Tag Archives: Bill Skarsgård

Movie Review ~ John Wick: Chapter 4

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The Facts:

Synopsis: John Wick uncovers a path to defeating The High Table. But before he can earn his freedom, Wick must face off against a new enemy with powerful alliances across the globe and forces that turn old friends into foes.
Stars: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, Ian McShane
Director: Chad Stahelski
Rated: R
Running Length: 169 minutes
TMMM Score: (8/10)
Review:   Life events got in the way of seeing the previous two installments of the John Wick franchise, which is how I wound up taking a weekend to revisit the three films that lead into John Wick: Chapter 4. This Wick-a-thon allowed me not just to reexamine the original from 2014, which I greatly admired when I first saw it, but to witness then how star Keanu Reeves (Toy Story 4) and director Chad Stahelski (Reeves’s former stunt double) went on to take what began as a simple revenge story and mold it into a true evolving saga. It could have been easy to rinse, wash, repeat, and collect their money, but the star and director harnessed a rare energy that pushed each new sequel into bigger and better territory.

I’ll assume that moving forward, you are enough of a fan that you won’t need much hand-holding to bring you up to speed, or spoilers from the three preceding films won’t bother you. I’ll keep the twists and turns writers Shay Hatten (Army of the Dead) and Michael Finch (The November Man) have cooked up to a low boil, but anyone worth their Wick salt knows to expect the unexpected, and everyone is fair game to become a turncoat or go toe up before the end credits roll. 

When we last left John Wick, he’d been betrayed by New York Continental Hotel manager Winston Scott (Ian McShane, Hellboy) in a seemingly callous attempt to save his neck. Not even being shot and falling from a rooftop could stop our hero, though, and he’s spent the time between chapters making plans to take his vicious revenge on the High Table. His plans are set into motion at the same time Scott and concierge Charon (the late, great Lance Riddick, White House Down) meet up with the High Table’s newest New York big wig, the Marquis Vincent de Gramon (Bill Skarsgård, Barbarian) and get new orders to clean up the mess they’ve left behind.

Not satisfied that one party alone can stop Wick, the Marquis enlists the help of blind assassin Caine (Donnie Yen, Rogue One: A Star Wars Story), who is also being forced into service as a consequence of past actions. Caine will get his first crack at Wick in Osaka, where the knuckle-bound one-man army has taken refuge with an old friend (Hiroyuki Sanada, Bullet Train) and his daughter (recording/visual artist Rina Sawayama), both of whom have certain specific duties for the High Table. In Osaka, the film gets its initial surge of adrenaline, pushing it past the first hour as Wick goes up against an endless supply of bad guys/gals. 

In typical franchise fashion, these action sequences aren’t your ordinary kick-punch-punch-and-scene feuds but extended combat (often hand-to-hand) that showcases just how much of the incredible stunt work is being done by the cast. In many films, these battles could feel dragged out and self-indulgent. Still, in the hands of Stahelski and cinematographer Dan Laustsen (not to mention editor Nathan Orloff, Ghostbusters: Afterlife), they become triumphantly tense, brilliantly conceived works of deadly art.

While the series has parted ways with original writer Derek Kolstad, Hatten and Finch carry on the established tone well. We’re in Chapter 4 now, and while I appreciate the consistency in characters from movie to movie, I wish important people introduced from each installment weren’t dropped so wholly with every subsequent film. Several characters from Chapter 3 that proved to be intriguing additions are absent here without much explanation. I get that it’s part of the overall structure of the world of Wick and that some of the fun in these films is to have recognizable actors drift by in surprising cameos – but could at least a few of them come back around now and then?

You may think the film has bitten off more than it can chew at nearly three hours. While it can be argued that Stahelski could make some cuts here and there (an easy way to shave off 5-10 minutes is anytime a camera is following McShane walking anywhere – the man isn’t in a rush to do anything), the overall experience of John Wick: Chapter 4 is so uniformly satisfying that I wouldn’t know what could go that wouldn’t make another piece of the puzzle fall apart. The last hour is the edge-of-your-seat, popcorn-gnoshing stuff of dreams. It’s when Lausten (Nightmare Alley) is given the most freedom to get creative (read: fancy) with his camera work and when Stahelski (Deadpool 2) removes all excess material to reveal a lean, mean machine of a thrill ride.

Until now, this franchise has done well because each film has felt like it arrived at the right time. You can tell Reeves (as monotone as ever) has an affinity for the character and the bonus of doing the stuntwork, but he’s shown up because there’s more story to tell. A spin-off, Ballerina starring Ana de Armas (Blonde) and a few other familiar Wick faces, is currently in production, and it’s rumored the events of that film will serve as a bridge between Chapter 3 and Chapter 4. Whether or not a Chapter 5 is possible will require deeper discussion because all parties have certainly outdone themselves with this fourth feature. 

Movie Review ~ Barbarian

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The Facts:

Synopsis: A woman staying at an Airbnb discovers that the house she has rented is not what it seems.
Stars: Georgina Campbell, Bill Skarsgård, Justin Long, Matthew Patrick Davis, Richard Brake, Jaymes Butler, Kurt Braunohler
Director: Zach Cregger
Rated: R
Running Length: 102 minutes
TMMM Score: (8/10)
Review: There’s a clever bit of marketing surrounding the release of the new horror film Barbarian. Along with the traditional trailer that blessedly gives away precious little, 20th Century Studios is also running a robust digital campaign. Ads showing preview audiences watching the film and reacting are nothing new regarding reeling in interested viewers, but this pushes hard on the shock and awe that await. It’s a bold strategy because if the movie doesn’t deliver, then there’s lost trust between the studio and ticket-holders that Hollywood can’t buy back in the future. Lucky for Barbarian’s filmmakers and even more fortunate for us, writer/director Zach Cregger has gifted brave viewers an Energizer Bunny of nail-gnashing scares. Just when you think its best hand has been played, the real terror begins.

Creeger’s film could easily start with a title card reading, “It was a dark and stormy night,” because that’s the first thing we see as a car pulls up in the rain in front of an innocuous house. Tess (Georgina Campbell, All My Friends Hate Me) ignores calls from someone named Marcus as she goes over the details of accessing her Airbnb. There’s trouble, though. When she tries to get her key from the lockbox, it’s missing. Noticing a light inside, she knocks until Keith (Bill Skarsgård, Eternals) opens the door. It appears they’ve both booked the rental home through different services, and after awkward interplay that graduates into friendly introductions, it’s decided Tess will sleep in the bedroom while Keith will take the couch. They’ll figure things out the next day.

Oh, but I wish I could tell you more than that! I would like to expand on why Tess is in town and analyze why she doesn’t heed many warning signs to find new lodging the next day. I want to get into what the neighborhood looks like in the bright sunlight after the rain stops and what Tess finds when she hunts for more toilet paper in the basement. I’d really like to get into Justin Long’s character and how he fits into the story, not to mention discuss why he’s visiting the city and the same pristine house Tess and Keith got double booked into. Mostly, I’m intrigued to find out your thoughts about a flashback that explains a lot while saying little. I won’t say anything, though, because to spoil absolutely any of Creeger’s ingenious surprises and stunners would shortchange you of an extremely scary (and satisfying) freak out.

Do me a favor, and trust me when I say that knowing too much about Barbarian going in will dim its bright light just a little bit. Having seen it, I confidently feel it has substantial replay value and look forward to watching it again. There’s no getting back that first watch, and you’ll be grateful to let things play out on their own without waiting for the expected to happen. The marketing team involved with Barbarian has kindly kept a solid lid on the proceedings, and while the trailer may have hinted at what’s going on, it’s withheld more than it’s shown. 

Still an actor as he begins to dip his toe into directing, Creeger has enlisted a strong cast as well as friends and family (like wife Sara Paxton) to fill out voice-over roles. Campbell, Skarsgård, and especially Long (Lady of the Manor) are all incredibly game to play along with Creeger’s twisted turns, and the film works as well as it does because this trio takes it so seriously. The cast could have played elements of the third act toward one extreme, but thankfully the actors handle it with the right amount of intensity, so it doesn’t go over the top. Between this and the upcoming House of Darkness, Long is on a roll, playing a particular kind of doggedly caddish character you start to root for even when you know you shouldn’t. As in 2021’s Wildcat, Campbell knows how to work with unflappable female characters, breaking through any coldness around their edges and finding their warmth. 

It’s not a spoiler to say that Barbarian is front-loaded with enough material where you could see options open for further films should the movie become a hit. Beginning, ending, tangential side-to-side, Creeger has wisely written his movie to be a bit amorphous so that it can stand on its own but could easily be pulled into another direction should the studio want more. If they’re as briskly paced and razor-sharp as this film, I’ll gladly book another stay at this horror home.

Movie Review ~ Eternals

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The Facts:

Synopsis: A team of ancient aliens known as the Eternals have been living on Earth in secret for thousands of years. When an unexpected tragedy forces them out of the shadows, they reunite against mankind’s most ancient enemy, the Deviants.

Stars: Gemma Chan, Richard Madden, Angelina Jolie, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Barry Keoghan, Ma Dong-seok, Salma Hayek, Kit Harington, Bill Skarsgård, Harish Patel

Director: Chloé Zhao

Rated: PG-13

Running Length: 157 minutes

TMMM Score: (9/10)

Review: A year ago at this time I was getting so burnt out on the Marvel adventures that were coming at us left and right (and center and above and below and diagonally) and, not that I didn’t find them entertaining, but I just felt like they were all starting to blend together into one amorphous mass that looked like a large black hole where a franchise used to be.  The kick of the discovery was gone and what remained were good guys and bad guys, buildings falling, worlds ending, then not ending, and happy finales for a moment until the post-credits scene revealed something we needed to start worrying about six months or more down the line.  It was just a constant state of “NEXT!” before you’d even had time to digest the meal you’d been served.

Announcing indie director (very indie) Chloé Zhao as the director for Eternals, a film that represents a significant shift in tone and temperament for Marvel isn’t all that out of the ordinary.  The studio has done a good job over the last decade at picking interesting (read: new) filmmakers to helm their movies and the bet has largely paid off in spin-offs and major pivots that have their own style and calling cards.  You can bet the studio heads were jumping on their gaming chairs when Zhao rode a tidal wave of good notices in 2020 to an Oscar win for Best Director and another one for producing Nomadland, the quiet Frances McDormand drama about a woman traveling the country not quite aimlessly but without any true destination. It’s a feeling the superheroes at the heart of Eternals are familiar with.

Instead of losing that indie vision and voice, Zhao applies it liberally to this superhero film which feels altogether different and quite special, and one that will certainly divide many.  For starters, and this isn’t a bad thing, its pacing is off from your typical Marvel film.  It’s not that it’s too long, it’s as long as a number of its brethren, but there are long stretches where its characters are allowed to be human as well as superhuman and use their words instead of their wonder.  Drama instead of dramatics doesn’t always sell tickets or inspire amazement in those that come for hyperbolic extravaganzas and while Eternals does have some incredible moments of special effects wizardry, it’s far more interested in what can be created through connection.

Five thousand years before the birth of Christ, ten beings from a distant planet arrive on Earth to rid the still developing world of creatures known as Deviants.  Sent on a mission from a powerful ruler and waiting for their next message delivered to Ajak (Salma Hayek, Savages), their leader on Earth that will send them home, they remain on our planet over the next seven thousand years, watching humankind evolve but barred from using their advanced knowledge to help them progress in their growth.  Taking place after the events of Avengers: Endgame, Eternals picks up with Sersi (Gemma Chan, Crazy Rich Asians) living in London and dating Dane (Kit Harrington, Pompeii) while watching over Sprite (Lia McHugh, The Lodge). 

When a Deviant emerges unexpectedly from a canal in the River Thames and goes after Sersi and Sprite, old friend (and former Sersi flame) Ikaris (Richard Madden, Rocketman) flies to their rescue just in time.  The three decide this Deviant appearance isn’t a coincidence and set out to reunite the rest of the Eternals who have scattered across the globe…but not all want to be reunited and as the Deviants grow stronger the race is on to protect the humans from a global extinction event that makes The Snap look like child’s play.  Mistrust, old grudges, and their own failing health keep the Eternals from full strength, and it will take their collective energy to stop an enemy that feeds off of their power.

Even as some will convince you otherwise, there’s a whole lot going on in Eternals.  Like, a whole lot.  First off, the representation on display here is wonderful and doesn’t feel forced in the least.  Diversity in casting is joyous, as is the normalcy in characterizing Brian Tyree Henry’s (The Woman in the Window) Eternal Phastos as a married gay man living with his husband raising their son.  You have Lauren Ridloff (Sound of Metal) as hearing impaired Eternal Makkari, Kumail Nanjiani (Dolittle) as an Eternal now living as a popular Indian Bollywood actor, and Angelina Jolie (Those Who Wish Me Dead) playing Thena, an Eternal waylaid by a disease that comes across suspiciously like early onset Alzheimer’s.  Add to that the conflict between the never-aging Sprite and the love triangle she creates in her head with Sersi and Ikaris and there’s enough drama off the battlefield to keep things hoppin’ even with a well-designed Deviant breathing down their neck.

The well-utilized visual effects pair nicely with Ben Davis’s (Captain Marvel) gorgeous cinematography (absolutely the best in any Marvel film, period) and you’re crazy if you don’t see Eternals in IMAX where you can enjoy it to the full extent.  What I noticed early on was how “small” the movie feels in comparison to others. This could be the Zhao effect, but for much of the movie it’s really just the main characters and that’s it.  There’s not a lot of swarming extras (real or computer generated) and when there are large crowd scenes, everyone looks to be really there and present.  That energy helps fuel all who are on camera, giving it all a reality bounce that pushes the movie ever forward.

I haven’t checked recently (I just can’t bear to) but shortly after seeing Eternals I read it was the lowest rated Marvel movie to date and had heard about all these negative reviews that were coming out – and I was stunned.  Near the end, there are moments of such transformative beauty that are simply not in the scope of presence in Marvel films to date…and this is the movie that gets ravaged?  I can’t help but feel like it has something to do with the diversity of the cast and its far-reaching scope of inclusivity – I thought (and hoped) fans that celebrated light triumphing over dark would be better than that.  I hope these early reviews were just the loudest voices of a minority of viewers that have seen the film so far.  On the eve of the release, here’s wishing Eternals and future adventures eternal good will.

Movie Review ~ IT: Chapter Two

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The Facts:

Synopsis: Twenty-seven years after their first encounter with the terrifying Pennywise, the Losers Club have grown up and moved away, until a devastating phone call brings them back.

Stars: Jessica Chastain, James McAvoy, Bill Hader, James Ransone, Andy Bean, Jay Ryan, Isaiah Mustafa, Bill Skarsgård, Xavier Dolan, Will Beinbrink, Teach Grant, Jaeden Martell, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Chosen Jacobs, Jack Dylan Grazer

Director: Andy Muschietti

Rated: R

Running Length: 169 minutes

Trailer Review: Here

TMMM Score: (6.5/10)

Review: Two years after IT: Chapter One took the late summer/early box office by screaming storm, we find ourselves in a similar situation upon the arrival of its sequel.  Like its predecessor, IT: Chapter Two is being released at the very tail end of a mostly bummer summer of sputtering sequels and non-starter indies.  At this point in the year, the hunger for something high quality that isn’t seeking Oscar gold (or is it?) but just wants to entertain is, I must admit, quite appealing.  Re-watching Chapter One in anticipation of Chapter Two, I was struck by how well that earlier film scooped up the audience into its spell and had high hopes the second chapter would continue with that same magic.

In my review of the first film I wondered why the studio didn’t have a little more faith in the property and shoot the entire novel back-to-back instead of disrupting its non-linear plot in favor of more straight-forward storytelling. Instead, Warner Brothers and New Line Cinema, still wary after a troubled start to the project when the original writer/director left, decided to test the waters by filming only the first of a planned two-part movie.  The film was a gigantic hit (rightfully so), made a few stars out of the kids, and almost immediately had fans compiling their dream cast for the follow-up that quickly got the greenlight.

It’s been 27 years since the Losers Club bested Pennywise the Dancing Clown (Bill Skarsgård, Atomic Blonde) and most have moved away from the tiny town of Derry, Maine.  Mike (Isaiah Mustafa, The Three Stooges) is the only one that has stuck around, living above the library and keeping watch for any strange occurrences that might be tied to the evil he faced with his friends when they were tweens.  Receiving a fairly targeted message at the scene of a horrific crime that confirms his worst suspicions, Mike tracks down his long-lost pals who have all strangely forgotten the summer of the clown and they oath they made to return.

Overcoming his stutter and becoming a successful novelist and screenwriter, Bill (James McAvoy, Split) is more than happy to vacate the set of his latest movie where he’s having trouble getting the ending right.  Beverly (Jessica Chastain, Lawless) escapes her violent husband/business partner in order to keep her promise, while foul-mouthed stand-up comedian Richie (Bill Hader, The Skeleton Twins) leaves his tour and heads for Maine.  Eddie (James Ransone, Sinister) and Ben (Jay Ryan) have no problems getting out of their stuffy corporate jobs and away from the drone of their daily lives.  Only Stanley (Andy Bean, Allegiant) finds it harder to return for reasons I won’t spoil here.

When the gang has gathered back in their hometown and Mike levels with them about the evil that has reemerged, the memories come flooding back and it’s here the movie starts to fray. Up until that point, writer Gary Dauberman (Annabelle Comes Home) and returning director Andy Muschietti (Mama) have been pulling the rope tighter and tauter around the group, giving them all warning signs that danger awaits them all.  Once they all arrive, however, there’s a fracturing isolation that occurs which gives each person an individual mini sub-storyline to follow and the movie curiously goes slack.  Seems that Mike has found out a way to destroy the entity that has been feeding off of Derry residents for hundreds of years and he needs his friends to split up and gather a personal “artifact” from that summer that was important to them.

This gives each actor their own stretch of time to be the star of the film and not everyone uses their time wisely. Surprisingly, it’s the biggest stars that fare the worst with McAvoy whipping himself into an absolute frenzy at inopportune times, coming off as bug-eyed and hysterical instead of terrified.  Chastain is right behind him feasting on the scenery and she and Hader fight over which high emotional moment to gnaw on next.  (There is a serious campaign to get Hader an Oscar nomination for his work here and, while I’m a fan, that’s totally bonkers.  This isn’t even an Oscar-adjacent performance.) All three become, frankly, grating as the movie extends which makes the restrained and nuanced work Ransone, Ryan, and, to a slightly lesser extent, Mustafa, seem even more welcome.  These character “adventures” feel like the chapters they are in the book, personal moments that have slight ties to the greater action but are largely drop-in and drop-out scenes.  The same scenario is repeated later in the movie when the adults get thrown into their own personal horrors.  What started in 2017 as a scary riff on Stand by Me turns into a tricky re-working of A Nightmare on Elm Street 3: Dream Warriors.

What’s really missed are the child actors from Chapter One and, though they have been brought back for this second installment they aren’t…quite the same.  Over the past two years the kids have done what kids do at that age: they grow.  Via digital scrubbing and voice modulating, the performances have been youth-ized and the results are often creepier than Pennywise.  You know the voice matches the actor but the face doesn’t look right so it’s all strangely out of whack.  Only Sophia Lillis seems to have escaped the airbrush and thus her performance feels the most grounded and real.  When the action switches back to the adults, you can see the work the older actors have done to match their younger counterparts and, for what it’s worth, the casting is spot-on.  I just kept wondering what would have happened if they waited 27 years to let these younger actors grow into their older selves.

As is the case with most sequels to horror films, the scares have to be bigger and more frequent and IT: Chapter Two definitely falls in line with expectations  The trouble with that is there is no build up to a scare almost anywhere in the movie.  Sure, there is some disturbing imagery and a few jolts but none come close to the satisfying and expertly orchestrated thrills elicited from Chapter One.  It’s like in Jaws.  Once you’ve seen the shark, you’ve seen the shark and it’s all about the attack from then on.  Now that we are familiar with Pennywise and have seen so much of him, there’s less menace to be had, even though he does bare that hideous maw with rows upon rows of razor teeth multiple times in the film.

There’s a fairly large amount of iffy CGI on display, as well. Though the protracted finale of the film features the most well-rounded effects of all, there are numerous nightmare creatures conjured up by Dauberman and Muschietti that are simply goofy to look at.  An abundance of grotesque creepies emerge from the darkness throughout the movie and few have the same impact of the simple image of Pennywise staring out of the dark at an unsuspecting child.  An effective (if extremely hard to stomach) opening sequence at a country fair and a later scene underneath the town bleachers are good reminders of how Muschietti can extend tension to its most enjoyable breaking point.

At 169 minutes, the movie either needed to be 40 minutes shorter or 60 minutes longer. Were it shorter, Muschietti could have trimmed up some redundant character bits in the third act that feel like extra padding.  Had it been longer, we could have spent some more time with the Losers Club and their lives outside of Derry.  There’s too little of their current lives shown to give us a proper introduction so we have to almost base our knowledge soley on what we remember from the original film.  What I do appreciate is Muschietti’s attention to small details from the book and within his vision of the film.  I’ll  have to give the movie a second watch, but there’s usually something not quite right going on in the background of scenes that most viewers won’t catch on the first viewing.  It’s also a nice touch to have Eddie’s nagging wife played by the same actress who was his mother in Chapter One.  There are also two very funny cameos, one in particular that had our audience cheering.

There’s rumors of a supercut that might happen that would combine both movies into one and I’d be fascinated to see how that would come together. I’d definitely recommend this movie, sequel flaws and long running time aside, because of the way it nicely concludes what was started back in 2017.  If only everything was done at the same time and the filmmakers didn’t have that extra year to get too zealous with their plans for IT: Chapter Two.

The Silver Bullet ~ IT: Chapter 2

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Synopsis: Twenty-seven years later, the Losers Club have grown up and moved away, until a devastating phone call brings them back.

Release Date: September 6, 2019

Thoughts: Back in 2017, Warner Brothers took a risky move by remaking Stephen King’s IT as a big screen endeavor. Though the television mini-series had unquestionably not aged well it still held a soft spot in the hearts of many a fan.  Thankfully, the gamble paid off and director Andy Muschietti (Mama) delivered not only a scary as hell horror film but one that also captured King’s nostalgic tones as well.  The performances were far above average considering that most of the kids were unknowns and that helped keep the tension up throughout.  Two years later comes the concluding chapter featuring the members of the Losers Club that have grown up and are revisited by a vengeful evil that has been waiting for them for many years.  The first teaser trailer is a doozy too, crafted mostly as a scene between Jessica Chastain (The Martian) and a creepy lady that lives in her childhood home.  I found myself slowly inching away from my desk as it went along not sure where it was taking me.  Here’s hoping this sequel seamlessly branches off the first film and ends with the kind of bang it deserves.

Movie Review ~ Deadpool 2

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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.

31 Days to Scare ~ Castle Rock (Teaser)

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Synopsis: Based on the stories of Stephen King, the series will intertwine characters and themes from the fictional town of Castle Rock.

Release Date: TBA 2018

Thoughts: Ever since the first announcement for Castle Rock was released in February 2017 the entire production has been shrouded in mystery.  From J.J. Abrams (Star Wars: The Force Awakens and known to be a producer with a Midas touch) and author Stephen King (Gerald’s Game), this Hulu series teased intertwining tales that took characters/events/ideas from King’s canon and gave them new life as residents of Castle Rock, Maine.  Any King fan will tell you the fictional town plays a part in nearly every one of his novels and I’m downright fascinated to see what they’ve come up with.  Boasting solid stars like Sissy Spacek (Carrie), Terry O’Quinn (The Stepfather), Scott Glenn (The Bourne Legacy) along with rising names like Jane Levy (Don’t Breathe), André Holland (Selma), and Bill Skarsgård (IT), this feels like it’s either going to be right on the money or all smoke and no fire.  After this first full trailer, I smell payola for all involved.

Movie Review ~ IT (2017)

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The Facts:

Synopsis: A group of bullied kids band together when a monster, taking the appearance of a clown, begins hunting children.

Stars: Jaeden Lieberher, Wyatt Oleff, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Jack Dylan Grazer, Chosen Jacobs, Nicholas Hamilton, Bill Skarsgård

Director: Andy Muschietti

Rated: R

Running Length: 135 minutes

Trailer Review: Here

TMMM Score: (9/10)

Review: IT, Stephen King’s 1986 novel was a popular book in my junior high library. At 1,138 pages and with only one copy though, the waitlist was long and I believe it took nearly the entire school year to obtain. I remember when I finally got my hands on it and marveling at its creepy cover, fretting over the length, and reading it by flashlight late into the night. Trouble was, by the time it was due back I was only halfway through and though as an adult I’ve carried (lugged would be a better word) a paperback version with me for the past six months, absorption by osmosis did not occur and to this day I’ve regretted never finishing it properly.

Most people, though, will have experienced IT for the first time via the 1990 made-for-TV movie that scared several generations of people over the two nights it aired. At the time I remember thinking the film quite entertaining but watching it again a year or so ago I found myself wincing more than cowering. The trappings of an era with more rigid television standards robbed it of being too scary or slick. While some of what goes on in King’s novel could (and should) never be depicted on film, today it feels toothless though it does find prime moments to gnaw your nerves. Then there’s the clown.

Mention IT to a crowd and you’re going to get a response. They either hate it or they love it and the reason why is almost always the same…that damn clown. It’s impossible to think of IT and not conjure up the vision of Tim Curry as Pennywise the Dancing Clown. While the movie itself may have lost some bite over the years, Curry’s menacing monster in clown’s clothing has perhaps become more terrifying. So while many were welcoming of a new adaptation of IT on the big screen, one of the biggest question marks was how well Bill Skarsgård (Atomic Blonde) would fill Curry’s admired shoes. Patience, dear reader, patience.

IT arrives at the end of a disappointing summer at the box office and before the wave of award seeking films are released. The timing couldn’t be better. Kids are back in school and the weather here in the Midwest has taken a cold turn. Walking into the packed theater and taking my seat for the screening there was a palpable excitement for the lights to go down, a buzz of anticipation I hadn’t felt for a while. 135 minutes later the lights came up on an audience that had screamed, laughed, and applauded. In short, IT’s a winner.

In the late ‘80s, something bad is happening in Derry, Maine. Kids are disappearing without a trace and no one knows why. Is it related the town’s history of bad luck or is something more sinister taking place? One thing’s for sure, a frightening clown has been haunting and hunting and his appetite is insatiable. A team of young outcasts band together to uncover the secrets of their town while battling their own phobias brought to life by the monster on the loose.

Though it had a bumpy road to the silver screen thanks to budget cuts and the departure of its original director, the wait was worth it. Director Andy Muschietti (Mama) has delivered a quality film that not only provides delirious scares but has an ambitious emotional resonance extending far beyond its genre.  I admit I got a little misty eyed as the film was wrapping up…when was the last time you went into a film expecting terror but found a tear or two eeking out?  Equal parts Stand By Me, Stranger Things, and The Goonies, it’s retro-feel is unobtrusive and navigating prolonged sequences of horror while maintaining energy is no easy task but Muschietti makes it look simple.  Scaredy-cats will have their limits mightily tested while fright fans are going to be nicely satisfied with the pulse-raising shocks doled out by Muschietti and company.

None of the good directorial decisions or the solid script would amount to a hill of beans if the actors didn’t measure up but Muschietti has cast the film splendidly.  Though Jaeden Lieberher (Midnight Special) has top billing, this is an ensemble piece and the kids are definitely all right.  I especially liked Jeremy Ray Taylor’s roly poly new kid on the block and Sophia Lillis as the only girl holding her own in the boys club.  Not all the acting is consistently convincing but it’s a small-ish nitpick in the grand scheme of things.

In a cast made up primarily of unknowns, it’s an interesting decision for Muschietti to further conceal some of the adult actors under prosthetics and fat suits.  A few times the adults gave me the same type of goosebumps brought on by Pennywise, further isolating the children as they realize they are the only townsfolk they can truly trust.  Some of the more extreme side plots of King’s original novel have been softened or excised and more’s the better for it.  There’s enough peril for the youngsters to deal with whenever that clown makes an appearance.

Ah yes…the clown. While Curry may be seen as the definitive Pennywise, Skarsgård makes the role entirely his own, bringing a sharp physicality to his clown that amps up the danger of his visits. Though he has precious few lines this is a performance based almost entirely on presence and Skarsgård is pretty electric in the film. Balancing childlike clown mannerisms with a serial killer’s alacrity, when he opens his bloodthirsty maw to consume or frighten it will shake you to your core.

While the studio had originally intended to film the novel as one long movie, budget fears were such that IT covers roughly half of the book. The movie is so good and the early buzz so strong I can’t imagine we won’t get a sequel in short order…but it makes you wonder why they didn’t just stick to the original game plan to begin with. In any event, IT is awesome which should please fans of the novel (even those that only finished half of it) as well as devotees of the TV movie. Scare you it does and scare you it shall.

The Silver Bullet ~ It (2017)

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https://www.youtube.com/watch?v=FnCdOQsX5kc

Synopsis: In a small town of Derry, Maine, seven children come face to face with life problems, bullies and a monster that takes the shape of a clown called Pennywise.

Release Date:  September 8, 2017

Thoughts: Back in the day when adaptations of novels were all the rage on network television (RIP: The Mini-Series), I remember looking forward to the 1990 multi-night experience of watching Stephen King’s It.  Quickly becoming a popular nightmare calling card for clowns everywhere, the series was a smash but hasn’t exactly held up on repeated viewings.  Watching it just a few years ago, I was struck by just how far fond nostalgia can take you.  It was just…not great.

Flash forward 27 years and after numerous false starts and various directors, a big screen version of King’s classic is floating into your local cinema.  King’s novel bounces between the past and the present and rumor is that this film is only going to be focused on the story taking place in the past.  I’d always found that the most interesting part of the tale anyway and appreciate the filmmakers not biting off more than they can chew.

We all know that any crap movie can be edited to look like a winner but I’m hoping that It is truly as scary good as it looks.  Directed by Andy Muschietti (who helmed the nifty Mama), King has already given his blessing to the final product – an early stamp of approval from an important source.

Movie Review ~ The Divergent Series: Allegiant

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divergent_series_allegiant_ver4
The Facts:

Synopsis: After the earth-shattering revelations of Insurgent, Tris must escape with Four beyond the wall that encircles Chicago to finally discover the shocking truth of what lies behind it.

Stars: Shailene Woodley, Theo James, Octavia Spencer, Naomi Watts, Jeff Daniels, Ray Stevenson, Zoe Kravitz, Miles Teller, Ansel Elgort, Maggie Q, Keiynan Lonsdale, Jonny Weston, Mekhi Phifer, Daniel Dae Kim, Nadia Hilker, Bill Skarsgård

Director: Robert Schwentke

Rated: PG-13

Running Length: 121 minutes

TMMM Score: (2/10)

Review:  When Divergent was released in 2014, the hope was that it would be Summit Entertainment’s answer to The Hunger Games gauntlet thrown down by Lionsgate, a rival studio.  It wasn’t.  Actually, Divergent was so airless that when its sequel (Insurgent) rolled out a year later I didn’t even bother to see it.  What’s the point of continuing on with a series if the audience doesn’t really care about characters played by actors that don’t seem to care themselves about anything more than their paychecks and the perks of an international press tour.

In preparing for Allegiant, I went back and re-watched Divergent to see if my original feelings held up.  Boy, did they ever.  I still find Divergent to be a major bore, peppered with blank performances, spotty special effects, and a plot so convolutedly serpentine that it winds up feeling like it’s being made up on the fly and not adapted from the first in a series of bestsellers by Veronica Roth.  I continue to have a major problem with the violence towards women, grimacing each time the film finds our heroine getting beaten about the head and face by a male peer.

Since I’m never one to skimp on my homework, I gave Insurgent an overdue spin and to my surprise found it more than marginally better than its predecessor.  It’s still hopelessly devoid of point and general interest but with a new director (Robert Schwentke) and better special effects, the overall feeling of the series as a whole was that it was finding its footing (though I don’t feel like a series should ever need to take an entire first chapter to work out the kinks).

So going into Allegiant I was ready to see it improve upon the previous entry.  With the same director returning along with its cast made up of representatives of young Hollywood supported by several Oscar nominated/winning veterans there was surely hope to be had.

Wrong.  So very wrong.

First off is that Allegiant continues the unfortunate trend of studios with dollar-signs in their eyes and opting to split the final installment into two movies.  It worked for Harry Potter, it kinda worked for Twilight, and it definitely worked for The Hunger Games…but Allegiant is not destined to be put into any marginally successfully category because it’s actually the worst entry yet.  Instead of besting Insurgent, it falls far behind Divergent thanks to uninspired performances, downright lousy special effects, and the cold hard truth that the whole series is not about anything.

If you haven’t seen Insurgent yet, you best stop reading now because it’s impossible to discuss this one without letting a few spoilers slide by.

Jeanine is dead.  And Kate Winslet must have been so happy she wasn’t contractually obligated (like Ashley Judd seems to be) to appear in installments after her character was shot down by Evelyn (Naomi Watts, The Impossible, acting like her life depended on it in a brunette wig).  The message received at the end of Insurgent suggests that outside the wall that surrounds Chicago is a population waiting for the divergents to appear.  With the faction system breaking down and naysayers unlawfully executed, it’s more important than ever to scale the massive wall and hope that what’s outside is better than what’s inside.

When her brother (Ansel Elgort, The Fault in Our Stars) is lined up to be next on the chopping block, Tris (Shailene Woodley, The Descendants) and Four (Theo James) escape with him and their friends (Zoe Kravitz, Mad Max: Fury Road, and Miles Teller, The Spectacular Now, and Maggie Q), literally walking up the wall through an electrified fence.  Before going over the wall, the screenwriters trim the escapees by one in a most unceremonious fashion…losing one of the more interesting characters is a bummer for us but good for them because they’re spared from what happens next.

Outside the wall is a wasteland, a fleshy red landscape irrigated by a red rain.  Why?  The film never says…probably because it just looks good and goes with the costume design. Salvation comes when the group is rescued and brought to what used to be Chicago’s O’Hare Airport, though it’s been redesigned to look like the first pass of architectural model by a grade school student with no eye for functionality.  Ruled by David (Jeff Daniels, The Martian, with sad eyes that tells us he can see his career fading) who’s focused on separating the “pure” from the “damaged”, a divide arises between Tris and her friends that will call into question their, um, allegiance.

To say more would be giving the wafer thin plot more time than it deserves.  It’s just a bridge between Insurgent and 2017’s Ascendant so really what’s the point of catching this one in the theaters?  It’s a waste of time and everyone onboard seems to know it.  Schwentke is coasting in his director’s chair…so much so that he decided to jump ship and not come back to finish the series.  The special effects look like they were from a computer game you’d play between commercial breaks of a new episode of The Fresh Prince of Bel-Air, and the acting is absolutely dreadful.

Woodley has been someone I’ve kept an eye on for a while now but instead of getting more acclimated to her heroine role, she seems more uncomfortable than ever.  A solid dramatic actress she may be but an action star she’s not and never will be.  With her huge saucer eyes and dirty blond bob, she doesn’t even look the part.  James fares better as her love interest and brawn of the group, but the two have precious chemistry to suggest that we should care whether they wind up together or not.  Watts, Daniels, and Octavia Spencer (Fruitvale Station) feign attentiveness while Teller hams it up with one-liners that rarely drew much of a reaction from the nearly 500 audience members I saw this with.  And I can’t even go there with the dreadful extras that have been assembled.  All of them look like they’ve been recruited from a pep rally in a juvenile detention center.

As I was leaving the theater I was walking behind a major fan of the series that was shaking her head and exclaiming that the filmmakers totally ruined the series with this one…so you don’t just have to take my non-fan word for it that Allegiant is a lousy waste of space.