Movie Review ~ Dark Phoenix


The Facts
:

Synopsis: Jean Grey begins to develop incredible powers that corrupt and turn her into a Dark Phoenix. Now the X-Men will have to decide if the life of a team member is worth more than all the people living in the world.

Stars: Sophie Turner, James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Alexandra Shipp, Tye Sheridan, Kodi Smit-McPhee, Jessica Chastain, Evan Peters

Director: Simon Kinberg

Rated: PG-13

Running Length: 113 minutes

TMMM Score: (7/10)

Review: Having never been someone that has done a deep dive into the comic book realm, I can’t speak to fan reactions when a franchise plays fast and loose with characters and story arcs. There are some that can’t look past a studio wanting to continue their cash cows by making financially motivated choices to keep their films alive and there are others (like myself) who don’t mind sitting back and taking in the movie for what it is – entertainment. It’s not for lack of interest or ambivalence on my part, it’s stepping back and seeing the big picture. Of all the superhero tentpole films, it seems the X-Men movies take the biggest beating from critics and fans that revolt at the slightest stray from where they want to see the action go and I find that so strangely fascinating.

I’ve gone on record multiple times saying that by and large I’ve enjoyed most all of the X-Men films and their numerous spin-offs. True, some have been problematic and less winning than others but they’ve been more consistent than most long-running series and have evolved from the silly seriousness of the original film (you know it’s true!) to something bold and musclar like 2016’s brilliant Logan. A new era of the X-Men began in 2011 with X-Men: First Class and I was not moved either way by that semi-reboot until X-Men: Days of Future Past arrived in 2014. That film was a grand return to form and while The Wolverine didn’t connect with some I appreciated what it was doing in advancing Hugh Jackman’s character toward Logan. Knives were unfairly out for X-Men: Apocalypse in 2016, even though I found it a weirdly fun film.

Arriving amidst an ominous cloud of bad buzz is the next film in the X-Men series, Dark Phoenix, and I imagine it will take the same beating from former fans and critics eager for an easy target. Delayed several times by 20th Century Fox due to highly publicized reshoots not to mention its pending purchase by Disney studios which had its own Marvel superhero movie to attend to earlier this summer, I’m not sure this ever would have had a fair shot when it was released. Honestly? The film has some major flaws and often feels like it’s held together by packing tape that’s long since lost its ability to keep things in place but when it works it works like a charm. For all the negative things I’d heard about it going in, maybe the bar was set low enough that my opinion couldn’t be worse than what people were saying.

When we last left our world-saving mutants, Jean Grey (Sophie Turner) had unleashed the full force of her powers to destroy Apocalypse. After a brief prologue shows us the tragic beginnings of how Jean came to stay with Professor Charles Xavier (James McAvoy, Glass) at his school for teens with extraordinary talents we are thrown right into action set in 1992. The team, comprised of Jean, Cyclops (Tye Sheridan, Mud), Raven (Jennifer Lawrence, mother!), Beast (Nicholas Hoult, Warm Bodies), Storm (Alexandra Shipp, Love, Simon), Nightcrawler (Kodi Smit-McPhee, ParaNorman), and Quicksilver (Evan Peters, The Lazarus Effect), is dispatched to save the crew of a space shuttle in the path of a solar storm. This is no ordinary space mission, though, and Jean is exposed to an energy source at the center of the storm.

Now possessing remarkable power that begins to consume her, Jean goes rogue to seek out answers from her past to help her decide what to do with her new gifts. At the same time, she’s pursed not only by Professor X, the X-Men, and a revenge-seeking Magneto (Michael Fassbender, Prometheus), but by alien huntress Vuk (Jessica Chastain, Lawless) who has arrived on Earth with a large number of her own warriors aiming to harvest the lifeforce within Jean that has the power to create new worlds…and destroy Earth in the process. It leads to a showdown that begins with Jean’s allegiance and ends with the lives of many hanging in the balance.

It’s clear this movie has been through many an edit and it shows not only in the hastily reshot footage but in the tonal shifts throughout. Looking at the success of grittier fare like Deadpool and its sequel, you can see where writer/director Simon Kinberg (Murder on the Orient Express) wanted to push the boundaries a bit by making this one more intense but without being able to go all the way with the blood, language, or violence it comes off as too tentative and neutered. There’s also a strange reliance on scenes with characters gulping down booze whenever they can’t cope with pressure or wanting to tamp down their own emotions. Normally good actors paint with broader strokes here, perhaps knowing this was their final time at bat they are really swinging for high camp. Chastain, Hoult, and McAvoy in particular seem to be trying to outdo each other in who can be the most ostentatious…until Fassbender shows up and puts them all to shame.

Yet somehow the movie checked off enough of the right boxes on my score sheet to emerge a winner and that’s mostly due to a fantastic finale set aboard a train. Usually a reshot ending can be one big eye roll since it often is an afterthought that rarely gels with the rest of the film but this one felt like it came after the filmmakers had some distance from the work and came back refreshed. There are some crowd-pleasing moments to be had here and it provided the requisite thrills some other parts of the movie lacked. Also, it showed once again that Shipp’s Storm (and just the character of Storm in general) needs her own movie, like, yesterday.  I still long for the filmmakers to spend more time at the school so we can see more of the youngsters and their burgeoning abilities — anytime we’re in the school and we see hints at the comic-books fringe characters people recognize you can tell people want more.  Now that 20th Century Fox is owned by Disney, perhaps Disney will get a series together for their streaming Disney+ service that’s all about the school?  Might be a good idea.

I’m still grappling with these recent X-Men movies not totally lining up with the original three X-Men films that started off this whole series of films. Don’t think too hard that the first X-Men movie is set a mere eight years after this one is to take place…or wonder what happens to Fassbender and McAvoy in those eight years to turn them into Ian McKellen and Patrick Stewart. Instead, take these movies as the prequels they were always meant to be and for what they are, casual entertainment. Perhaps if you go in with the lowered expectations like I did you’ll set yourself up to get something more out of this than others who went in prepared to hate it. Give it a chance.  I’m not totally sure where the series goes from here.  There’s absolutely room for more sequels but based on the struggle this one had to get to theaters and the boos and hisses already coming from the Twitter-verse, a reset might be in order to restore some faith in this franchise.  Clearly, I’m easier to please than most and found the fun in this Phoenix…but I’m also not a hardcore fan that had a great investment in it either.

The Silver Bullet ~ Ad Astra



Synopsis
: An astronaut travels to the outer edges of the solar system to find his father and unravel a mystery that threatens the survival of our planet. He uncovers secrets which challenge the nature of human existence and our place in the cosmos.

Release Date: September 20, 2019

Thoughts: There’s nothing I love seeing on the big screen more than a giant space spectacular and the long delayed Ad Astra (meaning ‘to the stars’ in Latin) looks like a grand achievement. Feeling on par with the likes of large scale epics such as Gravity, The Martian, and 2001: A Space Odyssey, director James Gray (The Lost City of Z) teams with Brad Pitt (World War Z) on this project which was originally set to be released in May 2019 but was moved back after 20th Century Fox was bought by Disney.  A fall release positions the movie more in the awards competition (and conveniently far away from Disney’s summer blockbuster Avengers: Endgame) so I’m not too nervous about Ad Astra losing its original release date.  Gray’s films tend to be quite contemplative and I’m curious to see how he can marry that dramatic tension with the space chase elements shown in the preview.  Considering the caliber of the people involved and how good this first trailer is, I’m totally onboard for this one.

Movie Review ~ Alita: Battle Angel

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The Facts
:

Synopsis: An action-packed story of one young woman’s journey to discover the truth of who she is and her fight to change the world.

Stars: Rosa Salazar, Keean Johnson, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Eiza Gonzalez

Director: Robert Rodriguez

Rated: PG-13

Running Length: 122 minutes

TMMM Score: (7/10)

Review: The journey of Alita: Battle Angel to the screen has been an adventure almost three decades in the making. Originally a Japanese manga series created by Yukito Kishiro, it caught the attention of director James Cameron (The Abyss) and became one of those passion projects that followed the director over the ensuing years. With his attention focused on other films, documentary projects, pioneering technological advances in filmmaking, and talking about his Avatar sequels ad nauseum, Cameron eventually realized that he’d have to abdicate the director’s chair if the film were ever to get off the ground. That’s where director Robert Rodriguez (Sin City: A Dame to Kill For) comes in and how we have arrived at this strange 2019 release.

It’s been several weeks since I’ve seen the film and I honestly can’t decide whether it’s glorious or garbage. I can fully see where the effects extravaganza will be overpowering and maybe even off-putting but at the same time there’s a piece of me that silently was cheering on the never-ending barrage of bizarre your ticket purchase will provide.  I can tell you this, I was never, not even for one minute, bored.  If the film community and audiences decide to pass judgment that Alita: Battle Angel is a failure, it will have gone out swinging because it doesn’t seem to be afraid to embrace its oddity.

Five hundred years in the future the Earth has suffered a series of cataclysmic events, culminating with “The Fall” which separated cities of the sky from the junk-laden wastelands on the ground. Only the most elite live in that last surviving sky city, Zalem, while the rest of Earth’s inhabitants scrape by a living where they can. Some have turned to bounty hunting to earn enough money to travel up up and away and there are certainly enough sundry individuals roaming the streets for people to make a buck or two eliminating dangerous threats.

Scouring a junkyard for spare parts to aid in his robotic repair practice, Dr. Dyson Ido (Christoph Waltz, Big Eyes) finds the remnants of a female cyborg and rebuilds her, giving her the name Alita. When Alita (Rosa Salazar) comes back online and eventually falls in love with a local teenager (Keean Johnson), she begins to piece together her history as she discovers new strength and agility that seem to come naturally. At the same time, a killer is on the loose and Alita becomes a Hunter-Killer bounty hunter to track down who is harvesting people for their spare parts.  In doing so, she raises the ire of a punk bounty hunter (Ed Skrein, Deadpool) who doesn’t appreciate the competition from the supposed teenage girl.  When her mysterious past is revealed, it will put all who come in contact with her in danger as she’s revealed to be an important weapon and the only one that can stop the evil Nova (played in an uncredited cameo by an Oscar-nominated actor) from keeping bigger truths about Zalem from the public.

As you can probably tell, there’s a whole lot going on in the movie (I didn’t even bother to describe a sport called Motorball that figures heavily into the action) and Cameron’s script (co-written by Laeta Kalogridis, Terminator Genisys) is his usual mish-mash of overly syrupy dialogue intermixed with made-up jargon. Usually, this works against the film but here the script manages to serve things quite well as it prompts numerous set-ups for eye-popping special effects (see it in IMAX 3D, if possible) and nicely crafts a new world for our characters to explore.

Rodriguez has always had a way with making his films rock and roll even on a minuscule budget but here he’s given the keys to the bank vault and has cleaned out the coffers. It’s all rather lovely to look at, especially in an underwater sequence when Alita finds a crashed spaceship that holds a clue to her origins. Where things don’t go quite as swimmingly are in the character arcs, with several A-list actors left to fend for themselves with roles that are underwritten and underdeveloped. Oscar winners Jennifer Connelly (Only the Brave) and Mahershala Ali (Green Book) treat the material as high art, which leads to their performances taking on a camp factor that is surely unintentional. Salazar, digitized in post-production, turns in the most realistic performance – there were times I actually forgot she was an animation.

Not being familiar with the source material, I can’t say how close Cameron and Kalogridis stuck to the original story but there’s a definite energy injected throughout that’s hard to deny. It may be overstuffed and too effects-heavy but there’s an admirable bit of workmanship that has gone into the look of the film, even if the more dramatic pieces don’t quite gel correctly. This being a Cameron property, there’s a romance subplot that isn’t fully satisfying and Rodriguez has tacked on maybe two finales too many, but it ends on a high enough note that I’m curious to see if another installment might get the go-ahead now that Disney owns 20th Century Fox and could benefit from this property with international appeal.

Movie Review ~ The Kid Who Would Be King

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The Facts
:

Synopsis: A band of kids embark on an epic quest to thwart a medieval menace.

Stars: Louis Ashbourne Serkis, Rebecca Ferguson, Dean Chaumoo, Tom Taylor, Rhianna Dorris, Angus Imrie, Patrick Stewart, Denise Gough

Director: Joe Cornish

Rated: PG

Running Length: 120 minutes

TMMM Score: (8/10)

Review: Is it too early to make a reference to a song from Mary Poppins Returns? Oh well, I’m going for it anyway as I kick off this review. In one of the highlight numbers in that 2018 family film, Mary sings that “The cover is not the book, so open it up and take a look” and that more than applies to The Kid Who Would Be King, a movie I easily looked past as a 10am Saturday screening was drawing near. Usually, family movies that screen early in the morning on weekends were films I decided against and the title just didn’t appeal to me in the slightest. Convinced to go by my partner who loves these types of medieval tales, I’m so glad I gave in because this is a dandy of a film that works on multiple levels, delivering entertainment for all ages.

Whether you’ve grown up on the stories of King Arthur and the Knights of the Round Table or are like me and have just seen Disney’s The Sword in the Stone a whole bunch of times, you’ll already be familiar with the colorfully animated prologue that opens the movie. Detailing the magic and mystery surrounding the legendary King, his sword Excalibur, and the power struggle he waged with his evil half-sister Morgana, King Arthur represented the best of what people could aspire to be while Morgana fed off people’s unhappiness. Banishing his witchy sis to an underground prison after she tried to overthrow his rule, we understand the power anyone possessing the sword Excalibur will wield. Flashing forward thousands of years to an alternate universe modern day London that is considerably more downtrodden (newspapers feature depressing headlines of global despair), it’s clear the golden days of Camelot are finally fading.

Unbeknownst to him, young Alex (Louis Ashbourne Serkis) is about to become the hero he never knew he could be. Living with his single mom and trying to survive the school day with his friend Bedders (Dean Chaumoo) without being bullied by Lance (Tom Taylor) and Kaye (Rhianna Dorris), he’s an ordinary kid about to go on an extraordinary journey. On his way home on night, he evades Lance and Kaye by entering a construction site where he finds Excalibur, unleashing its awesome power and corresponding enemies at the same time. Now, with Morgana gaining strength and sending her minions to retrieve the sword, Alex must enlist his friend and their bullies to form a present-day Knights of the Round Table and defeat the sorceress before she can break free and condemn the world to darkness.

Director and screenwriter Joe Cornish has given us something we don’t get that often – an original story. Remarkably, The Kid Who Would Be King isn’t an adaptation of a previous YA novel or based off of a video game. It’s a fresh product from a director that has injected his film with equal amounts of nostalgia and fun. I’ve seen the movie compared favorably to The Goonies and E.T. and I can see where people are making the connection but this very much charts its own course as well. It’s not the most polished family-centric film you’ll see this year and there are some filmmaking dots that aren’t connected as nicely as I would have liked but it’s exuberance more than makes up for any gaps in plot or pace.

Cornish has cast the film well with amiable child actors that don’t prove cloying or earnest with the material. Serkis (who looks remarkably like his talented dad, Andy) leads the film with distinction, handling the fantasy elements with easy while navigating some emotional terrain quite believably. I also quite liked Chaumoo as his nebbish friend that turns his meekness into a virtue. If the two bullies feel a bit one-dimensional and their arc of redemption a little stale, it isn’t the fault of Taylor and Dorris who do more than go through the motions with their stock characters. There’s a spirited supporting turn by Angus Imrie as a teenaged Merlin who only changes into the aged wizard (Patrick Stewart, Green Room) to make a point…like a mom using your middle name when she means business. As Morgana, Rebecca Ferguson (The Greatest Showman) is little more than a cameo but she slinks around her well-rendered dirty dungeon nicely.

At a solid two hours and featuring a few supposed climaxes, the movie stretches things just a tad longer than necessary but it’s a small nitpick for a film that works wondrously most of the time. Though it ends with the suggestion a sequel is possible, it doesn’t feel like this was always intended to be the kick start of a new franchise. If Cornish and company were all game to return and the same spirited approach was taken, this could lead to something special that has a lasting impact on audiences.

Movie Review ~ Bohemian Rhapsody

The Facts:

Synopsis: A chronicle of the years leading up to Queen’s legendary appearance at the Live Aid concert.

Stars: Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy, Joseph Mazzello, Aiden Gillen, Tom Hollander, Mike Myers

Director: Bryan Singer

Rated: PG-13

Running Length: 134 minutes

TMMM Score: (6/10)

TMMM Score: (5/10)

Review:  It’s only fair to say first off that the best part of Bohemian Rhapsody, the biopic that’s not totally about Freddie Mercury but not really about Queen, is the final fifteen minutes.  That’s where the film finally draws some electricity and commands some attention from the audience.  As Mercury, star Rami Malek struts and poses with flair and gives off the kind of energy that’s been sorely missing for the previous two hours.  At my screening, you could almost feel the crowd waking up and making a connection with what was happening on screen. The problem with all this is that it’s nearly a shot for shot recreation of Queen’s Live Aid performance that you could easily watch for free on YouTube.  Why go to the movies to see something easily available at your personal fingertips?

The answer is Malek.

Let’s back up a bit, shall we?

Bohemian Rhapsody has finally arrived in theaters after a development process that could most kindly be called tortuous.  Over the years many directors have come and gone along with potential stars.  Once set to feature Sacha Baron Cohen as the late lead singer of Queen, he departed due to ‘creative differences’ and the film was eventually made with rising star Malek (Papillion) and director Bryan Singer (X-Men: Apocalypse).  When filming was nearly finished, Singer was fired from the picture after not showing up for work and whatever was left to shoot was taken up by producer Dexter Fletcher.  Though Singer’s name remains on the final product, the director is not doing press for the film and Malek’s own press junket has had some rocky moments.

If the film were anything memorable, this may all be a tragic series of unfortunate events but it’s so ho-hum and lazily assembled that you wonder why anyone put the effort in at all.  The film was produced by two surviving members of Queen and if you believe what is in the news they had a strong hand in guiding the movie to not make anyone look that bad, except for Freddie Mercury who isn’t alive to defend himself.  The screenplay by Anthony McCarten (Darkest Hour) and Peter Morgan (Rush) takes great lengths to show how Mercury caused the band to implode (though they never broke up as the film seems to suggest) and how the other members were model family men who contributed to the band’s success.

Playing like an abridged version of an already sanitized biography, the movie is never fully about the rise of Freddie who came from a traditional Pakistani family to become one of the most enigmatic but frustrating rock stars of his generation.  It also isn’t really about Queen whose virtuosic talents are heard courtesy of the greatest hits soundtrack but never felt as performed by the actors taking on the other members of the band. Instead, it awkwardly hops along a middle line that fails to deliver anything we couldn’t have learned from reading the Queen Wikipedia page. There’s head-scratching leaps in time and curious historical omissions, then there are the downright oddball choices like having Mike Myers play a music industry exec who rejects Queen’s epic anthem Bohemian Rhapsody outright saying no one will be rocking out to this in their car.  This from the actor that starred in Wayne’s World which featured a carful of metalheads rocking out to…guess what?  It’s an unnecessary bit of goopy meta humor, one of many kooky moments that happen in the movie.

While the men playing Brian May (Gwilym Lee), Roger Taylor (Ben Hardy, Only the Brave), and John Deacon (Joe Mazzello, Jurassic Park) acquit themselves in shallow roles, two performances keep the movie afloat and both actors are working their butts off to do so.  The first is Lucy Boynton (Murder on the Orient Express) as Freddie’s first love and fiancée before he comes out as gay.  Though he cheats on her she remains loyal to him first as a lover and then as a confidant.  When Freddie gets tangled up with a shady manager (Allen Leech, The Imitation Game) with personal and professional interests of his own, she’s the only one that calls Freddie out on his blindness and reminds him of who has always stuck by him.  Boynton turns up regularly in these types of roles but she aces them all.

Then there’s Malek who is the real reason you should consider seeing the movie at all.  Though saddled with a pair of false teeth to create Freddie’s pronounced overbite that feel two sizes to big, he brings out the loneliness felt by this star and that’s where some true emotion finally is felt.  Though it tends toward “poor Freddie with no friends and no companion” at times (again, what does this script have against him??) Malek manages to rise above all of that and find the heart if not totally the soul of the man. If only Malek was paired with a screenplay that was willing to be a warts and all tour of Queen’s journey to fame.

It all comes into focus, though, in those final fifteen minutes which are enough to send you out of the theater on a rock and roll high.  I felt it for a good day or so after I saw the film but the more I thought about the rest of the movie and it’s tuneless trappings the more I started to come back to earth.  Fans of Mercury and the band have likely been waiting a long time for this biopic and maybe they’ll get what they need out of this surface skimming endeavor – but I think it will take another set of filmmakers more removed from their subject to give us the real story.

31 Days to Scare ~ Pacific Heights (1990)

The Facts:

Synopsis: A couple work hard to renovate their dream house and become landlords to pay for it. Unfortunately, one of their tenants has plans of his own.

Stars: Melanie Griffith, Matthew Modine, Michael Keaton, Mako, Laurie Metcalf, Carl Lumbly

Director: John Schlesinger

Rated: R

Running Length: 102 minutes

TMMM Score: (8/10)

Review: In these days there’s nothing quite as terrifying as…real estate. It’s a seller’s market and even though just a few years ago the market was good, unless you’re willing to pay a lot more for a lot less, you’re best to stay in your rental unit until the prices dip once more. That was also the case in 1990 when the compact little thriller Pacific Heights arrived in theaters boasting an Oscar winning director and three A-List stars. Even if the film didn’t have much of an impact at the time (made for 18 million it only made 29 in the states), it’s a taut entertainment worth another look.

Taking a chance and putting their life savings into a multi-unit house in a desirable California location, Patty and Drake fix up the place and start to rent it out. One unit goes to a quiet Asian couple and the last unit is eventually rented to Carter Hayes, a smooth talking single guy that assures them he’ll pay the rent on time and won’t be a bother to anyone else with his comings and goings. At first, everything is fine but when the rent is missed and strange construction noises from within his unit begin to stretch on into the night Patty and Drake get worried. You see, Carter isn’t who he claimed to be and the young couple has just acquired a renter from hell that will put them through the wringer.

Melanie Griffith (Working Girl) and Matthew Modine (47 Meters Down) convincingly play two individuals with a strong bond that find themselves fraying with the increased pressure brought on by Carter (Michael Keaton, Spotlight). These are just ordinary folks looking for an investment opportunity, no match for Carter who has done this before and who eventually takes a sinister turn on his landlord. There are plenty of legal frustrations as the couple tries to evict him as well as physical altercations that give way to a final third that turns a bit into a horror film.

Director John Schleisnger (Midnight Cowboy) keeps things at a good clip. At 102 minutes there’s not a lot of padding and while some of the decisions Patty and Drake make might have you pulling out your hair, you certainly feel for the no-win situation they find themselves in. In addition to the nice performances of Modine and Griffith, the latter who truly moves into the lead performance for the final act, there’s a nicely dark turn for Keaton who revels in the chance to play a different kind of sociopath. It’s a strong trifecta of actors that helps to elevate this from your TV movie of the week hellscape.

The Silver Bullet ~ Widows

Synopsis: Set in contemporary Chicago amidst a time of turmoil, four women with nothing in common except debts left behind by their dead husbands’ criminal activities take fate into their own hands and conspire to forge a future on their own terms.

Release Date: November 16, 2018

Thoughts: Oscar-winning director Steve McQueen (12 Years a Slave) had a fondness for Widows, a UK television series created by Lynda La Plante (Prime Suspect).  In fact, McQueen liked it so much that he brought on Gone Girl’s Gillian Flynn to modernize the story and signed on top notch talent to bring it stateside.  The result can be glimpsed in this trailer, an exciting first look at a hard-boiled crime drama that could be an award contender when all is said and done.  The cast is made up of Oscar winners Viola Davis (Suicide Squad) and Robert Duvall (The Paper), Oscar nominees Liam Neeson (The Commuter), Daniel Kaluuya (Black Panther), and Jacki Weaver (Life of the Party), not to mention impressive names like Colin Farrell (Saving Mr. Banks), Elizabeth Debicki (The Great Gatsby), Michelle Rodriguez (Furious 7), and Cynthia Erivo.  If the finished product is as impressively dynamite as this trailer, McQueen and company will have a very good fall.

Movie Review ~ Deadpool 2


The Facts
:

Synopsis: Foul-mouthed mutant mercenary Wade Wilson (AKA. Deadpool), brings together a team of fellow mutant rogues to protect a young boy of supernatural abilities from the brutal, time-traveling mutant, Cable.

Stars: Ryan Reynolds, Josh Brolin, Zazie Beetz, Leslie Uggams, Jack Kesy, Shioli Kutsuna, Julian Dennison, Morena Baccarin, Brianna Hildebrand, Stefan Kapicic, Karon Soni, T. J. Miller, Bill Skarsgård, Rob Delaney, Terry Crews

Director: David Leitch

Rated: R

Running Length: 119 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review: When Deadpool arrived on the scene in 2016, it sent a much-needed electric charge through the comic book genre that was quickly beginning to grow stale. Proving there was an audience for an R-rated superhero, Deadpool established a new breed of franchise that saluted the foul-mouthed and violent. To date, the copycat factor is low and if anything it’s asked PG-13 audience friendly fare to step up their game and get back to providing entertainment instead of just laying ground for future installments. Now, two years later Deadpool 2 is upon us and it’s poised to create similar sparks.

Wade Wilson (Ryan Reynolds, Woman in Gold) has settled into life as Deadpool, a mercenary for hire intent on wiping out bad guys and gals in all walks of life as indicated in a prologue that brings us up to speed with his recent exploits in bloody fashion. Living with his love Vanessa (Morena Baccarin, Spy) and thinking about starting a family, Wade is just getting comfortable when everything goes wrong. Thus launches a surprisingly complex story involving time travel and Deadpool’s protection of a young mutant (Julian Dennison) from the Terminator-esque hulk Cable (Josh Brolin, Sicario).

There’s little more I could relay here without giving away major spoilers but if you were a fan of the first film you’ll find an equal amount of fun to be had here. I was worried the success of the wisecracking style in the first movie would result in smart-alecky shenanigans that were too self-aware and sure enough the movie struggles with sincerity out of the gate. In all honesty, the film takes a solid 20 minutes to find its feet and a frenzied bit of opening exposition weighs the film down needlessly. Thankfully, director David Leitch (Atomic Blonde) and screenwriters Rhett Reese (Life), Paul Wernick, and Reynolds himself get these tiresome trapping out of their system early on.

What I continue to appreciate about this series is its willingness to make itself the butt of the joke. There’s a hefty amount of self-referencing gallows humor that works almost every time and enough inside jokes to keep the most pop culturally adept among us satiated. As was the case in the previous film, no superhero is off limits and one of the first gags employed is a hysterical Logan reference that sets the tone perfectly. Keep your eyes and ears open for a cavalcade of digs and dings at everyone from The Avengers to Brad Pitt – the jokes come fast and furious so stay alert.

Another selling point to this film is that it’s unpredictable and not just because it moves so fast you don’t have time to catch up. No, the film actually takes some turns that feel unique and that creates a sense of engagement to keep you on the edge of your seat. As more and more characters join the mix (and, in one laugh out loud diversion, form the basis for X-Force) it can feel overwhelming but it’s clear Reynolds and company know where this clown car of craziness is headed.

The closing credits of Deadpool 2 are alone worth the price of admission – I wouldn’t dream of giving away any of the surprises but I almost felt like standing up and applauding once they were complete. It takes a lot of balls and brains to pull off the feat of living up to a heralded original film and everyone involved in Deadpool 2 meets the challenge head-on. If you can forgive a rocky start (and I’m positive you will) this is one sequel that feels equal.

The Silver Bullet ~ The Predator

Synopsis: When a young boy accidentally triggers the universe’s most lethal hunters return to Earth, only a ragtag crew of ex-soldiers and a disgruntled science teacher can prevent the end of the human race.

Release Date: September 14, 2018

Thoughts: The original Predator celebrated its 30th birthday last year and remains a sci-fi genre classic.  While the alien hunter has shown up in several sequels and a two crossovers with the Alien franchise, he hasn’t had a real strong showing since his first outing.  This first look at 2018’s The Predator hints of a retro-tinged early Fall frolic and I’m all for it.  Writer/director Shane Black (Iron Man 3) usually does well in balancing tone with large scale action sequence and there’s been good buzz building for The Predator during its long production phase.  Featuring a strong cast including Jacob Tremblay (Room), Sterling K. Brown (Black Panther), Olivia Munn (X-Men: Apocalypse), Boyd Holbrook (Logan), and Keegan-Michael Key (Tomorrowland) this holds more than a little promise of being the fun sequel this franchise has been sorely needing.

 

Movie Review ~ Love, Simon

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The Facts:

Synopsis: Simon Spier keeps a huge secret from his family, his friends, and all of his classmates: he’s gay. When that secret is threatened, Simon must face everyone and come to terms with his identity.

Stars: Nick Robinson, Katherine Langford, Alexandra Shipp, Jorge Lendeborg Jr., Miles Heizer, Keiynan Lonsdale, Logan Miller, Jennifer Garner, Josh Duhamel, Tony Hale

Director: Greg Berlanti

Rated: PG-13

Running Length: 109 minutes

TMMM Score: (9/10)

Review: I was recently reading a book about the impact of John Hughes and The Brat Pack on the generation of teens that grew up in the mid ‘80s.  The book talked about what was going on at the time and how movies once celebrated as sleepover musts are now revered as essential entertainment time capsules for those that came of age in the Reagan era.  I was slightly too young for that wave of influential filmmaking, though I was in my prime when ‘90s teen classics like Clueless, Cruel Intentions, Scream, and 10 Things I Hate About You were first released and I feel that same sense of protection about them.  So I understand why the early buzz around Love, Simon compares the viewing experience to the influential teen movies that came before it.

I tend to recoil at films that are so current that they’ll become dated in six months but Love, Simon is a rare exception.  It’s a genuine gem that speaks to those navigating high school life now while evoking a palpable sense of wistfulness to audience members like me who so wish they had something as assured and confident as this when they were a kid. Yes, Love, Simon is the kind of truthful message movie I wish I had on VHS on the shelf between The Breakfast Club and Pretty in Pink.

Simon Spier lives a pretty good life.  His family, his house, his friends, his high school experience all seem like the dictionary definition of growing up without much complication.  Yet Simon is more complex than people think.  He’s gay and struggling with resolving some inner conflict about that fact but outwardly showing no signs of stress (or so he thinks).  The good news is that there’s not a lot of self-loathing on display here so it’s not the torturous experience other films have made the coming out saga to be.  He doesn’t hate that he’s gay, he just doesn’t know the right way to say it and risk losing out on future happiness.

Surrounded by friends with their own romantic hang-ups, Simon finds a kindred spirit in the form of an e-mail relationship with an anonymous fellow student who is gay as well.  Reaching out first as a way to take his own baby steps out of the closest, he becomes closer and closer to the guy on the other side of the e-mail who can’t reveal his identity.  Not knowing whom the friend he calls Blue looks like, Simon starts to imagine who it could be.  Is it the handsome quarterback that has a sensitive side?  What about the pianist for the high school musical?  Or could it be the Waffle House employee?  When the e-mails are discovered by a fellow classmate and Simon is blackmailed into playing matchmaker or risk being outed, he finds being gay is the least of his worries as friendships, true love, and familial bonds are tested the more he tries to hide who he is.

As Simon, Nick Robinson (Jurassic World) is a handsome star in the making that ably carries the weight of the movie on his shoulders. Though he’s Hollywood Leading Man Gay, meaning not too gay, he convincingly plays the conflict without making the journey the least bit maudlin.  By presenting Simon as “just like you”, a balance of normalcy is struck that shows the audience that being gay is who you are and not what ultimately defines you.

Simon’s friends include Katherine Langford (Netflix’s 13 Reasons Why), Alexandra Shipp (X-Men: Apocalypse), Jorge Lendeborg Jr. (Spider-Man: Homecoming), Keiynan Lonsdale (The Finest Hours), and Logan Miller (Scouts Guide to the Zombie Apocalypse) as a charmingly diverse group that feels like they could be friends had they gone to high school together.  Though each have their own secrets that arise during the course of the film, these developments don’t feel forced or simply existing in service to Simon’s coming out rite of passage.  The adults in the film wisely say their piece and let the youngsters take the spotlight, but kudos to Jennifer Garner (Dallas Buyers Club), Josh Duhamel (Safe Haven) for presenting understanding but not phony portrayals of Simon’s parents.  As the Vice Principal of Simon’s school, Tony Hale (American Ultra) has some good moments and special mention must go to Natasha Rothwell as a drama teacher that hates her job and Clark Moore as an out and proud gay man at Simon’s school that has two of the funniest lines in the whole film.

Yeah, let’s not forget that as dramatic as the story arc may be this is still a teen comedy at heart and the film is consistently funny throughout.  The parties, the hallway discussions, the afterhours heart-to-hearts, the long walks home, the car rides…all strike a nice balance between sentiment and humor without tipping the scales either way.  Adapting Becky Albertalli’s popular YA novel, screenwriters Elizabeth Berger and Isaac Aptaker have played around with some characters and characteristics from the source novel without losing the message of Albertalli’s original work.  Director Greg Berlanti resists against getting overly saccharine as the film develops and Simon’s secret starts to get out – there’s pain and hurt but laughter winds up making the wounds sting less.

If there’s one thing that might keep Love, Simon from achieving long-lasting high rank status it’s that it feels like the fantasy way a coming out story would go.  While Simon claims to be just like us in the opening voice-over, can the majority of teens that will see the film relate to a privileged white guy who gets a new car for his birthday, doesn’t seem to have a job but has spending money, lives in an upscale home in the suburbs, and has more than his share of compassionate and understanding family and friends?  Also, there’s an uncomfortable value placed on looks – when Simon is scoping the halls for Blue and pondering who he could be he wrinkles his nose in horror at bearded nerds, Game of Thrones loving dorks, and roly poly dweebs.  Heaven forbid Blue turns out to be an ug-o.

Yet the film ultimately has its heart and message in the right place and any nitpicks are easily shooed away in favor of recognizing the accomplishment at a major movie studio putting out a sweet love story surrounding a gay youth and his friends.  It may not live totally in the reality of now but it rhymes with the truth without much discord.  Now if people will actually line up to see this…that would be the real victory.