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 

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

The Tomorrow War

Release: Friday, July 2, 2021 (Amazon Prime)

👀 Amazon Prime

Written by: Zach Dean

Directed by: Chris McKay

Starring: Chris Pratt; Sam Richardson; Yvonne Strahovski; Betty Gilpin; J.K. Simmons; Edwin Hodge

 

 

***/*****

The creatures at the center of Chris McKay’s fast-moving and action-packed sci-fi blockbuster are microcosmic of the overall experience of The Tomorrow War. You can’t take your eyes off them despite how familiar they are, an amalgam of iconic elements and concepts from bigger, more famous genre titles of years past.

It’s not looking good for us humble humans in the year 2051. The global population reduced to something in the hundreds of thousands, we’re well on our way to losing the war against the Whitespikes, a race of vicious creatures who look like some hybrid between H.R. Giger’s beloved Xenomorphs and the chaotic Mimics from Edge of Tomorrow (2014). In a last ditch effort, future people are time-traveling back to our reality to recruit citizens into the war effort because we regular Joes are literally the last line of defense. May as well cancel the sunrise at this point.

The gregarious Chris Pratt is our ticket in to experiencing this future hellscape for ourselves, charged with leading a platoon on what essentially amounts to a suicide mission into a world overrun with beasts that move with alarming agility and aggression and have this nasty tendency to shoot spikes from tentacled appendages. Pratt again proves to be a supportable hero though this time he disconnects more from his goofball persona to slip into the fatigues of career-depressed Dan Forester, a retired Green Beret now itching to retire from the grind of teaching high school biology to disinterested students.

Too ‘average’ to fit in at the Army Research Lab, Dan is handed (more like strong-armed into) an opportunity to fulfill a destiny, if not also risk his sanity. His number gets called and despite the protestations of his wife Emmy (Betty Gilpin — redeemed) whose experience as a therapist for returning survivors gives her a good idea of the best case scenario, he’s quickly on board for a one-week tour of duty in which the survival rate hovers at a miserable 30%. Those who do survive get beamed back to the present day from wherever they happen to be at the time. While a pre-jump exchange feels shortchanged between Dan and his estranged father James (a beefed-up J.K. Simmons), whose methods of dealing with his own PTSD have never sat right with his son, leaving behind his bright daughter Muri (a wonderful Ryan Kiera Armstrong) is the tear-jerking moment Zach Dean’s pedestrian screenplay flubs the most.

This brief snapshot of an average family life discarded with, we plunge headlong into the film proper, to the part everyone is anticipating. Blasting through the most hurried boot camp you’ve ever seen — mostly a loading platform where we pick up fellow goofball Sam Richardson as the nervous chatterbox Charlie and a dead-serious Edwin Hodge as Dorian, a jaded warrior on his third tour — we’re soon dumped unceremoniously onto the terrifying field, a visually stunning combo of war-ravaged metropolis, oceanic fortress and gorgeous locales both tropical and tundral. The future-world sets are the film’s best assets, a series of battlegrounds rendered both foreign and familiar and across which we rip on a death-defying mission to find the almighty toxin that can bring down these bastards once and for all.

In reaching for Interstellar-levels of wisdom director Chris McKay, in his first live-action feature film, misses the mark with only broad gestures toward its themes of redemption and familial sacrifice. After barely surviving Miami Beach and awakening in a military compound in the Dominican Republic Dan is brought face-to-face with a challenge greater than the physical ordeal. Australian actor Yvonne Strahovski ironically puts in the most emotional performance as the hardened Colonel Forester, who gives her trusted soldier plenty to think about à la Matthew McConaughey as his lonely little self slipped, preposterously, toward the singularity-cum-bookshelf.

Yes, almost by definition even the best sci fi are inherently ridiculous. Unfortunately The Tomorrow War lacks the emotional gravity and force of personality that can distract from overthinking. This is a blockbuster designed to keep your eyes busy and your analytical mind at bay. The film editors are key, masterfully sowing together the three major movements into one kinetic, fast-moving machine whose biggest malfunction is being forgettable pablum.

The Tomorrow War is likable, lively but ultimately shallow. However you could do a lot worse for an unwitting hero and for a piece of home entertainment. As yet another casualty of the COVID disruption, this two-hour wow-fest is found exclusively on Amazon Prime and is bound to rattle walls with its unrelenting energy.

“I’m court marshaling you for your Thanos-related antics. You really could have cost us, buddy.”

Moral of the Story: The living room may not be the ideal environment in which to take in a movie of such size and scale — The Tomorrow War is Amazon’s biggest film purchase ever, priced at an eye-popping $200 mil — but the convenience factor makes this derivative sci-fi yarn more attractive. 

Rated: PG-13

Running Time: 138 mins. 

Quoted: “If there’s one thing that the world needs right now, it’s scientists. We cannot stop innovating. That’s how you solve a problem.” 

Check out the (really long) Final Trailer from Amazon Prime 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; The Atlanta Journal-Constitution

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 

Palm Springs

Release: Friday, July 10, 2020 (Hulu)

→Hulu

Written by: Andy Siara

Directed by: Max Barbakow

Palm Springs, a buzzy new Hulu original starring Andy Samberg, Cristin Milioti and J.K. Simmons, for me has an unusual distinction. This romantic comedy about two strangers stuck in a time loop at a wedding boasts one of the best post-credits scenes I’ve seen in a long time. It seems like such a small thing, not even worthy of mentioning in a review much less in the lede, but the closure it provides is just so satisfying it improved my opinion of the movie overall.

That might seem like a slam against everything preceding it. It’s not. Max Barbakow’s modern reinvention of Groundhog Day is far from perfect but it is very enjoyable and it ends in a way that sends the audience off on a high. Any movie that has the potential to get fresh eyeballs on that Bill Murray classic is okay by me. Palm Springs is perhaps even an homage to it, with lines like “it’s one of those infinite time loop situations you may have heard about” seemingly gesturing in the direction of the late Harold Ramis’ beloved 1993 comedy, or at least, toward a recent history of films inspired by it.

Harder to ignore is the fact the famously goofy 42-year-old positions himself as an intensely cynical, occasionally even unlikable leading man who has to get over himself in order to break free of the barely metaphorical cycle of living without purpose or fear of consequence. Samberg is Nyles, a drifter doomed to wake up on the same day in November ad infinitum. He takes the expression “going through the motions” to a whole new level with his presence at a wedding for Tala (Camila Mendes) and Abe (Tyler Hoechlin). His only connection is his high-maintenance girlfriend Misty (Meredith Hagner), who is in the bridal party.

Groundhog Day fans already know the drill: Nobody else is aware of his situation, and nothing he does seems to change it, not even multiple, technically successful, suicide attempts. After being stuck here for an indeterminate amount of time Nyles’ ability to care has been worn down to a nubbin. Then, during one loop, he introduces himself to Sarah (Milioti), who sticks out like such a sore thumb due to her visible discomfort in seeing her younger, far more successful (and selfless!) sister get her happily-ever-after that it kind of amazes me how Nyles does not pick up on this any sooner.

Mostly this is because the script from Andy Siara prefers giving the former SNL star the space and time to do his sketches rather than worrying too much about internal logic. Not for nothing, there are some really creative inventions as the filmmakers play around with the character’s prescience. A memorable sequence early on has Nyles going through a dance sequence so bizarre no person would possibly be able to pull it off without his “experience.” It also is a really fun way to get the two main characters to initially hook up. Of course, just as things are turning amorous a series of crazy happenings causes Sarah to fall into the same trap Nyles has been stuck in. All I will offer is that it involves a crazy-eyed, face-painted J.K. Simmons wielding a bow and arrow, and a cave of glowing light.

Palm Springs not only asks you to suspend disbelief for a minute (or two, or depending on how cynical you are, maybe 90) but it also seems like one of those movies that would rely heavily on dramatic irony. However it moves surprisingly quickly beyond that, evolving into a quasi sci-fi adventure and thereby making Sarah a more interesting, smarter character. When she comes to accept what’s happened, she proves to be very (and darkly hilariously) solutions-oriented, especially when she learns a little bit more about the guy she’s stuck here with. Time loop movies can go to some dark places and Palm Springs, despite its tropical setting, is no exception.

For a story steeped in the tradition of two icy hearts gradually warmed by shared intimate experiences, we don’t really get a lot of character development. Interestingly Sarah feels like a more fleshed out character than does Nyles. That feels like a first. Generally speaking Palm Springs relies on actor personalities. For example, J.K. Simmons. Every time I see him in a movie — with the notable exception of Damien Chazelle’s Whiplash — I just want to kick back with a stogie and a glass of whisky with the guy and just shoot the breeze. Less involved but also fun are Peter Gallagher as the father of the bride and the wonderful June Squibb as an older wedding guest. And though the conclusion is patently predictable, I just cannot deny the warm fuzzy it leaves you with.

I feel ya buddy

Recommendation: Andy Samberg plays one of his more “unlikable” characters that I can recall. I put quotes around that word because it’s just really hard to gauge where his attitude stems from — bad childhood? Too many loves lost? Parental issues? Wtf is his deal? The movie isn’t great on character development. But it is big on mood and ideas, and that’s plenty enough for me to give this a hearty recommendation to fans of smartly done romantic comedies. 

Rated: R

Running Time: 90 mins.

Quoted: “I can’t keep waking up in here. Everything that we are doing is meaningless.”

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

Photo credits: IMDb 

When a Song Gets Bigger than the Movie: Stay Alive

This one is for all the daydreamers and travelers out there who want to be anywhere but stuck at home right now.

The song ‘Stay Alive’ is one of several the Argentinian-Swedish indie folk singer/songwriter José González contributed to the soundtrack for The Secret Life of Walter Mitty, a 2013 adventure drama/fantasy starring Ben Stiller, Sean Penn, Kristen Wiig and Adam Scott. The movie is an amazing journey, taking audiences on a globetrotting adventure when Life magazine photographer Walter (Stiller) embarks on a search for a famous photographer whose work is to be included in the final print edition of the mag, which is about to transition into digital form. While a lot of critics were divided on Stiller’s direction and the whimsical, disjointed narrative, few took issue with the visual composition.

What’s more amazing than the cinematography and scenery is that, even after all these years, it’s the music that stays with me. Few soundtracks move me in the way The Secret Life of Walter Mitty did. Put together by Theodore Shapiro, it features, among others, Of Monsters and Men, Arcade Fire, Jack Johnson and David Bowie, so there is no shortage of inspiring songs I could have used here.

But ‘Stay Alive’ — and I do stress the fact this is the one without the gerund, because f**k The Bee Gees — is just one of those songs that marks a moment in time for me. From the opening piano keys and the ticking clock, through to the drum-fed crescendo, the poetic lyrics written by Ryan Adams and Shapiro and vocalized by González, it’s a quietly profound song that swells with great hope. It’s a meditation on life and love; a journey toward fulfillment that both compliments the physical journey Stiller goes on and transcends it. Indeed, this song captures the spirit of the movie best.

Then again, I have a propensity for being dramatic and often suffer delusions of grandeur so, I don’t hold it against anyone for not being moved in the same way.


Stay Alive (lyrics by Ryan Adams and Theodore Shapiro)

There’s a rhythm in rush these days
Where the lights don’t move and the colors don’t fade
Leaves you empty with nothing but dreams
In a world gone shallow
In a world gone lean

Sometimes there’s things a man cannot know
Gears won’t turn and the leaves won’t grow
There’s no place to run and no gasoline
Engine won’t turn
And the train won’t leave

Engines won’t turn and the train won’t leave

I will stay with you tonight
Hold you close ’til the morning light
In the morning watch a new day rise
We’ll do whatever just to stay alive
We’ll do whatever just to stay alive

Well the way I feel is the way I write
It isn’t like the thoughts of the man who lies
There is a truth and it’s on our side
Dawn is coming
Open your eyes
Look into the sun as the new days rise

And I will wait for you tonight
You’re here forever and you’re by my side
I’ve been waiting all my life
To feel your heart as it’s keeping time
We’ll do whatever just to stay alive

Dawn is coming
Open your eyes
Dawn is coming
Open your eyes
Dawn is coming
Open your eyes
Dawn is coming
Open your eyes

Look into the sun as the new days rise
There’s a rhythm in rush these days
Where the lights don’t move and the colors don’t fade
Leaves you empty with nothing but dreams
In a world gone shallow
In a world gone lean

But there is a truth and it’s on our side
Dawn is coming open your eyes
Look into the sun as a new days rise

Yesterday

Release: Friday, June 28, 2019

→HBO

Written by: Richard Curtis

Directed by: Danny Boyle

Imagine all the people living day to day without the music of the Beatles. Imagine John Lennon aging into his 70s, living a quiet life with an un-famous instead of infamous significant other. And imagine being Jack Malik (Himesh Patel), the only one in the world who still has a recollection of the band and their indelible influence. These are the things the very silly but undeniably charming romantic comedy Yesterday imagines and then makes real.

Jack is in a bit of a pickle. Well, first he’s in a hospital bed and missing some teeth after getting struck by a bus when a global blackout hits out of nowhere. Up to this point his pursuit of his musical passions has not been going well. He struggles to get gigs and when he does he plays to dwindling crowds, some of them so small his mates and his so-obviously-more-than-friend/manager Ellie (Lily James) are the crowd. When he plays a classic Beatles tune for them one afternoon and they’re none the wiser, Jack sees an opportunity. The blackout has seemingly wiped away the collective memory of the band that redefined music not just for a generation but forever. It’s not all bad though because apparently Coca Cola, cigarettes and Harry Potter no longer exist either.

Provided he can remember the lyrics, why not start passing off ‘Eleanor Rigby’ as his own? We don’t have to go crazy here and exhume ‘Yellow Submarine’ or anything like that but, really, who is he harming if he claims authorship of some of the most popular songs ever written? So he does, and with Ellie’s hand gently on his back, guiding him in the direction of his dreams yet unwilling to abandon her post as a schoolteacher, he embarks on the path to superstardom. He brings along his very socially awkward friend Rocky (Joel Fry) as his roadie.

Along the way Jack meets British singer/songwriter Ed Sheeran, for whom he opens at a big show in Moscow and later gets into a songwriting “battle” where the two are challenged to come up with a new song on-the-spot. I’ll let you guess as to how that works out. Jack’s situation becomes more complicated when he is introduced to American talent manager Debra Hammer (a deliciously nasty Kate McKinnon), who convinces him to dump bonny old England for the sunny coastlines of L.A.. Once there he faces increasing pressure to not only put together a collection of smash hits which will form “the greatest album of all time” but to overhaul his image into something that screams Success.

Yesterday is a fluffy bit of entertainment surprisingly directed by Danny Boyle. I say surprisingly because while it has the vibrant colors, fancy camerawork and busy mise en scène that make his movies so visually energetic and engaging, it is Richard “Love Actually” Curtis’s writing that ends up characterizing this movie. The fantastical premise is as littered with plot holes and contrivances as much as the soundtrack is with Beatles classics (the usage of which reportedly took up about 40% of the overall budget!). Yesterday is Boyle’s fourteenth directorial effort and it just may be his most formulaic.

Despite the flaws, none bigger than the fact the story never really delves below the surface of its complicated morality, it is hard to hate on a movie that is so amiable and so full of heart. That largely comes down to the efforts of the cast who make for great company at each and every step of the way. British-born actor Himesh Patel proves to be an impressive singer, and his genuine chemistry with Lily James had me smitten from pretty much minute one.

Recommendation: A bonafide cheesy, feel-good movie. I’m trying to decide if you’ll get more out of this thing if you’re a Beatles fan or a sucker for a good romantic comedy. As far as the music goes, Yesterday feels like a “Classic Hits” soundtrack. 2020 has been a rough year to say the least so far. Maybe “hunkering down” with a movie as familiar and ordinary as this is just what the doctor ordered. 

Rated: PG-13

Running Time: 116 mins.

Quoted: “Miracles happen all the time!” 

“Like what?”

“Like Benedict Cumberbatch becoming a sex symbol . . . “

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

Photo credits: IMP Awards; IMDb 

The Marvelous Brie Larson — #5

Welcome back to another edition of my latest Actor Profile, The Marvelous Brie Larson, a monthly series revolving around the silver screen performances of one of my favorite actresses. If you are a newcomer to this series, the idea behind this feature is to bring attention to a specific performer and their skill sets and to see how they contribute to a story.

Okay, it’s probably not the best time to be bringing up a summer blockbuster, not for us in the northern hemisphere at least as we slip into the early autumn, but here goes this anyway.

We’ve all seen this one. Jordan Vogt-Roberts’ 2017 Monster-verse contribution came in the form of Kong: Skull Island. It immediately followed up Gareth Edwards’ 2014 Godzilla. It was a cotton candy blockbuster that put fun first and character and symbolism second. It’s not a storyline that reinvents monster mayhem in any significant way but the film does benefit from a distinct ’70s milieu and a stellar (and I mean STELLAR cast — including a memorably antagonistic Samuel L. Jackson, who actually makes this installment more appropriate as it was during this film shoot when Jackson campaigned hard for Larson to put him in her directorial debut Unicorn Store, the previous role I highlighted for this feature).

There’s no denying the movie delivers in its capacity as a crowd-pleasing, goofy throwback to creature features of the past. And while the characters certainly aren’t the main attraction here (sorry Brie, it’s true) she fits in to this crazy world with ease, fulfilling a role that’s arguably the closest to providing an audience proxy than any of the other famous faces along for the ride.

Brie Larson as Mason Weaver in Jordan Vogt-Roberts’ Kong: Skull Island 

Role Type: Supporting

Genre: Action/adventure/fantasy

Premise: After the Vietnam war, a team of scientists explores an uncharted island in the Pacific, venturing into the domain of the mighty Kong, and must fight to escape a primal Eden.

Character Background: Just to start off, I’d like to say how relieved I was to learn this wasn’t going to be yet another Kong-goes-to-New-York story, which necessarily meant the fate of the lone woman in this big burly blockbuster wasn’t going to be anything like the classic Ann Darrow/damsel-in-distress arc made famous by Fay Wray and most recently inhabited by Naomi Watts in Peter Jackson’s 2005 remake. (And can I also just say how much I hated how excessively indulgent that movie’s running time was?)

Mason Weaver is a natural fit for Larson’s preference for playing strong, independent female characters. Self-described as an “anti-war photographer,” Mason is a woman of conviction and toughness who has leveraged her experience in capturing humanity at its worst into securing a coveted position on an “exploratory” mission to the mysterious Skull Island, an expedition Mason has strong suspicions is not what Monarch researcher Bill Randa (John Goodman) initially describes it as. Raised a pacifist, Mason’s biggest obstacle isn’t a 100-foot-tall gorilla who can fling helicopters for miles or slings 50-foot-tall trees like missiles, but rather the aggressive and war-crazed Lieutenant Colonel Preston Packard (Samuel L. Jackson). Packard believes it’s hippie journalists like Mason who undermined the American presence in ‘Nam, and some of the best scenes in the movie result from the pair’s starkly opposed viewpoints on whether to kill Kong or . . . let him Rule.

Larson had appeared in some fairly high-profile movies prior to Skull Island (a supporting role alongside Joseph Gordon-Levitt in his directorial debut Don Jon; with minor parts in popular comedies 21 Jump Street and Trainwreck) but as an action blockbuster this is decidedly new territory. Like her costars Larson had to base much of her performance around reactions to images she was provided of characters’ spacial relationships to Kong via an incredible augmented reality app provided by visual effects company Industrial Light & Magic (whose undeniably breathtaking work earned the film an Oscar nomination). That she was convincing and sympathetic in that capacity surely must have convinced someone at Marvel of the indie darling’s ability to play to a bigger crowd at the cineplex.

Marvel at this Scene: 

I can’t help but feel like this is meant to be a tribute to the Jurassic Park scene where Lex reaches out toward a brachiosaurus with a runny nose. The ultimate in human-giant creature diplomacy. Fortunately this one doesn’t end in someone getting covered in snot. This is quite literally a touching scene, Mason having the unique opportunity to show Kong not everyone here is all about killing and exploiting.

Rate the Performance (relative to her other work): 


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Photo credits: http://www.imdb.com 

Godzilla: King of the Monsters

Release: Friday, May 31, 2019

→Theater

Written by: Zach Shields; Michael Dougherty 

Directed by: Michael Dougherty 

The sequel to Gareth Edwards’ Godzilla (2014) is undeniably a different beast, dispensing with its predecessor’s drip-fed action and methodical pacing for more direct, adrenaline-spiking payoff. Edwards had his chance to thrill us and apparently he botched it so in steps Michael Dougherty, the dude who gave us the anti-Santa horror-comedy Krampus. He offers himself up to fans as a most humbled servant, giving the world’s most famous kaiju a few new friends to hang out with, effectively creating a much bigger spectacle that puts primal, brutal showdowns front-and-center.

King of the Monsters may not make any move bolder than killing off its presumed main characters within the first fifteen minutes, but that’s not to say it doesn’t have big things in store. Over the course of an indulgent two-and-a-half hours Dougherty sends us on a visually spectacular journey from the plush greens of the Yunnan rainforest to the blinding white of the Antarctic Circle, establishing the monstrous battles for supremacy against a backdrop of environmental apocalypse and human hubris — precisely the kind of thematic posturing you’d expect from a movie about a creature born of the nuclear age.

From an action standpoint King of the Monsters absolutely lives up to its title, presenting a series of city-leveling confrontations as an epic territorial dispute wherein we lowly humans are caught on both sides of an ideological divide: Do we attempt to force our hand or do we let Mother Nature run her course? The film features several of the classic Toho creations and captures them using all the bells and whistles of breathtaking modern CGI. Behold the luminescent beauty and grace of Mothra as she unfurls her wings; the screaming intensity of the volcanic-born predator Rodan; the sickening size and freaky three-headedness of “Monster Zero” (King Ghidorah, if you prefer) — the latter serving as the film’s primary villain and fulfilling his classic role as arch-nemesis of Godzilla.

King of the Monsters inherits its predecessor’s human problem but that component of the story is slightly more involving this time around, even if the characterization is again pretty generic. But let’s be reasonable here, it’s nothing if not par the summer blockbuster course and it’s certainly not pre-2000 Godzilla, where Roland Emmerich had us all on pins and needles wondering whether anyone would actually pronounce Matthew Broderick’s character’s name correctly. An ecoterrorist named Alan Jonah (Charles Dance) despairs at the overpopulation crisis and humanity’s wanton disregard for their environment and so endeavors to return the planet to a “more natural” state. On a collision course with his special brand of crazy are the Russells, a science-minded family who have helped the secretive government agency Monarch develop technology used to measure the activity of the many known “titans” across the globe, technology Mr. Jonah seeks for his own nefarious agenda.

Stranger Things‘ Millie Bobby Brown may only be 15 years old but in her big-screen début she stands out among her more experienced co-stars, particularly a tired-looking Kyle Chandler and an uncharacteristically unconvincing Vera Farmiga who play her parents now separated after the loss of their younger child. At least their anti-kaiju stance advances the modern narrative in a way that’s believable. They are remnants of a world that didn’t quite know how to negotiate a 390-foot-tall, upright-walking reptile who also spits nuclear radiation. A world that didn’t really understand what his relationship was to us, what his purpose was.

Brown’s Madison convincingly bridges those eras. She doesn’t share her parents’ hatred for the big guy. Her compassion proves an evolution of understanding. With her mother held hostage physically and ideologically by Mr. Jonah she emerges as one of the few voices of reason in a world gone mad. Well it’s her and Ken Watanabe, who reprises his role as Monarch scientist Dr. Ishiro Serizawa. As one of the elite few Japanese actors who got to take part in these big American event films, it’s about damn time he gets more of a say in these matters, his arc not only emotionally resonant but vital to the story.

King of the Monsters is an old-school-feeling, globetrotting smashing adventure that prioritizes big time fun over mood and pathos — kinda the opposite of Godzilla of five years ago. Not that that movie wasn’t entertaining, of course. I miss the discipline Edwards showed in building up to that incredible, vertical-panning shot that gave us our first good look at the main star. I miss that raw power of adrenaline. The sequel, however, offers its own excitement. The action is revved up to more crowd-pleasing levels, while the sheer amount of effort poured into the creature design and indeed the fights justifies the price of admission, whether that’s the sound engineers edging Godzilla’s roar closer to the original 1954 sound, or Dougherty urging his visual effects team, led by Guillaume Rocheron, to really imbue the creatures with their innate animal-like behaviors and physical traits — Ghidorah memorable for not just having three heads but those heads each moving independently like cobras waiting to strike.

King Ghidorah, and indeed King of the Monsters overall, makes a fairly strong case for bigger (and more) being better. It left me eagerly awaiting what comes next and in my opinion that’s what a good movie, a good second chapter, should do.

“Count your blessings. Your lines are better than mine.”

Recommendation: If you haven’t seen this movie yet, don’t be a nunce like me and miss the end credits! (Is this movie still even playing theatrically?) 

Rated: PG-13

Running Time: 132 mins.

Quoted: “Goodbye, old friend.” 

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 

Pokémon: Detective Pikachu

Release: Friday, May 10, 2019

→Theater

Written by: Dan Hernandez; Benji Samit; Derek Connolly; Rob Letterman

Directed by: Rob Letterman

Sure, there’s Pokémon GO! now, but to me the colorful collection of “pocket monsters” will always be a trading card craze, and, weirdly, one of the only defining memories I have of the 18 months I spent in suburban New York. The summer of ’99 disappeared in a frenzied quest to “catch ’em all.” But apparently the 150 original creations courtesy of Satoshi Tajiri weren’t enough for the kids of Wellington Drive. So we began making our own. We got so into it we manufactured an entire world and economy out of paper and crayon, assigning value to scraps of — let’s be honest — glorified confetti. Getting feelings hurt over whose cards were in demand and whose weren’t.

Yes, those were things that really happened. Pokémon brought an entire cul-de-sac together before our own knock-off brand(s) and the over-saturated marketplace that resulted threatened to tear it apart. Memories of the competitiveness of those middle school years came flooding back with Pokémon: Detective Pikachu, the first big-screen adventure for The Pokémon Company, the popular multimedia consortium that began its life in the mid-90s as a pair of Game Boy games — Red & Green in Japan, Red & Blue elsewhere. It’s a nostalgic trip that ensconces the viewer in the imaginative biodiversity of the Pokémon universe. I may have evolved out of the trading card phase long ago but it still somewhat pains me to report that that’s about the only thing this decidedly novice detective movie does expertly.

The movie takes place in a world where Pokémon are by and large captured by humans to be trained for battle in gladiatorial arenas. However some are perfectly content to seek these creatures out for companionship. Detective Pikachu of course isn’t devoid of the former — watch out for an angry Charizard! — but it takes much more interest in the latter, in the relationships between the species, depicting the bond very much like the one formed centuries ago between man and dog. Our main character Tim Goodman (Justice Smith) was one such teenager but his world was shattered when his mother passed away and his father buried himself in detective work in the faraway Ryme City, a utopia where humans and Pokémon peacefully coexist and where battles have been outlawed. Setting aside childish notions of keeping a Pokémon of his very own, Tim turned to the insurance racket and has hardened himself into an Adult. At the ripe age of 21. (This really is a children’s movie, isn’t it?)

But then news of his father allegedly being killed while investigating a case reaches Tim. He travels to the City to collect his father’s belongings, to reminisce, and where he will encounter the amnesiac, caffeine-addicted Pikachu (voiced by Ryan “Deadpool” Reynolds). Tim also briefly crosses paths with his father’s friend and colleague, a Detective Hideo Yoshida (an underused Ken Watanabe) and his gruff-looking but apparently lovable sidekick Snubbull, and around what feels like literally the next corner stumbles into a feisty young reporter looking to make a big break, one Lucy Stevens (Kathryn Newton). Lucy, accompanied by her own Pokémon — a weird-looking, web-footed fella called Psyduck whose whole thing is developing nasty headaches — is suspicious of the circumstances surrounding the detective’s demise, and plans to investigate. Everyone’s got skin in this game, so she’ll get an assist from a perky Pikachu and Tim the Jaded Insurance Sales Rep. Along the way they’ll encounter Pokémon both wild and tamed, some good folk and a few bad eggs (Bill Nighy and Chris Geere team up as a billionaire father-son duo who are as slimy as they are thinly written), and a heinous purple gas that invokes rage and unpredictable behavior in anything and everything it touches. (Hint-hint for the big finale.)

In spirit Detective Pikachu plays out a lot like the Cantina Scene from Star Wars — an observant camera in constant surveillance of the fantastical landscape, encouraging the viewer to interrogate every nook and cranny of the screen for their favorite character(s), popular or obscure. Rob Letterman (Monsters Vs. Aliens; Goosebumps) directs with fan service at the top of the priority list (evidenced by the inclusion of Ikue Ōtani, who does Pikachu’s “pika pika” call) and while it is hard to fault him for taking that approach, the final product proves there is a vast chasm between parading out All Major Characters and giving the audience actual characterization to latch on to. Detective Pikachu is a fun escape but unfortunately the storytelling lacks the same level of imagination and dedication that has gone into bringing these colorful critters to life on the silver screen. In fairness, that’s one big ask. CGI has come such a long way in recent years, and the Pokémon movie, of all things, just may have set the standard going forward.

I spy a silly plot hole.

Recommendation: Since I can’t really frame this review as a condemnation of another failed videogame adaptation since I never played the games, what I can say for sure is that Pokémon: Detective Pikachu is a geektastic trip down memory lane, a movie made by fans, for the fans. Delight in the colorful world-building and the amusing personification of otherwise inanimate objects — see how many obscure characters you can spot. It’s a veritable treasure hunt for followers of Pokémon in whatever form that may be. It’s sadly not the second coming of Sherlock Holmes, though.

Rated: PG

Running Time: 104 mins.

Quoted: “Oh, that’s a twist. That is very twisty.”

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