Synopsis: When Cecilia’s abusive ex commits suicide and leaves her fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia’s works to prove she is being hunted by someone nobody can see.
Release Date: February 20, 2020
Thoughts: In 2017, Universal Studios had big plans to create their own tentpole franchise by resurrecting their classic monsters in a new Dark Universe where stories/characters could crossover. Announcements were made with A-list stars signed on and release dates staked out – this sounded like it could be something to get excited about and a nice alternative to the superhero series that had been dominating the box office. Then, The Mummy starring Tom Cruise came out and completely tanked…uh oh. As expected in this risk-averse era, everyone got cold feet and all the grandiose plans for the Dark Universe were scrapped.
It’s interesting, then, to see this first trailer for The Invisible Man make its debut. Written and directed by Leigh Whannell (Insidious: Chapter 3) and starring Elisabeth Moss (Us), it appears this was made by Universal Studios without any restriction on future sequels or how it might fit into larger plans for existing projects. That means it could be a nice little mystery building off of the name of the novel by H.G. Wells, though it doesn’t seem to share many similarities to 1933’s The Invisible Man. I worry the trailer is a tad too long and wish it left a little more to the imagination…but there’s something intriguing about this concept and it makes me think of those slick ‘90s thrillers we don’t seem to get on the big screen anymore.
Synopsis: US soldiers and pilots change the course of World War II during the Battle of Midway in June 1942 when US and Imperial Japanese naval forces fought for four days.
Stars: Ed Skrein, Patrick Wilson, Luke Evans, Aaron Eckhart, Nick Jonas, Mandy Moore, Darren Criss, Woody Harrelson, Keean Johnson, Luke Kleintank, Dennis Quaid, Tadanobu Asano, Alexander Ludwig
Director: Roland Emmerich
Running Length: 138 minutes
TMMM Score: (8/10)
Review: With the rise of the franchise action film, I’d forgotten what going to a Roland Emmerich movie was like. The one-time master of the big event film made an impressive debut with Universal Solider in 1992 before going bigger with Stargate in 1994 and fully graduating to epic size with Independence Day in 1994. In the years that followed, Emmerich struggled with maintaining the scale of his films and had trouble balancing the rising budgets with finding a strong narrative. By 2013 he was directing White House Down which was similar in plot to Olympus Has Fallen and then he proceeded to go back for seconds on the critically reviled Independence Day: Resurgence.
It was a bit of a surprise for me, then, to see Emmerich’s name attached to Midway because I hadn’t thought the director would want to go for a historical film that would require him to stay within the lines a bit more than he was used to. Turns out this was exactly the project he needed because aside from a handful of iffy performances and a walloping heap of bad dialogue, Midway emerges as the best effort from the director in years. Yes, it has your standard roster of rousing speeches and that one impassioned pep talk that comes right before a character is unceremoniously killed off, but it also makes good use of its visual effects budget which helps to snare you into each high-flying fight scene that gets bigger with each battle. I went in expecting a loud and obnoxious war movie along the lines of the loud and obnoxious Pearl Harbor from 2001, but I wasn’t anticipating coming out the other side having been fully engaged for the majority of Midway’s healthy running length.
Following the military action that took place between the bombing of Pearl Harbor in December of 1941 and the Battle of Midway in June of 1942, first time feature screenwriter Wes Tooke mixes historical figures with composites of the men that participated in these battles on the ground and in the air. From a history lesson perspective, Tooke’s script is fast moving and filled with the kind of military jargon war junkies will find enticing, yet it isn’t such a deep dive that others will be lost. Most of the time it’s clear where we are and what’s happening, though when the movie goes into it’s hyper-kinetic final hour it does help to keep mental notes of what is transpiring. Not being a huge history stickler, I can’t tell you how well-researched Tooke’s script is or if it’s aligns perfectly with the timeline of events but certain accomplishments that seems too coincidental to be true seem to be backed up by historical fact as evidenced in post-credit character wrap-ups.
Where Tooke’s screenplay is lacking is when the characters have to, you know, talk about normal everyday stuff. It’s here that his newbie-ness shows and it didn’t surprise me to learn he got started writing for a serialized podcast – much of the dialogue is expository that, while directed toward someone on screen, could just as easily be spoken directly into the camera for all the weight it’s given in relation to the combat-zone speak. Characters that come off as phony baloney talking about their lives outside of the service suddenly take on a tone of authority when discussing the plans for their next air strike. With only one actress in the main cast, it isn’t surprising the female characters are barely there and what we do see of them are as supportive wives that just want their husbands to come home safely or are standing by ready to cook a late night sandwich. It’s a bit embarrassing that Tooke couldn’t have given any female something to do in the film other than play a sturdy rock to their more verbose spouse.
It also could be that Emmerich hasn’t cast the strongest actors either, with British Ed Skrein (Maleficent: Mistress of Evil) struggling to maintain his East Coast drawl as hotshot pilot Dick Best. Try as he might, Skrein never can quite convincingly get through one of his anthemic speeches to his fellow brothers in arms, to say nothing of the complete lack of chemistry he has with his wife, played by an equally vacant Mandy Moore (47 Meters Down). Yet when Skrein is flying his dive bomber and pushing the limits to victory, he totally had me cheering him on. In similar boats, or planes, are Luke Evans (Ma), Nick Jonas (Jumanji: Welcome to the Jungle), Darren Criss (Girl Most Likely), Aaron Eckhart (Sully), Luke Kleintank (The Goldfinch), and Keean Johnson (Alita: Battle Angel). While I’d argue that few of these chiseled actors looks like they would have passed basic training (especially Criss…as a fighter pilot? I think not.) as a unit there is something that gels as the movie progresses.
If there’s one bit of non-action sequences work the best in spite of the thin dialogue, it’s the scenes between Admiral Chester Nimitz (Woody Harrelson, Venom) and Lieutenant Commander Edwin T. Layton (Patrick Wilson, Annabelle Comes Home). After the attack on Pearl Harbor, Nimitz was assigned to take over command of the post and turned to Layton to use his expertise to help predict where the Japanese would attack next. Layton then sought assistance from a codebreaker who had intercepted Japanese communications, helping them plan for the Battle of Midway. While there are some hokey bits here and there, by and large these are the moments that land the best and it’s thanks to Harrelson and Wilson’s assured screen presence. Coincidentally, these are also the passages of the film that are easy to get a bit turned around in — so best to stay alert when Wilson is laying out the game plan.
Where the movie really earns its stripes are the well-staged and skillfully rendered battle scenes featuring air strikes between the US and Japanese forces. While I normally go a bit cross-eyed with excessive amount of green screen and CGI usage, it didn’t bother me as much in Midway as it wound up enhancing the experience, having the effect of putting the audience right into the middle of the action with alarming intensity. Far from feeling like an overblown cartoon like previous Emmerich efforts, the visuals are nearly all expertly designed and beautifully executed, culminating in a deluxe finale that actually had me biting my nails. Sure, it may be a bit chintzy at times but it’s the best kind of gobble-down-your-popcorn kind of fare. Perhaps the editing could be tightened up a tiny smidge to assist in our tracking of the pilots and to avoid a few repetitive bits but there’s not a lot of the action that I’d want to see trimmed down.
Feeling like it was made with a great sense of honor and respect, I appreciated the gestures Tooke’s script made to Japanese customs as well. Though dealing us a terrible blow and also being responsible for the deaths of thousands of Chinese that assisted American forces, the Japanese had a sense of nobility in their strategy as well. It would have been easy (especially in the time we currently live in) to make this an All-American Apple Pie movie but taking a brief moment to acknowledge the losses on both sides doesn’t make any excuses, it simply recognizes the fallen. If anything, Emmerich could have spent a little more time with the Japanese in the first half of the movie and I imagine he did but felt he could sacrifice those scenes when the movie was running long in his original cut.
Releasing just in time for Veterans Day, I’ll be interested to see how Midway plays with audiences during this quieter time before the busy Thanksgiving holiday draws near. Though the Battle of Midway has been filmed before (check out 1976’s Midway starring Charlton Heston and Peter Fonda for a less visual effects heavy telling) and there’s more to the story than can be told in 138 minutes (again, there’s absolutely no stories involving women which was disappointing) I appreciated that Emmerich was restrained enough to save his big guns for when he needed it most and let the quieter moments play out. Even if the quieter moments were clumsy, at least they were there. For that, I give the movie a lot of credit for exceeding my expectations and providing more entertainment than I could have predicted at the outset. Very much worth seeing on the big screen.