforts Moana has a distinctly feminist lean. Many female characters play a crucial role in the film, be they the village crazy, a giant Monterey or an angry deity. Best of all, Moana’s success or failure isn’t measured based on her ability to attract a love interest. There’s nary a romantic subplot at all, for that matter. That feels more refreshing even than a splash in the ocean on a hot sunny day.

Recommendation: Fun, lively, visually spectacular, and boasting some great (original) music, Moana is a great one for the whole family. Even when I don’t typically go for Disney Animated Studios stuff, I had a blast with this one. I’ll thank Dwayne Johnson and a fun supporting cast for that. The film also serves as an impressive calling card for the Hawaiian newcomer. Highly recommended.

Rated: PG

Running Time: 103 mins.

Quoted: “If I was called Sebastian and had a Jamaican accent, you’d help me.”

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

Queen of Katwe

Posted on October 5, 2016 by Tom

Release: Friday, September 23, 2016 (limited)

[Theater]

Written by: William Wheeler

Directed by: Mira Nair

Despite the illusion of diversity and the notion that films are now being tailor-made for niched audiences, director Mira Nair’s latest feels like a rarity, one that’s not only good for the soul, but good for Disney. Here is a work of substance that is going to satisfy, dare I say move, those seeking a more refreshing point of view. Better yet, themes of poverty and desperation are never overwrought, the drama working comfortably within the PG rating to effect one of the year’s feel-great experiences.

The film was shot entirely on location in Uganda and in Johannesburg, South Africa, and it features a Ugandan director in Nair, who was born in India but presently lives in the country and it is her vision and her choice cast that earns the film a refreshingly authentic African vibe. Though it does visit some dark places, the narrative chooses to forego any sort of political commentary in favor of celebrating what makes African culture so distinct; rich in personality and heart, warm in spirit and color — much of which is reflected in the stunning wardrobe courtesy of Mobolaji Dawodu.

With Disney of course you’re never short of a few doses of cloying sentimentality but in Queen of Katwe the feel-goodness feels really good and it feels earned. It’s also not that simple, as you’ll likely feel on more than one occasion, really, really bad. It doesn’t hurt that the picture features two of the year’s finest performances and a star-making turn from Ugandan newcomer Madina Nalwanga. Incidentally, Nalwanga has experienced considerable changes of fortune in her own life having afforded an education subsidized by the dance company she performs with. When the film screened at the Toronto International Film Festival this year, it was the second time she had ever seen a film in a theater, and this time she was the star.

The story tells of Phiona Mutesi, a 10-year-old chess prodigy from the slum village of Katwe — a region within Kampala, Uganda’s capital — who manages to transform her life by competing in major chess tournaments. The movie traces her rise to prominence while delineating the tension between the gifted Phiona and her mother, who doesn’t want to see her daughter’s dreams crushed. Phiona comes from an especially impoverished family of five — she has two younger brothers and an older sister. Her widowed mother, Nakku Harriet (Lupita Nyong’o), is the glue that holds everything together, working tirelessly to keep the family under a roof and to keep her children fed. She often goes hungry and works long hours selling vegetables on the streets. Life’s desperate and Phiona’s sister Night (Taryn “Kay” Kyaze) has already had enough, having become infatuated with the city life after meeting a man of some wealth.

One day she comes across a group of kids playing chess in a tent. They’re being mentored by a man named Robert Katende (David Oyelowo) who also happens to be working for the town ministry. After quickly learning the basics, Phiona shows promise as a player, often beating her fellow competitors, which stirs up quite the fuss as no girl should be allowed to beat a boy. It’s not long before Katende realizes her quick wit and intellect separates her and he finds himself jumping through hoops to encourage her mother to allow Phiona to pursue this. There are cash prizes awarded at these tournaments, he says. But Nakku pushes back, concerned that exposure to an altogether unattainable life will ruin Phiona.

Queen of Katwe falls upon familiar underdog story constructs but Nair employs them such that they’re necessary plot propellants. The most familiar of the obstacles manifest themselves in the competition scenes. When the youngsters travel to their first competition nerves are high, the opponents are well-dressed and contemptuous. Perceptions of inferiority and illegitimacy can be traced back to the moment Katende advocates for Phiona’s inclusion in competitive chess to members of the Katwe school council. Bureaucrats tell him bluntly that those from the slum should not intermix with people of another class. Additionally, the constant degradation on the home front as the family find themselves temporarily evicted isn’t anything we haven’t experienced before but there’s a rawness to these developments that just can’t be ignored.

The resolution is far from unpredictable, even given the oppressive circumstances into which this bright young girl has been born. Phiona is obviously an anomaly. We know she’s going all the way to the top, and we know she’s going to ultimately succeed. It’s the journey getting there, and getting to experience her family’s struggles and their perseverance that ultimately rewards. And when the film is so handsomely mounted and beautifully acted, particularly by Nyong’o and Oyelowo who offer powerful resilience and unwavering support respectively, that makes the culmination of all things positive and predictable that much more acceptable. Queen of Katwe is a Disney film that reminds us of the power of perseverance and the importance of intellect, one that creatively parallels the complexities of chess with the decisions one has to make in life, whether the end game is elevating one’s social standing or finding a way just to make ends meet. This is a born winner.

Recommendation: Powerful performances allow Queen of Katwe to transcend cliché and they also help the film speak to a larger human experience of rising above circumstance and overcoming serious odds. It’s nice that the film focuses on a part of the world that doesn’t get the big screen treatment very often. And as to the sport that lies at the heart of the film — I concede I don’t find chess altogether exciting but the way the director and the screenplay works it in to the story actually makes it pretty compelling. I personally have no idea what’s going on on a chess board but I had no problem believing that this brilliant girl did. That’s the mark of a good actor.

Rated: PG

Running Time: 124 mins.

Quoted: “Sometimes the place you are used to is not the place you belong. You belong where you believe you belong. Where is that for you?”

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

The Finest Hours

Posted on February 7, 2016 by Tom

Release: Friday, January 29, 2016

[Theater]

Written by: Scott Silver; Paul Tamasy; Eric Johnson

Directed by: Craig Gillespie

Chris Pine just wants to be the captain of everything. And I guess that’s a good thing because every time his number is called he responds with some kind of grand gesture that usually involves multiple lives being saved under his extraordinary captainship. The Finest Hours isn’t exactly Star Trek but if he continues to shine in these capacities, I say let him have a crack at Captain Planet. (Certain captains are, of course, off-limits. Captain Jack Sparrow and Captain Phillips and Captain Morgan — they don’t need overhauls. They’re doing just fine without Pine.)

The Finest Hours isn’t so much interested in captainship per se (if you want to get technical, Pine’s role hews closer to coxswain than captain this time), but it is still a movie that champions leadership and courageousness. The only catch is Craig Gillespie directs a very Disney-friendly version of the events that comprised one of the most dangerous rescue missions in US Coast Guard history.

It’s February 18, 1952 and a brutal winter storm is tightening its grip on New England. After receiving a distress call from an oil freighter just off the coast, its hull cracked in half from battling twenty-plus-foot waves, Chatham Station Commander Daniel Cluff (Eric Bana, with an awkward southern accent) assigns the young and amiable Bernie Webber to the rescue mission, one that has all but been dismissed as more of a suicide mission by other, more experienced seamen.

Ignoring the cautionary tales of his elders, Webber puts together a four-person team with Richard P. Livesey (Ben Foster), third class engineman Andrew Fitzgerald (Kyle Gallner) and Ervin Maske (John Magaro), a mailboy, joining him in his CG 36500. The most significant and perhaps most deadly obstacle will require Webber to maneuver the 30-foot life boat through violent surf crashing over shallow sand bars just off shore; passing through to open water has never been successfully executed in storm conditions. From there it’ll be a battle against high winds and impending darkness.

Bernie, of course, is soon to be marrying his beloved Miriam (Holliday Grainger) in April. Gillespie reminds us several times that if there’s any reason for Bernie to return home safely, it’s for her. Miriam isn’t a typical 1950s girl, she’s headstrong and demands to be kept informed during every step of the procedure. Miriam has little patience for dealing with gender roles and bureaucracy, so much so that she at one point walks right into Cluff’s office and demands he abandon the mission. Grainger toes the line between confidence and impertinence and while she is refreshing to watch, the question can’t help but rear itself: was the real Miriam Webber this pushy? And where does the line between fact and dramatic license blur? Even still, her defiance of rules and Bernie’s adherence to them has a nice symmetry.

The picture’s not complete until we’ve addressed Casey Affleck‘s meek and mild Ray Sybert, a brilliant engineer stuck in the bowels of the stranded SS Pendleton. The scrawny New Englander finds himself up against one of the greatest technical and physical challenges of his life as he sets about preventing the engine room from taking on more water. There are concerns like the pump flooding, losing power, losing steering ability, and then finally, losing crew.

Rather than drowning in the waves of mounting stress — they have only hours before they sink — Sybert sets about trying to solve the problem rationally. In some ways, The Finest Hours is actually more interested in these embattled blue collared fellas working as a well-oiled machine under Sybert’s semi-reluctant guidance. Despite these being the most politely-spoken New England-based seafarers we’ve ever met (thanks Disney), we understand fairly well Sybert is far from a chosen leader. Other voices are louder, stronger, more adamant. Affleck imbues his character with such quiet strength, a composure that no one else manages to summon.

The film is considerably less compelling when things aren’t falling apart. The Finest Hours won’t be remembered for its romance nor the acting in general. The trio of Pine, Affleck and Grainger have clearly put in the hours but the others, including Bana, leave hardly an impression at all. Somehow that’s okay if you focus on what good the film does. Even though it never breaches those depths of remarkable filmmaking, this optimistic and entirely earnest effort to recount a most unlikely rescue mission is still well worth watching.

Recommendation: The Finest Hours, hampered by a slow opening half but bolstered by heart-pounding action sequences in the middle and towards the end, is a mostly satisfying mixture of action and human drama. Based on the true story, the film feels most comfortable detailing the toils of the stranded freight crew rather than showing how the Coast Guard responded. A little strange then, that the film decides to credit the latter and ignore the former in a pre-credits photo montage. This film isn’t just about the Coast Guard’s decision to make a daring mission. It’s about enduring grave danger as well.

Rated: PG-13

Running Time: 117 mins.

Quoted: “I’m not afraid of the water, Bernie. It just scares me at night, that’s all. You can’t see what’s underneath.”

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Star Wars: The Force Awakens

Posted on December 19, 2015 by Tom

Release: Friday, December 18, 2015

[Theater]

Written by: J.J. Abrams; Lawrence Kasdan; Michael Arndt

Directed by: J.J. Abrams

It’s admittedly difficult to resist feeling giddy when the familiar yellow text starts scrolling into the distance against a background strewn with stars. As John Williams’ iconic score trumpets the arrival of a new era in perhaps the only franchise that seems to matter, excitement slowly gives way to anticipation; anticipation to expectation; expectation to . . . well, this is where the path surely divides.

J.J. Abrams has found success on multiple fronts with his helming of George Lucas’ most lucrative creation. Never mind the fact he managed a dubious transition between both Star-themed universes. His film manifests as a surprisingly efficient blend of fan service and sound judgment. As canon-expanding as it is reverential but without indulging so much it becomes impenetrable to the outsider looking in. The Force Awakens also benefits from the work of a casting director who knows how to put the right pieces in place. On a project of this scale no aspect is unworthy of mention.

POE AND THE MAPQUEST MAGUFFIN

The Force Awakens grafts nicely together with the story arcs presented in the original trilogy. Set approximately three decades into the future the last Jedi, Luke Skywalker, has gone missing following a failed attempt to rebuild Jedi forces that ended in death and destruction thanks to dark warrior Kylo Ren (played by Adam Driver, for some reason).

The shadows of its predecessors are never far behind, though much to the franchise’s credit, there’s a lot of comfort in familiarity.

Rising out of the ashes of Darth Vader and his Death Star comes Ren and The First Order, suitably villainous nomenclature for the second coming of the Galactic Empire. Resistance Forces, into which Oscar Isaac’s skilled pilot Poe Dameron fits like a Skywalker into cinemythology, carry on the burden of the fallen Republic. There are hauntingly beautiful shots of alien sunrises, strange-looking-people montages, and compulsory (but still pulse-quickening) light saber duels. There’s even a repurposed AT-AT.

Early on Poe comes into possession of a digital map detailing the whereabouts of the apparently self-exiled Jedi. In an effort to keep the secret from falling into the wrong hands, he hides the file in his droid BB-8. Call him the R2-D2 of 2015. After a few close encounters and a chance run-in with defecting Stormtrooper FN-2187 (John Boyega) that ends in Poe’s crashing back into the very planet he was trying to escape, the bot proves to be an indispensable asset. BB-8 becomes the target of both the Resistance and the First Order, and the task of protecting it at all costs falls to Finn (née Stormtrooper FN-2187) and the orphan Rey (Daisy Ridley), who represents another of the year’s resilient, beguiling, tough leading ladies.

The trio eventually encounter an aging Han Solo and his co-pilot Chewie, whose loudly applauded first appearances surely won’t prove to be unique to my screening. They meet after crashing a ship following an escape from heavy Stormtrooper fire on the planet Jakku; a ship that turns out to be none other than the Millennium Falcon. Once Solo learns of the precious information the others are sitting on, he volunteers assistance all while Finn is still trying to escape to an entirely different star system, fearing the repercussions of his actions. And he wants to take Rey with him, but she has her heart set on returning home.

YOU AND YOUR SHINY NEW TOY

There’s nothing wholly original about the Abrams/Kasdan-revised script (originally written by Michael Arndt) but above average turns from newcomers Ridley and Boyega make the film easily accessible and a great deal more fun. They’re also unburdened with any sense of forced-awkward intimacy that, if things were different, could’ve earned Lucas a possible Golden Raspberry nomination.

Little time for that though, when you’re trying to take the production (and yourself) a little more seriously. Pride is most definitely at stake here. There’s an unshakable sense Abrams feels compelled to stay to a safe and conventional narrative arc, one that is largely predictable from beginning to end; that he knows and is quite possibly intimidated by how much is at stake with this production. But Episode VII doesn’t play out mechanically or with a sense of cautious restraint. There is restraint being exercised — imagining forty-five minutes having been cut from the opening action sequences and a few other significant confrontations isn’t very hard to do — but if anything the slightly more somber and straight-faced approach suits the drama.

I’ve never been able to categorize any of the installments as drama and yet, for the first time, there is a kind of gravity to proceedings that not only demands but earns attention. That’s not to say the film completely lacks humor, though. And I’ll spare details about what looms in the shadows but I will say this: unfortunately this film hasn’t been immune to Weak Villain syndrome. You’ll need to look elsewhere if you’re to get to the heart and soul of a body soon to be excoriated by dissenters.

Rather the reason, any reason to care about what happens rests upon the shoulders of the embattled Finn and Rey, the newcomers to a saga that clearly has territory left to be explored. Ridley might be the most impressive of the lot, optimizing her natural beauty with a strong, confident persona that betrays her apparently tragic past and fairly impoverished life on Jakku. She also might be the most compelling character. Boyega maintains an easy charm throughout, affording a humanity to the iconic, conformist Stormtroopers that will never be looked at the same way again.

And Lupita Nyong’o receives a sweet supporting role as Maz Kanata, an inquisitive but kind-hearted alien who proves helpful in protecting BB-8 from the First Order. Completely rendered in CGI I didn’t even realize it was Nyong’o until credits rolled, yet she offers a character that will be as difficult to forget as some of the main players.

At times it’s painfully obvious how much Star Wars relies on recognizability rather than its content. It will be interesting to see how many repeat viewings a select few character introductions will hold up to before they start feeling a little too protracted. A little too flashy. And the admittedly imposing Kylo Ren bears more than a passing resemblance to the series’ arguably most familiar character. That ain’t coincidence, all familial backstory accounted for and acknowledged. But let’s be honest, the flashiness can’t be avoided; it’s a new chapter in a major story spanning decades, and everything feels new and shiny again. Perhaps more importantly for me than for others: the new toy isn’t all shine and gloss. It has real functionality, too.

Recommendation: Once again a fairly redundant section of the page here; The Force Awakens doesn’t exactly need my endorsement but for what it’s worth, as a decided non-fan of the series, I really had a good time with this movie. More entertaining and diverting than something I can take really seriously, I was expecting to not like the film. So . . . that is . . . that is kind of neat.

Rated: PG-13

Running Time: 135 mins.

Quoted: “That’s not how the Force works!”

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Photo credits: http://www.business2community.com; http://www.imdb.com

The Good Dinosaur

Posted on December 5, 2015 by Tom

Release: Wednesday, November 25, 2015

[Theater]

Written by: Meg LeFauve

Directed by: Peter Sohn

Life’s pretty good if you’re a Pixar film. Contrary to the fact the ambitious animation studio is consistently held to a higher standard than the likes of DreamWorks, Blue Sky, Fox and Warner Bros. (to name a few), such an impressive track record has earned it the luxury of being able to crank out the occasional less-ambitious production without fearing a major media storm in which words like “disaster,” “major setback” or “uninspired” could comprise the headlines of the day.

Since introducing Woody and friends in the mid-90s the studio has essentially controlled its own destiny. So why shouldn’t it be allowed to conjure something that, narratively speaking, doesn’t aspire to classic status? I haven’t seen everything the studio has put out, not even close, but I feel comfortable suggesting that Cars 2 looks forward to greater replay value than, say, Hotel Transylvania 2. After all, the one constant that can be found in these films is the visual grandeur. In fact Hayao Miyazaki’s team of impossibly talented artists over at Studio Ghibli seem to be the only ones interested in giving Pixar a legitimate run for its money.

I don’t mean to suggest Pixar should ever become complacent though. With its latest adventure, The Good Dinosaur, a charming tale focusing on a family of green apatosauruses, there is an undeniable emphasis on graphics rendering over narrative construction. It tells of Arlo (Raymond Ochoa), an unconfident and wobbly-kneed youngster trying to make his way back home after falling in a river in his attempts to fend off an intruder in the form of feral child Spot (aw, how cute! — no, wait; he’s going to eat these dinosaurs out of house and home . . . not cute).

The Good Dinosaur theorizes something pretty radical: what if the meteor that wiped out these prehistoric beasts never actually hit Earth? In this scenario, millions of years on, dinosaurs not only still exist but dominate the landscape, and have developed to the point of being able to articulate their thoughts and verbally communicate with one another. Arlo’s family happen to be efficient farmers. They place high value on working hard and loving one another, with Poppa (Jeffrey Wright) and Momma (Frances McDormand) encouraging their three offspring to make their mark — a literal mud-print on the side of their stone silo — by doing something for the family and not just themselves.

Inevitably Arlo and Spot become reluctant traveling companions as Arlo starts to realize his enemy might actually be of help in getting back home. In practical terms, he recalls the advice of his father: as long as he follows the river he’ll find his way, but in this harsh, unpredictable and ultimately impossibly beautiful environment Arlo could use the company. He often benefits from Spot’s defensive nature and knack for finding sustenance. In a brilliantly crafted scene that sees the pair mourning — with almost no dialogue — their respective home lives, Arlo learns the little boy is also desperate for companionship.

The Good Dinosaur boils down to a generally well-intentioned though considerably flawed protagonist having to confront his deepest fears and ultimately overcome them. As the film expands, the meteor strike that never was turns out to be a footnote rather than a headline. It’s nothing if not a convoluted way to justify talking dinos and the role reversal between humans and prehistoric reptiles.

We get the requisite subplot that obliges Arlo to put others’ needs in front of his own (just as Poppa had encouraged him to do). A trio of Tyrannosaurus Rex, led by Sam Elliot’s intrepid Butch, ends up rescuing the pair from some insane pterodactyls. Arlo pays it forward by helping them recover a herd of long-horned bison they had lost track of. In the process, he gets one step closer to being back in familiar territory.

As an audience we never truly leave familiar territory behind. We’ve seen this story replayed dozens of times before, and within the Pixar universe. Thankfully, the photorealistic backdrop goes a long way in compensating. As per usual, the world is fully realized and completely immersive. Throughout our journey we come across creatures both friend and foe, bare witness to spectacular sunrises that crest the jagged peaks of Teton-esque mountain ranges, and weather severe storms that manifest as some of the film’s most unforgiving antagonists.

In keeping with tradition, almost everything you see on screen is a character unto itself, with some becoming far more memorable than others. Arlo comes in a close second behind the curious little Spot, who is very difficult not to fall in love with come the tear-jerking conclusion. I’m willing to forgive the film it’s few shortcomings because, and I reiterate, this isn’t proof of Pixar forgetting how to tell sophisticated stories. This is proof the studio knows there are different ways to express sophistication.

Recommendation: This isn’t a film that satisfies both halves of its audience in equal measure. Adults aren’t going to share in their children’s giddiness in the same way they did with Pixar’s earlier 2015 offering but there’s more than enough here for those with more matured palettes to feel comfortable kicking back and basking in the technical achievements made possible by the advent of superior graphics rendering software. And while the story isn’t the most ambitious, The Good Dinosaur is still a beautiful film in more ways than one.

Rated: PG

Running Time: 93 mins.

Quoted: “The storm provides!”

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

Tomorrowland

Posted on June 1, 2015 by Tom

Release: Friday, May 22, 2015

[Theater]

Written by: Brad Bird; Damon Lindelof

Directed by: Brad Bird

The thing to remember about Tomorrowland is how easily it will be forgotten.

The rest of the summer season isn’t likely to spare much sympathy for those wishing this weren’t so. In a few short weeks Jurassic World is going to claw to pieces any memory of George Clooney starring alongside another former doctor (as seen on T.V.), the great Hugh Laurie. Remembering the escapism in Disney’s latest live-action flick after experiencing the upcoming fifth iteration of Tom Cruise’s Ethan Hunt will pretty much be mission: impossible. And do I even need to make a Terminator: Genisys pun? That film thus far isn’t looking like it’s even going to try to be good but it’s sure to find an audience that is going to remember the moment when Arnie delivered on his promise of being back.

Popularity notwithstanding, Brad Bird’s envisioning of an idealistic future won’t stick around for very long as it amounts to frustratingly little more than a spectacular visual experience. This land of tomorrow-ness . . . or whatever . . . looks magnificent in all of its shiny, Emerald City-esque grandeur. Actually it’s more than that. Tomorrowland is magnificent. Who wouldn’t want to go there — whoever could find it, that is?

Strangely enough, Tomorrowland‘s most glaring issue, its cluttered mess of a screenplay — the product of one too many collaborators it would seem — succeeds in arousing curiosity. Curiosity about what in the world is supposed to be going on. What this parallel universe is supposed to stand for; why Laurie couldn’t have been handed a more fleshed-out role. I’m getting a little ahead of myself, so it might be helpful to focus on the clutter for now, just to avoid a review filled with clutter.

Story opens with a narration by George Clooney’s present-day Frank Walker, a boy-genius inventor who became disenchanted with this semi-mythical metropolis having been exiled for some reason or other. Probably some bureaucratic explanation. Oh, yeah — that’s what it was. He invented a jet pack of some sort that had little practical use, as noted by David Nix (Laurie), Tomorrowland’s presiding jerky-jerk-face. The narration is part of a video recording involving him and someone else off screen. Frank continues explaining how he spends the next couple of decades as a hermit, denying his past and any connection to it. Despite all this serving as half the exposition required, there’s enough material already to warrant a full-length film on its own. But Frank isn’t the only relevant Tomorrowlander . . . (Tomorrowlandite? Tomorrowlandian?)

There is also Casey Newton (Britt Robertson), an intelligent and adventurous young girl, daughter of a NASA scientist who, naturally, has access to some pretty high-tech facilities and yet no sense of boundaries. When she’s arrested for poking around her father’s work place and subsequently released Casey finds herself in possession of a brightly colored pin — the kind that, when touched, transports that person to a place far removed from their current surroundings. Skepticism about what she’s experiencing soon is sidelined in favor of even more narrative expansion when a precocious young girl named Athena (Raffey Cassidy) appears almost out of thin air. Her posh hairstyle and British accent suggest charm and sophistication, a stereotype Disney is still comfortable with in 2015. Athena’s initially quite the enigma, possessing a wealth of knowledge and wisdom someone her age couldn’t possibly have. Over time she trends away from mysterious and stops just short of a total annoyance.

Considering the quirks inherent with each of these intrepid explorers, we’re given such little depth and personality. Protagonist and antagonist alike dutifully adhere to the script, simultaneously forfeiting their right to creatively express themselves. It’s a little saddening knowing the House of Mouse refused to open its doors to creative writers on this particular project. ~~House~~ Laurie is not quite as compelling without the guidance of some spectacular character development, though he is passable here. Clearly Clooney received a phone call one afternoon, urging him to clear some time in his schedule to up Tomorrowland‘s recognizable faces quota, because his character functions as a cardboard cutout of the typical adult jaded by a few sour life experiences. Granted, if I was told my ingenious inventions were an epic fail as a young boy I suppose I would pout too, but there’s no other mode Clooney gets to switch into.

The denouement isn’t exactly the bright light at the end of the tunnel, either. We spend a great deal of time building up to something; what we are lead to believe will be some kind of infiltration of an ill-defined utopia. At the very least we are expecting some great drama inside the halls of Nix’s . . . what, his lair? Do you call this tower a lair? Let’s call it a lair. Instead, it turns out Nix has been using his power to guard Tomorrowland from potential invaders (meaning all of us trapped in the real world, one that is perilously close to being annihilated from El Niño or something) and doesn’t care if his actions mean the deaths of millions. Sure, it’s the wrong position to take when faced with the choice of either saving mankind or letting it die out, but Nix is no sinister villain. The writing just doesn’t allow for anything other than a small bout of fisticuffs between Laurie and Clooney.

Bird manages to steer his film in a perpetually positive direction — Tomorrowland rarely stops to look back, opting instead to embrace the future, eager to find something better than what came before — and yet the end result leaves one completely indifferent to this world building. After these two hours, one ought not be blamed too much for wanting to live in the past, in a time before they were taken to a world that turned out to be built out of false promises and perhaps a few unfairly high expectations.

Ever reached for the glued-down . . . world-transforming Tomorrowland pin?

Recommendation: Best described as a family adventure for Friday night movie nights, Tomorrowland may look good but its mostly surface gloss. It doesn’t feature any stand-out performances, and yet the experience isn’t done a disservice because of average acting. The emphasis on optimism hardly rings hollow, but the communication method is woefully unmemorable, which is disappointing given its exciting marketing campaign prior to the release. Disney (and Brad Bird) can do better.

Rated: PG

Running Time: 130 mins.

Quoted: “Every day is the opportunity for a better tomorrow.”

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

McFarland USA

Posted on March 26, 2015 by Tom

Release: Friday, February 20, 2015

[Theater]

Written by: Christopher Cleveland; Bettina Gilois; Grant Thompson

Directed by: Niki Caro

Is this the part where I openly admit to becoming teary-eyed watching a Disney film? Or is that just way too honest?

. . . . . hello . . . ? Guys . . . . . . ?

Ah well, whatever. Good chance I’m just talking to myself now, but nonetheless it’s nice being reminded of how many ways movies can offer surprises. Family-friendly McFarland USA is the most recent example, transcending mediocrity while still relying on shopworn techniques to construct its story, one that is as wholesome as it is sensational given its drawing upon real life events.

Kevin Costner is a disgraced high school football coach named Jim White who finds himself having to relocate his family to Nowheresville — er, excuse me, that’s McFarland, a tiny Californian town few maps have ever bothered mentioning — as he seeks another coaching job at a high school that’s predominantly Hispanic. Although hired because of his football résumé Jim suggests to the school’s principal, much to the chagrin of Assistant Coach Jenks (Chris Ellis), that McFarland High start up a cross country running team. He sees in several members of the squad some serious talent, but talent that’s more useful off the gridiron. Having no experience coaching track or cross country before Jim’s chances of finding success are pretty apparent from the get-go, but it’s not until he manages to corral seven young boys, including the unstoppable Thomas Valles (Carlos Pratts) that a real opportunity begins to present itself.

McFarland USA begs comparisons to the inferiorly budgeted and marketed Spare Parts, a production featuring George Lopez that shines a light upon four young Latino high school students possessing brilliant minds but lacking the financial and societal support needed for their potential to be fully realized. Trade intellect for athleticism, Arizona for California and a talk-show host for a seasoned action star and you get the latest effort from director Niki Caro. The drama at times mirrors that of the kids of Carl Hayden High, in particular a scene in which Jim White drives his rapidly rising young star athletes to the beach so they can have their first glimpse of the ocean. It should be said that this sequence is handled with much more grace and passion but it’s difficult shaking that feeling of déjà vu if you’ve sat through both films.

But where Spare Parts had the difficult task of selling audiences on the magnitude of the motivation required for these immigrant youths to compete in something as obscure as an underwater robotics competition, McFarland USA embraces its broader audience appeal by crafting a sense of warm community and fictionalizing a rallying cry behind an upstart sports team. Cross country running makes for an interesting twist on an all-too-eager-to-inspire genre. At the risk of scribbling out yet another cliché, we’ve been beaten over the head more than enough times with the pressures, heartbreaks and pitfalls of football stardom. As an avid sports fan, I say this not because my goal is to mislead anyone but because it’s simply true: football dramas are far too easy to find.

It’s also no secret Disney prefers creating cinema that values community-building rather than the destruction thereof, and McFarland USA continues in that tradition. As the Whites transition from minority status in a town where no one’s a stranger to another, to becoming the reason McFarland begins receiving recognition amongst the more affluent surrounding suburbs there is a surprising amount of satisfaction gained in experiencing the growth, both personal and communal. Jim goes from being jokingly nick-named ‘Blanco’ to being revered as Coach as a series of growing pains galvanizes the group over the fall of 1987.

Added to this, Caro’s ability to homogenize these two cultures cohabiting within the Californian border. We see Jim’s eldest daughter Julie (Morgan Saylor) entering into young womanhood upon her 15th birthday during an extended vignette that serves as a highlight of the film when her father throws her a “quinceañera,” and her burgeoning romance with Thomas (arguably the best runner) furthers the notion that this family is not likely to abandon McFarland, even if Jim may have better job prospects on the horizon given his remarkable achievements. The respect between both groups is something that helps to balance out the film’s fixation on competition during the race day events.

There’s nothing truly original about McFarland USA, and yet the film excels in delivering entertainment and packaging an inspirational true story unlike many mainstream sports dramas have in recent memory. Anchored by wonderful performances from Costner and Bello in tandem and visually enhanced by a vibrant Disney color palette — this is a beautifully shot film, with particular emphasis on the landscapes during the races as well as the costume design — you might find yourself every now and then counting cliches but at the end you shouldn’t be too surprised to find yourself secretly cheering.

Recommendation: McFarland USA relies on some old-hat filmmaking techniques but that doesn’t distract from the pure enjoyment of watching this town come together. There is so much to like about this one that anything less than a solid recommendation just wouldn’t be fair. Any fan of Kevin Costner shouldn’t pass this one up, either.

Rated: PG

Running Time: 129 mins.

Quoted: “That’s not Danny Diaz. . !”

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

TBT: Flubber (1997)

Posted on January 29, 2015 by Tom

As we close out the first month of TBT’s for the year 2015 here, I’d just like to remind everyone not to panic. Although it seems like the calendar is already rushing by, uh. . . well, actually. Yeah it is just rushing by. I had a thought there for a second and lost it. This is getting a bit silly, that I’ve already done one month’s worth of these things (and it’s been a long month too — there were five Thursdays this month). At the same time, we are getting that much further away from the terrible day wherein our beloved Robin Williams left us. I’ve never been able to stop thinking about that day really. So I thought it was high time we revisit one of his lesser known, perhaps lesser-quality roles in

Today’s food for thought: Flubber.

Bouncing off the walls since: November 26, 1997

[VHS]

It may not be a good movie, much less a remake of The Absent-Minded Professor, but who doesn’t remember flubber — either the title or the namesake green, gooey stretchy stuff? This is one of those movies that just reeks of ’90s cheese, but personally that’s a scent I enjoy. Robin Williams may be one of the only good things about this flick about a college professor attempting to save the local college by raising money through his science experiments, but that was really enough for me as a kid.

Flubber helped pass the time on so many car trips my family used to take out West. All five of us Littles schlocked into the family SUV, a travel-sized TV shoved in between the driver’s seat and passenger’s seat aimed back at three youngsters struggling to not get on each other’s last nerve over the course of a 20-plus hour journey. Ah yes, these were the days. For 28-year-old me, Flubber represents innocence if nothing else. This ain’t a film built to withstand even the most generous of criticism. It’s poorly written, hastily executed and mired in virtually every cliche you can attach flying rubber to.

But it’s a film that guards some oh-so-precious memories I have swimming around in the old noggin. Memories of how when we finally broke out into the open plains of the sprawling mid-west just beyond St. Louis, how the sun would take forever to set over the horizon; memories of how tight-knit a family unit can be for some time before the inevitable adolescent stages set in and slowly but surely pull the dynamic into an entirely new direction. I’m still very much close with my brother, my sister and my mom and dad. But we don’t take these car trips anymore. We’ve sort of grown out of them. Just like when (or if) I choose to go back and watch Flubber now, I’ll notice how much my critical mind will not allow me to just enjoy the film for what it presents: good-natured, high-spirited mischief.

Robin Williams is Professor Philip Brainard, a well-meaning man but whose dedication to science overshadows pretty much everything else in his life. He has attempted to marry his sweetheart Sara (Marcia Gay Harden) on a couple of occasions but each time something has come up. On the eve of the third go-around, Philip discovers an unusual compound that contains a ridiculous amount of energy that only increases as it interacts with other objects; he sets his ‘It’s Time to Get Married Finally’ alarm but sets it for the wrong time. Sara understandably has had enough. Enter a typically smarmy Christopher McDonald as Philip’s former partner, Wilson Croft, who has his heart set on making up for Philip’s indiscretions with his (former) lover as well as financially benefitting from Philip’s hard work.

The fictitious Medfield College, where Sara is college president, is in trouble if this new energy source fails to demonstrate its practical applications. A majority of the film is spent watching professor attempt to simply keep flubber in control. He thwarts home invaders in the process of discovering that his creation actually has personality and energy in overwhelming abundance. I’m sure if I go back and watch now, I’d be struck by the uncanny resemblance between the energetic green goo and Williams’ off-screen persona. As he slowly starts mastering how to control flubber, he starts to really have some fun. He sticks it to the shoes of college basketball players to make them jump higher and run faster (and the team of course ends up winning the game), and he liberally applies it to a number of everyday objects including a golf ball, a basketball and his car.

It has been years since I’ve last experienced the whiz-bang-pop of Les Mayfield’s creation, but I still fondly remember Professor Brainard’s curious floating robot, Weebo (voiced by Jodi Benson). If it wasn’t Williams’ appropriately whacked-out hairdo or his fumbling professor that’s memorable, then surely it’s the little yellow, round droid that leaves an impression. Dear Weebo, the voice of reason and optimism in times of hardship and heartbreak, you were a strange but wonderful invention of this film. It was very sad indeed watching you get struck down by a bad guy with a baseball bat. This is the kind of movie that inspires the child in me to question what kind of trouble I would get into if I had some flubber of my very own. What kind of good would I be able to do with it, if any? Would I use it for personal gain, or would I share my creation with others? Would I save that local college so I could rekindle my love with someone whom I’ve had great difficulty in expressing my true feelings for? Would I use it for a specific purpose, i.e. kicking Christopher McDonald’s ass?

Flubber is not a memorable film if you’re just considering the story. But the title of the movie alone is fun to play around with. Is it a noun, a verb, an adjective? Is it alive or just a chemical/CGI creation of Disney? Most importantly: what happens when you accidentally ingest the stuff . . . . would it taste good?

Not quite like Silly Putty. This has got more . . . um, spunk.

Recommendation: This modern spin on the 1961 Robert Stevenson film about a professor who discovers an anti-gravity substance is perhaps not the best use of Robin Williams’ talents but it features him in a lovable enough capacity. A few elements on the periphery help make this one a fun outing for youngsters — i.e. the titular green goo and Professor Brainard’s robotic helpers. It is highly slapstick, though and could have benefitted from stronger writing. If you haven’t ever seen this, I’d be willing to recommend checking it out if you have kids.

Rated: PG

Running Time: 93 mins.

TBTrivia: According to Wil Wheaton, in the scenes that he was in with Robin Williams, they would film a take the way it was supposed to be filmed. After that take, Williams would often want to improvise scenes differently than the script, just for fun. Those scenes were not added to the actual film, but there were enough scenes to make an entirely different movie.

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

TBT: Brink! (1998)

Posted on July 31, 2014 by Tom

As the summer season of filmgoing winds down (well, sort of. . .Guardians of the Galaxy looms around the corner this weekend, so maybe that’s a premature statement) my inspired posts have really ramped up! Today’s TBT comes at you not from the brain of. . .well, me. . . but yeah, from someone else. Someone else’s sick mind is responsible for today’s throwback. And I won’t mention any names (Keith), but suffice it to say — this man has a great taste in movies! I had almost forgotten all about these campy Disney originals, until now. So, he suggested this one and, for anyone who has seen this, I’m sure they’ll also wonder how I could possibly go without talking about

Today’s food for thought: Brink!

Rolling brakeless since: August 29, 1998

[TV]

Ahh, Brink! Yes, the movie title with the mysterious exclamation point at the end, the one to this day I still don’t understand. I mean, why so excited? Everytime I write that title I sound more enthusiastic than I really should about a Disney channel original movie, but you know, whatever. #YOLO.

There’s a great many things yours truly does not understand, and this movie title, not to mention how inexplicably awesome the film itself actually was, are two more things I might as well add to the list.

I ain’t gonna fake it, brah. Brink! is a pretty damn cheesy movie, but it features some blasts of summer fun that time and again recall a much simpler, innocent time. The days spent careening down streets and heckling passers-by on the boardwalk can be recalled fondly for every Californian at home catching it on T.V. for the umpteenth time at 4 p.m. right after school. For those playing the long-distance game, who don’t live in California and who aren’t steeped in the rollerblading culture, it perhaps served better as a postcard from Venice Beach.

When a group of enthusiastic young in-liners led by Andy “Brink” Brinker (that’s not an awkward name at all) clash with a rivaling group of “professionally sponsored” skaters, Brink (Erik von Detten) is forced to decide who to skate for when given the opportunity to raise money for his family by joining Team X-Bladz, the über-serious and totally rad side of skating. But does he have it in him to sacrifice his friends and the simple joy of having fun while skating in order to make money? Dedicated Brink-sters tend to view this fairly asinine struggle as Anakin slowly joining the Dark Side. You desperately want him to turn back, to use reason and logic. Possibly, The Force, if necessary, to escape a lifetime of. . . well, selling out.

Of course, deep down Brink knows that “The Force” is just him having an identity crisis. He was once a passionate skater but now finds it necessary to use his talents as a way to financially help out his family. He betrays his bro’s (Brink, c’mon man), and he even endangers the life of one of them during a street race between himself and Gabby (Christina Vidal) when trying to prove who is the better downhill skater. If there really is a Dark Side in Disney’s eyes, it’s the whole selling one’s self out to corporate greed and uniformity. Ironically actual skaters view the world the same way. Unfortunately even the corporate-sponsored ones still have to fight for food, as the sport is not — as one might imagine — a highly-paid profession.

But enough of the practical talk, this is a Disney Channel movie throwback, for crying out loud. Enough with statistical probability of making it successfully in the industry (yes, the sport of rollerblading has garnered corporate sponsorship, despite what skateboarding might have you thinking otherwise), and enough with the damn comparisons to Star Wars. I just lost an entire paragraph to that metaphor. And about to lose another one to an explanation of why that was weird. Whatever.

At the end of the day, if you haven’t experienced the fast-paced, corny-as-corn action of Brink!, you’re basically missing out. And, brah, you have been for quite some time. The child in me who sat far too close to a television set still wants to think it was longer ago than 1998. Then again, that was well over a decade ago now.

Man, it’s gotta be a burden to possess a face that looks like that . . .

Recommendation: I feel like if I need to recommend Brink! to my readers, I’ve already lost the race. You’ve either seen this one or you gave it a wide berth. I’m not really sure how some of my readers would go about even tracking it down out of curiosity now, unless they are comfortable with sifting through hours of mindless drivel on the Disney channel. Although, that might be a worthwhile sacrifice if you find yourself just curious enough.

Rated: NR

Running Time: 99 mins.

Quoted: “Whatever brah, let’s blade.”

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

Photo credits: http://www.bustle.com; Google images

Thomas J

My Journey Through Film

Tag Archives: #disney

Jungle Cruise

Moana

Queen of Katwe

The Finest Hours

Star Wars: The Force Awakens

The Good Dinosaur

Tomorrowland

McFarland USA

TBT: Flubber (1997)

TBT: Brink! (1998)