Movie Review ~ Hellboy (2019)


The Facts
:

Synopsis: Hellboy and his closest allies battle an undead sorceress who has the intention of destroying the world

Stars: David Harbour, Ian McShane, Milla Jovovich, Sasha Lane, Daniel Dae Kim, Thomas Haden Church, Penelope Mitchell, Sophie Okonedo, Brian Gleeson, Alistair Petrie

Director: Neil Marshall

Rated: R

Running Length: 121 minutes

TMMM Score: (5/10)

Review: I believe it’s best for me to out myself right at the top of this review. I was not a comic book kid so have never been well versed in the mythology of the characters that have turned up in the pages over the years. From Marvel to DC to the Dark House imprint that published the Hellboy comics, it was just never something that I found any traction with so I was left to be a happy fan that would see these characters come to life for the first time on the big screen. I mean to show you how out of the loop I was, when The Avengers was first announced I thought it was another remake of the UK series from the 1960’s.

I give this disclaimer at the beginning of my review of Hellboy because I’m coming at this with no knowledge of what the characters SHOULD be or what the tone of the comics was. All I can report back on with my modicum of authority is the quality of this rebooted product taken as an outsider. Though it starts off with some verve and vigor, far too soon it becomes packed with the kind of noise and shoddy CGI that overwhelms the audience instead of impressing them.

The road to this Hellboy restage has been a long one, with plans for a third film under director Guillermo del Toro’s watch being abandoned in favor of starting fresh. That meant del Toro (who would wind up winning an Oscar for The Shape of Water) and original star Ron Perlman (Pacific Rim) were out and director Neil Marshall (The Descent, Tales of Halloween) and David Harbour (Suicide Squad) were in. Further separating this film from the 2004 original and its 2008 sequel was a desire to bring the character back to his darker roots and away from the more outwardly heroic (and PG-13) character del Toro and Perlman created. This new Hellboy was going to be an R-rated brawler pitted against a host of ghastly foes.

Marshall makes it clear from the opening that his approach will be different. The first shot of the film finds a crow picking the eyeball out of a corpse while Ian McShane (Jack the Giant Slayer) narrates a prologue littered with foul language. It’s here we’re introduced to the evil witch Nimue (Milla Jovovich, Zoolander 2), known as The Blood Queen, who is defeated by King Arthur and cut into pieces that are spread around the world so her powers can never again be restored. Jumping ahead to introduce Hellboy as he searches for a missing agent within a nest of Tijuana vampires, the bloodletting continues.

These early scenes kick off the movie with some semblance of charm and hint there is some playfulness afoot in Andrew Cosby’s screenplay that mixes Arthurian lore with tales of vampires, witches, giants, and various other ghoulies and beasts. It’s when Hellboy’s dad (McShane) sends him off to England to assist members of The Osiris Club take down a trio of ugly giants that the film begins its gradual decline into less interesting territory. It’s also when the two weakest links in the film are introduced.

Daniel Dae Kim (Allegiant) and Sasha Lane (American Honey) become allies of Hellboy as he hunts down Nimue and her warthog henchman and you’ll wish he were working alone. As Ben Daimio, an agent harboring a dark secret, Kim barely registers as Hellboy’s opposites attract sidekick who starts off trading barbs with the red devil before softening the more he gets to know him. While Kim may struggle with his British accent it’s nothing in comparison to the abysmal effort from Lane as Alice Monaghan, a woman abducted by faeries as a child that has the ability to speak for/as the dead. Everything about Lane is wrong, from her atrocious accent (when it’s there) to her basic line readings that often arrive without inflection – if ever a single performance could ruin a movie, this is it.

As our main guy, Harbour brings the requisite attitude to the proceedings, with his Hellboy a more tortured soul haunted by his past than Perlman chose to play him. I feel like Perlman still has the edge on the role, though Harbour makes his Hellboy wholly separate and his own. The person that seems to be having the most fun and who recognizes what movie she’s actually in is Jovovich as the villainous Blood Queen seeking to find a king to rule alongside her. Reaching out to Hellboy as a possible contender for the throne, Jovovich manages to find some strange sparks with Harbor – it’s not exactly sexual chemistry but something a little more meaty and wicked. Jovovich has been relegated to Resident Evil sequel hell for years and it’s nice to see her show up in something different.

Most of the practical make-up effects are quite impressive, from Hellboy’s detailed horn stumps to the truly terrifying character of Baba Yaga. Their meeting in a nightmare-scape is a highlight of the film and I wished that Baba Yaga was given more screentime, though it feels like the studio is holding onto her for intended future installments. It’s the CGI effects that are uneven throughout. Some of the visual effects look downright terrible, a few notches up from something you would see on the SyFy channel. We’re supposed to be immersed in this world yet the sub-standard effects keep jarring us back into the reality we’re in a theater. Some late in the game scenes of extreme gore (think innocent Londoners literally ripped in half) are kind of a hoot but wind up so fake looking that the impact isn’t what the filmmakers intended.

I’ll be interested to hear what fans of the Hellboy comics think of this new film and if it aligns more with their vision of the character. Two post-credit scenes signal intentions on keeping this franchise going and if a sequel ditches Kim and Lane, improves the effects, and maybe uses make-up that is more practical than computer generated it might smooth out some of the rough edges of this reboot.

Movie Review ~ mother!


The Facts
:

Synopsis: A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.

Stars: Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer, Ed Harris, Domhnall Gleeson, Brian Gleeson

Director: Darren Aronofsky

Rated: R

Running Length: 121 minutes

Trailer Review: Here

TMMM Score: (3/10)

Review: I truly wanted to like mother!…I did.  In the weeks leading up to the screening I literally counted the days until it arrived, and if I’m honest it was more for the chance to see Michelle Pfeiffer up on the big screen again.  Still…maybe I set a bar so high that no final product that Darren Aronofsky (Noah) could have delivered would have made the grade.  Then again, the movie winds up being so vile, so grossly arrogant, and with its head so far up its own backside that it’s hard to believe anyone could leave a showing of mother! better off than when they arrived.

No sooner do the lights go down than the image of a woman bathed in flames appears.  A single tear rolls down her cheek and by the end we’ll want to cry too as Aronofsky lays everything on thick for Act 1 of this nightmare.  Not much can be revealed about mother! without leaking several key twists but if you’ve seen the trailer for the movie you’ll get a pretty good taste for what the first half of the movie has to offer.

A young woman (Jennifer Lawrence, Joy) is fixing up her older husband’s childhood home years after it was gutted by a fire.  Without asking her, the husband (Javier Bardem, Skyfall), a famous poet with writers block, welcomes a stranger (Ed Harris, The Abyss) and his wife (Pfeiffer, Dark Shadows) into their house and that opens the door for a bevy of visitors with their own inexplicable agendas.  Even before Harris arrives, the relationship between Lawrence and Bardem is so awkward you’re already curious what kind of power he has over her.  She allows him to make all the decisions, rarely challenges him, and barely raises an eyebrow when he doesn’t seem to notice that the visitors are odd with a capital O.

For a while, mother! hums along with a decent amount of atmosphere and head scratching developments that Aronofsky somehow manages to stay one step ahead of.  Lawrence plays the role with such wide-eyed growing dread that I half wonder if she was fed her scenes one at a time and didn’t know where it was all heading.  Bardem sure seems to know, though, and he starts to gnaw on the scenery in no time flat which puts him in a plum position as the film reaches its zenith about 75 minutes in.  From there it quickly descends into a delirious mess and while it gets advanced brownie points for its boldness it loses them in the same breath for going to such an abysmally rank place in its finale.  I was a bit appalled to tell you the truth, not so much for one seriously gory stomach churning curveball but for extended scenes of violence toward Lawrence that just felt so wrong.

Aronofksy and Lawrence are a well-publicized power couple in Hollywood and if this is the kind of movie Aronofsky writes and directs for someone he loves, I can’t even imagine what he’d do for someone he can’t stand.  A snuff film, maybe?  His previous works are just as divisive as mother! is sure to be but, save for Requiem for a Dream which even he couldn’t top for sheer Grand Guignol chutzpah, at the end of the day the final message he’s delivering doesn’t seem wholly original or meaningful.  In past movies, he’s tackled drug abuse, man’s inhumanity to man, and paralyzing ambition…here he’s trying to speak to everyone on the planet and the reach is too much.

Like Natalie Portman in Aronofksy’s brilliant Black Swan, Lawrence is in nearly every frame of the movie and she’s well cast in a terrible role.  Why she doesn’t just pack her bag and head out the door each time her husband does something looney tunes is maybe the biggest mystery of the entire film.  When she does decide to head for the hills, she’s pregnant and her house is being invaded by hordes of people (including Kristin Wiig, The Martian, who pops up in the briefest and strangest of cameos billed as ‘the herald’) who are there for her husband.

You’ll be surprised to find out just how little Harris and Pfeiffer are in the movie…and more’s the pity because what the final half of the movie needed is the spark Pfeiffer brings to each of her scenes that are front-loaded into the first hour of the film.  Always a favorite of mine, Pfeiffer is gleefully loosey-goosey as a gin-soaked annoyance who pushes Lawrence’s buttons with delight.  She’s rarely been this relaxed in the last decade of her career and while it isn’t the Oscar-winning performance the studio is gunning for, she’s the best thing about the movie by a longshot.

With dizzying camerawork by Iron Man’s Matthew Libatique (seriously, bring a barf bag) and a purposefully irritating sound design, the technical elements are sharp as a tack in true Aronofsky style.  The sound is so specific by making sure you hear each floorboard creak and droplet of water falling in a copper sink that there are times when I swear you can hear the actors blink.  A little of that goes a long way and by the finale when all hell is breaking loose (literally) it becomes an overwhelming cacophony of visuals and sound that you’ll be desperate to break free of.

While I just can’t bring myself in good faith to endorse this one, if anything, mother! will be a fun movie to dissect over drinks after…but take my advice and steer clear of food before, during, and after.  While there was potential for something interesting to take shape with the strong elements Aronofsky has assembled, at the end of it all I just wanted my mother…to give the director a good whack upside the head.

The Silver Bullet ~ mother!

Synopsis: A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.

Release Date: September 15, 2017

Thoughts: Oh let’s just face facts, they had me at Michelle Pfeiffer. It’s always a special joy to see Pfeiffer (Grease 2) onscreen at any time and we’re fortunate that she’s popping up in so many places in 2017.  Before she boards Murder on the Orient Express in November, she’s going to be seen in Darren Aronofsky’s strange little thriller mother! (no capital letters for this guy!) this September.  This looks like it’s either going to be a nasty little nightmare that Aronofsky is so good at or a total mess which would be pretty unfortunate considering the stellar cast assembled.  I wince a bit at 27 year old Jennifer Lawrence (American Hustle) married to 48 year old Javier Bardem (Skyfall) but let’s hope Aronofsky offers an explanation within the first reel.  Ed Harris (The Abyss) also stars but it’s Pfeiffer looking snazzy and sinister that seals this deal for me.