Synopsis: Hutch Mansell, a suburban dad, overlooked husband, nothing neighbor — a “nobody.” When two thieves break into his home one night, Hutch’s unknown long-simmering rage is ignited and propels him on a brutal path that will uncover dark secrets he fought to leave behind.
Stars: Bob Odenkirk, Connie Nielsen, Aleksey Serebryakov, Christopher Lloyd, RZA, Michael Ironside, Colin Salmon, RZA, Billy MacLellan, Araya Mengesha, Gage Munroe
Director: Ilya Naishuller
Running Length: 92 minutes
TMMM Score: (6.5/10)
Review: It’s coming. The time for theaters to re-open and welcome movie-goers back in larger numbers is getting close and even now you can see there are more films premiering only in cinemas and not available via streaming or On Demand. On the one hand, I get it. Studios want to stay in the good graces of theater chains while also preserving the overall experience for their audiences. On the other, even though the country continues to be vaccinated at a good rate there is still a long way to go before people (including myself) would feel comfortable sitting for an extended period in an enclosed space with others we aren’t acquainted with. Until then, I’ll feel lucky that I can see a theatrical-only release like Nobody (from Universal Pictures) in the comfort of my own home so I’m able to let you know if it’s worth the risk to venture out to your local multiplex.
Though I’m still always going to advocate that you avoid unnecessary social interaction outside of your own home and hold out until a movie you want to see is available to rent or buy via streaming, I suppose if you were looking for a comfort-food casserole sort of action movie to sate your thirst for mindless fun, Nobodywould be a full flavor meal to dine out on. It has a bruised-knee charm that makes it a decent watch and a leading performance from an unexpected star which keeps it always surprising and surpassing your expectations. It’s pulpy and loud but isn’t insignificant in the way it wins you over on sheer chutzpah. Plain and simple — it’s worth putting some real pants on for.
The most notable thing about middle-aged Hutch Mansell (Bob Odenkirk, Nebraska) is that he keeps to his routine. His suburban life with his pretty wife (Connie Nielsen, Wonder Woman 1984, Sea Fever) and two children isn’t boring, it’s just standard. He’s not complaining he’s just…settled. Working a number pushing job at a factory seems to get him through the day and although he aspires to one day own the factory, his mild-mannered attitude might be drowned out by a more emphatic employee who the boss (Michael Ironside, Scanners) takes more notice of. It’s a beige life for a beige guy. At least that’s what it looks like on the surface. A late-night home break-in is the catalyst that begins to pull back the curtain on Hutch’s life before the wife, kids, and 9-5 job entered the picture. It awakens a side of him that few have seen…and lived to talk about.
Over the next several days, Hutch will run afoul of a karaoke-singing Russian crime boss (Aleksey Serebryakov, in a performance of golden gusto) who quickly sets his sights on eliminating this unexpected thorn in his side. They’ll also be car chases, knockdown brawls leading to broken bones and worse, and a booby-trapped finale that will remind you of a certain Christmas classic. It’s all eager to please and screenwriter Derek Kolstad (The Falcon and the Winter Soldier) doesn’t miss an opportunity to find a clever way to clean house. It’s also up to director Ilya Naishuller to not let us get too far ahead in Kolstad’s script – though Hutch’s shadowy past might seem obvious at first, the full truth is more fun.
Even though it’s ultimately just a less flashy version of the John Wick films (no shocker, Kolstad wrote all three) set to a soundtrack filled with so many on the nose up-tempo tunes I’d be surprised if there wasn’t a wedding DJ watching that uses it exclusively at their next gig, Nobodywhizzes through 92 minutes without pausing much to let us catch our breath or think through how silly it all is. A lot of that has to do with Naishuller’s breakneck pace and caffeine-hyped editing but don’t forget to give Odenkirk much of the credit for making Hutch such a standout character. Sure, he’s playing a seemingly dull guy that’s just harboring a lot of well-kept talents, but there’s more to him than his bag of tricks. I’ve yet to truly take much notice of the actor until now but he’s an astonishingly credible action star, an everyman that takes a licking and keeps on ticking, absorbing the blows but finding creative ways to dole out punishment as revenge. It’s all Odenkirk’s film so even strong supporting work from Nielsen (sadly underused considering the butt kicking we’ve seen her do recently in Zack Snyder’s Justice League and more) and a neat appearance from Back to the Future‘s Christopher Lloyd as Hutch’s irascible father.
With its short length, Nobodywould be a good option if you are thinking of dipping your toe back into the theater-going experience because it’s a breeze to sit through. If anything, make time for it when you do see it pop into your at home options in several weeks because this side of Odenkirk was exciting to see. With his popularity at a peak nowadays with TV’s Better Call Saul continuing to earn him strong notices, Nobodyis something to behold indeed.
Synopsis: Determined to ensure Superman’s ultimate sacrifice was not in vain, Bruce Wayne aligns forces with Diana Prince with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions.
Stars: Ben Affleck, Henry Cavill, Gal Gadot, Jason Momoa, Ezra Miller, Ray Fisher, Amy Adams, Jeremy Irons, Connie Nielsen, Diane Lane, J.K. Simmons, Ciarán Hinds, Amber Heard, Joe Morton, Ray Porter, Jesse Eisenberg
Director: Zack Snyder
Running Length: 242 minutes
TMMM Score: (9/10)
Review: Has there ever been a more bizarre and divisive situation of nerdom than the one surrounding the twisted tale of Zack Snyder’s Justice League? By his own request, the director was replaced during the final weeks of production on the 2017 release (including editing and reshoots) so he could deal with the emotional recovery of the death of his daughter. It was the right choice for Snyder but it left the film in the hands of Joss Whedon, the Marvel marvel who couldn’t find the same tone Snyder was going for and leaned into a more studio and populous theater friendly piece that didn’t serve the darker storyline that was imagined. Not unexpectedly, though the film was ultimately credited to Snyder it bore little resemblance to his original vision and was hampered by many of Whedon’s trademarks, down to cringy bits of humor that didn’t work and a stupefying amount of bad special effects.
With Warner Brothers and the DC Universe riding high off the phenomenal success of Wonder Woman released earlier that year, the dismal failure (and tepid reception) of Justice League put a nail in the coffin for Henry Cavill’s Superman and encouraged Ben Affleck to exit a solo Batman project that was in the works. It also derailed a planned film for The Flash and bumped the Wonder Woman sequel out, not to mention leading to some troubling accusations from co-star Ray Fisher on how the studio treated him after voicing concerns about unprofessionalism on set. All in all…a big mess. While a subsequent Aquaman film performed well and looked encouraging for Jason Momoa’s future as a box office star, Wonder Woman 1984’s bow in late 2020 was met with true vitriol (all very unfair in my eyes) so the shaky ground remained.
While all of this was going on, though, a strange groundswell was starting that began almost as a joke but started to catch on before turning into a full-blown movement by comic book and franchise fans. This was of course the birth of the # phenomenon and it was hard to avoid the #ReleaseTheSnyderCut pandemonium that took over Twitter. Everyone knew that Snyder had expressed some displeasure that his vision wasn’t seen through to the end and that so much of what he shot wasn’t included or scenes he had wanted to shoot weren’t shot at all. What people were clamoring for was to see Warner Brothers to hand the movie back to Snyder and let him re-edit the movie into the “Snyder Cut”… which is not exactly unheard of. They’ve done it before with 1980’s Superman II, replacing director Richard Donner before filming was over but releasing his (not as good) version decades later. Director’s cuts are fairly standard for releases now but there was something about this particular movie that kept both sides tight-lipped, with Warner Brothers even claiming at one point that there would definitely be no Zack Snyder’s Justice League.
Here we are, though, and HBOMax is releasing a four-hour cut of Snyder’s reassembled film that aligns with his original plan. Running a full two hours longer than the 2017 release, Snyder used material that Whedon chose not to go with and also shot quite a lot (a lot!) of new footage – so much so that this feels almost like a remake of the film everyone thumbs down-ed four years ago. We all know that longer doesn’t equal better but in the case of Zack Snyder’s Justice League, it most certainly does. My original review of Justice League pointed out that the film’s introductions to the new characters felt rushed and not a lot of the movie felt cohesive due to the streamlined runtime. With four hours to work with, Snyder is able to give each character their due and then some, providing more than enough character building to have the head spinning finale actually mean something this time around.
By and large, the story is mostly the same. After burying Superman at the end of Batman v Superman: Dawn of Justice, Batman/Bruce Wayne (Ben Affleck, Live by Night) begins to assemble a team of other individuals with superpowers while Wonder Woman/Diana Prince (Gal Gadot, Ralph Breaks the Internet) returns to her civilian life with the occasional crime fighting break now and again. Batman has a sense that a darkness is coming and the need for a team of united strength is important and it’s only after Wonder Woman gets a desperate sign from her homeland with the key to a hidden message that she joins him in the recruitment process. Together, they seek out Aquaman (Momoa, The Lego Movie 2: The Second Part) who has remained a mystery man in the waters off Iceland, The Flash (Ezra Miller, Fantastic Beasts and Where to Find Them) a kind-hearted social outcast that can run faster than the speed of light, and Cyborg (Fisher) a former high school football player saved from death by his scientist father (Joe Morton, Godzilla: King of the Monsters) now struggling to adjust to his altered appearance and overwhelming technological access.
Their combined powers will be needed to defeat Steppenwolf (voiced by Ciarán Hinds, Closed Circuit) a ghastly beast that has arrived on earth searching for three boxes that, when united, will call forth a dangerous entity that will destroy Earth. As he travels around the globe gathering the pieces of the puzzle from clans that have an impact on Wonder Woman and Aquaman, the group realizes that the box possesses multiple powers. (Yes, you’re correct in thinking this is all hokey pokey stuff and it’s just as absurd as it was the first time around…but with more time to add in context and backstory, it goes down just a little easier.) In addition to vanquishing all life, the “unity” can also restore it and bring the dead back to existence. A fairly good tool to have when you’re down one superhero and know where he’s buried…
Like I said before, everything about Zack Snyder’s Justice League, is just…more. There’s more story, more action, more blood (when people get thrown against walls, their heads tend to explode quite messily), and more gritty language than what you’ve come to expect. It isn’t anything gratuitous and only adds to the all-encompassing feeling that Snyder has returned to the film. I couldn’t shake off the feeling while watching it that it was the kind of event entertainment that back in the day networks would have shown once a year and the entire family would watch as a group. Could the film have been trimmed down a bit – absolutely – but I was fairly enraptured with it all from the moment it started until it ended. It may run 240ish minutes but it definitely doesn’t feel that long.
Not to say there weren’t some clunkier moments along the way. At times, when the action dips you start to try to pick out which scenes were new and which ones were previously shot and it’s fairly obvious by tracking Affleck’s face which switched between expertly chiseled and comfortably fuller throughout. Several scenes were clearly filmed on a soundstage that doesn’t match the rich detail of the other production design so one moment you’re with Diana as she’s traveling through a cave, Indiana Jones-style, and the next you’re watching a random actress silently acting out an overly cliché scene that’s there to show Cyborg’s softer side. There’s more than a handful of effects which come off like a video game or Saturday morning animation than the polished inspired moments they could be.
Speaking of the effects and visuals, aside from the occasional sketchy etching a great effort has clearly been made to right some terrible wrongs seen in the original, namely the horrible job done on Cavill’s (Enola Holmes) face to digitally remove a mustache he had while filming reshoots. Either those scenes were jettisoned completely, or the hundreds of digital techs credited at the end had their work cut out for them because by and large the movie looks sharp and excellent. A number of action sequences have been restored and they haven’t been carelessly re-inserted – they’ve all been smoothly incorporated into the rest of the movie. An early sequence of Wonder Woman stopping a bank robbery/bombing has been elongated and made it far more intense, visceral, and displays more of Wonder Woman’s abilities. I went back and watched the same scene from the original and its so watered down and brief that it barely registers as a bout of action for the heroine. Now it’s suspenseful and doesn’t feel like it minimizes the superhero or the plot.
Divided into six parts and an epilogue (which has about three or four endings within and several whopper surprises), Zack Snyder’s Justice League, is big big BIG and doesn’t quit until it’s good and ready to. Its release renders the previous version totally obsolete in my book and this will be the only Justice League that I’ll recognize for future rewatches because it appears to tell a full story with a better overall picture of where these characters are headed. Or were headed. Last time I checked Cavill and Affleck were out and a new Batman movie is due out soon with Robert Pattinson in what looks to be the darkest take on the Caped Crusader yet. Who knows what will come of this group for future outings but we do know that another Aquaman is swimming into production and due in 2022, the same year as The Flash movie which is rumored to have Affleck in it as well. Despite those off-the-mark reviews for the recent sequel, a third Wonder Woman film has thankfully been greenlit. Perhaps we’ll get a Cavill appearance in one of those films…or maybe Snyder will benefit from another Twitter grassroots campaign and a Justice League II will come to pass. No matter what, Snyder’s vision is finally out there and whether you were a strong supporter of this cut being released or think the studio caving to fan demand is the most terrible thing ever (um, why?) this a film that demands some attention and a little admiration as well. It’s goes for the brass ring with bold gusto.
Synopsis: Set in 1984 during the twilight years of the Cold War, the film follows Diana and her past love Steve Trevor as they face off against television huckster Maxwell Lord and archaeologist turned half-wildcat Barbara Minerva aka Cheetah.
Stars: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen, Natasha Rothwell, Ravi Patel, Gabriella Wilde, Kristoffer Polaha, Amr Waked
Review: Earlier in 2020 when theaters started to close and movie release dates began to be bumped, the first films discussed were the most immediately affected: the latest James Bond film No Time to Die, Disney’s live-action remake of Mulan, and Christopher Nolan’s highly anticipated Tenet. Each film has followed their own path to getting in front of audiences, from sticking to a theatrical release at all costs to its own detriment or embracing the streaming/on demand option that is available to millions in more immediate platform providers. Arguably, out of all the movies in 2020 that audiences, studio heads, and investors in the future have been looking to for a sign of what’s next is Wonder Woman 1984 and like its bold titular superheroine, it wound up being a leader for its peers.
Rather than just debut the movie in theaters and have a streaming date follow weeks later, or have the film premiere for a fee on demand first, Warner Brothers stopped giving the film a seemingly endless set of new release dates and decided to gift everyone the movie on Christmas Day via HBOMax as well as select theaters in areas where it was safe to open. The new streaming service has launched this year to a good buzz with nice content and an even better supply of films so far that have bypassed a theatrical run due to the pandemic like the remake of The Witches, Let Them All Talk, and Superintelligence. To further entice those wanting a more cinematic experience, Wonder Woman 1984 would be the first film on HBOMax to be released in 4K, and would also support Dolby Vision, Dolby Atmos, and HDR10. So if your home theater is tricked out, you were going to get a great show.
Still…there was the question of the quality of the film, a much (and I do mean much) anticipated follow-up to 2017’s origin story of how the Amazonian princess (Gal Gadot, Furious 7) made her way from her home island of Themyscira to the battlefields of the first World War, fighting alongside Col. Steve Trevor (Chris Pine, People Like Us). Eventually joining the Justice League for more modern adventures (and being featured in two other DC films, 2016’s Batman v Superman: Dawn of Justice and 2017’s Justice League) she stands as a symbol of truth and is always “fighting for our rights…and the old red, white, and blue.” Original director Patty Jenkins was wisely brought back, this time co-writing the script with Aquaman screenwriter Geoff Johns. The result is a solid sequel that builds on the excellent groundwork set in the first film but struggles with focus and juggling two villains with only one proving to be effective.
I’m going to assume from this point on you’ve all seen the first film so we’ll discuss some key events that happened in that movie. You’ve been warned on spoilers from that movie!
Jenkins begins her film with a true thrill, an extended pre-title sequence set on Themyscira showing the young Diana (Lilly Aspell, Holmes & Watson) going up against older Amazons on a grueling obstacle course race that takes them in, up, over, and under the beautiful isle. Under the watchful eye of her mentor Antiope (Robin Wright, Blade Runner 2049) and mother, Queen Hippolyta (Connie Nielsen, Sea Fever), Diana learners an early lesson about truth above all else. Jumping time periods from 1918 to 1984, Diana is now operating out of Washington D.C. working at the Smithsonian as an anthropologist when she isn’t taking long lunch breaks to solve crime and save lives as Wonder Woman. The apprehension of a set of mall thieves (one of several well-orchestrated action set-pieces) winds up overlapping with her day job as items from the heist are actually antiques, one of which holds a special power that changes all who come in contact with it.
One of those people is Barbara Minerva (Kristen Wiig, Where’d You Go, Bernadette), a co-worker of Diana’s that largely goes unnoticed day in and day out. Mousey and easy to push around, she begins to change once she makes a casual wish to be more like Diana and that’s when her world, appeal, and physicality start to change overnight…and soon not for the better. Another individual that seeks the artifact is smarmy Maxwell Lord (Pedro Pascal, If Beale Street Could Talk), a pyramid scheme sham-artist about to go down in flames whose fortunes change after making a deadly pact with a force of unknown power. Still mourning the loss of Steve, who sacrificed himself at the end of the first movie, Diana, too, becomes part of this when her innocent wish for him to return brings him back…kinda. Everyone has been wondering how Jenkins was going to bring back Pine for this film after his character, well, died all those decades earlier but she and Johns have worked out a clever way for this to happen within the context of the story being told.
That’s pretty much all you need to know about Wonder Woman 1984 because it’s the gist of the set-up introduced in the first quarter of the movie, the rest is all how these characters react to the new powers they’re given or, in Diana’s case, the person she’s given back. For Barbara and Max, the power becomes an intoxicating drug they need more of. Max begins to be unable to hold back and it starts to manifest itself outwardly but for Barbara while the change is somewhat external, the majority of the alteration is to her internal confidence and prowess. Unwilling to be manhandled, exploited, intimidated, or second-guessed, an animal emerges…and this is long before her eventual transformation into Wonder Woman’s famous rival, Cheetah.
For Diana and Steve, it’s a far more emotional journey and Jenkins allows Gadot and Pine to have these moments, much to the chagrin, I’m sure, of the many fanboys and fangirls that just want to see wall-to-wall action. Yes, I would have loved to see Gadot show up one or two more times in the Wonder Woman get-up in that first hour (there’s a frighteningly long passage in the first 75 minutes where she’s tiara-less) but would I have sacrificed the nice moments generated by the two actors? Not at all. If Gadot and Pine weren’t so engaging, I might have said yes but both elevate their characters to something bigger than big-screen versions of comic book creations. It also paves the way for one of the film’s most stunning moments for Gadot, a “never look back” sort of scene that demonstrates not only why she’s underestimated as an actress but why she’s made a fantastic Wonder Woman so far. Still…a nice mixing of the two is a 4th of July ride for the two on an invisible jet plane through a mass of fireworks. It’s a romantic interlude in an otherwise more action-oriented scene.
Wiig is another huge revelation, I’m glad to say. Everyone is a fan of the actress for her comedic turns but I’ve struggled with her in more dramatic roles, finding them a bit on the sly and overly produced side. Not so here. I loved watching how her Barbara turns from being a wallflower (that maybe only thinks she’s a wallflower) to a full-fledged creature out for dominance. She begins by wanting to be like Diana in terms of being noticed, but when she realizes that her wish came true and then some…she becomes addicted to the “then some” more than anything. Emma Stone was rumored to be the first choice for the role but Wiig is such a better selection, it’s hard to consider anyone else playing it so well.
Then we come to the biggest problem with the film, Pascal as Max Lord. In a role that should have been played by (and I would wager a guess was written for) Matthew McConaughey, Pascal is by far the weakest element of the movie and that becomes a huge detriment the more Lord shifts into a leading villain role throughout the overlong 151-minute run time. Popular right now more than ever due to his role as The Mandalorian on Disney+, Pascal may have his fans from that series but he’s almost unwatchable here as he overacts and oversells Lord while others around him are operating at a different level. Someone should have taken him aside and helped him make an adjustment because it just looks like he’s in a completely different kind of movie. In the hands of a McConaughey or even a Jeremy Renner (if he wasn’t already tied to Marvel), Lord could have been a true foe for Diana but under Pascal’s watch he’s a complete annoyance more than anything.
True, some of the CGI near the end gets a little iffy, especially when Wonder Woman and Cheetah finally meet face to face but as is typical of a DC film, it’s a strikingly rendered bit of entertainment for the most part. Plenty can be said about the plot holes around the logic surrounding the central artifact, not to mention inconsistences in its usage but isn’t that true of all superhero movies at some point? I mean, let’s not even go there with Marvel and it’s various magic objects that do the impossible. Yes, it may not hold up to a careful inspection and isn’t as unique as its predecessor but its still eons better than most of the other films released so far in the DC Extended Universe. It has a distinct moral compass that it’s not afraid to be open about; messages about telling the truth to yourself and, if you are in a position of power, telling the truth to those you have the ability to communicate with seems pretty pointed and timely for today’s audiences. I like that it has a point to it and also how it keeps its emotions close to the surface, allowing them to rise up when necessary. Gadot gets several key moments to emote and they don’t feel forced, her sincerity is what continues to make her engaging.
You can bet that all eyes will be on HBOMax this Christmas to see Wonder Woman 1984 make its premiere on the service (and I’ll be watching it again sometime soon, I’m sure) and I’m not worried about the future opportunities to see the Amazonian princess on the screen. Make sure to stick around for the first few minutes of the credits and clear out any annoying windows that pop up so you can see the full screen – there’s a brief mid-credit sequence that is not to be missed for anything. As a long-time fan of Wonder Woman dating all the way back to that original Cathy Lee Crosby movie (yes, even that one!) I kind of lost my mind for a moment. It’s just the capper on Jenkins understanding what makes the character so appealing and proving that she knows how to give fans what they want. Another absolute winner.
Synopsis: A patriarch of a wealthy and powerful family suddenly passes away, leaving his wife and daughter with a shocking secret inheritance that threatens to unravel and destroy their lives.
Stars: Lily Collins, Simon Pegg, Connie Nielsen, Chace Crawford, Patrick Warburton
Director: Vaughn Stein
Running Length: 111 minutes
TMMM Score: (5/10)
Review: Over the past few months while I’ve been cooped up there’s been time to do more than watch movies, a shocking thought to be sure. Though I resisted at first, I’ve only recently given over to becoming a member of the puzzling community and now I have another project to occupy my time. The jigsaw puzzle I’m working on now is tricky because the picture you see on the box doesn’t match the final one displayed in the finished work, meaning that you can only use the original image as a reference point. What’s even trickier is that some pieces seem to fit right at first but wind up not being the exact match you originally thought they were.
Watching the new thriller Inheritance is a lot like putting together this puzzle because what you see isn’t exactly what you get and it’s made up of pieces that don’t fit. Audiences in the mood for a twisty suspense film are willing to piece together intricate plot points but you have to provide them with the proper skill level for their efforts. While I feel the finished project is overall an entertaining one that rises above some more standard tropes, it can’t get away from some big red flags that prevent it from rising to the next level.
Wealthy Archer Monroe (Patrick Warburton, Ted) has passed away suddenly, leaving his wife Catherine (Connie Nielsen, Sea Fever) and children William (Chace Crawford, Peace, Love & Misunderstanding) and Lauren (Lily Collins, Mirror Mirror) in shock. The head of a successful and influential family, he was also a hard and harsh man toward his children and there doesn’t appear to be a lot of love lost at his demise. At the reading of his will, his estate is divided between Catherine and William with Lauren receiving a smaller portion of his fortune. This comes as no surprise as politician William is mounting another reelection bid and Lauren has always been somewhat of a disappointment to her father…even though she’s the District Attorney of Manhattan. (!)
Lauren gets something more for her inheritance, though. A secret. Delivered by the Monroe’s lawyer (Michael Beach, Aquaman) she becomes keeper of the keys to a secluded bunker behind her family estate that holds a dark mystery from her father’s past. Now, it’s hard to speak of what this is without revealing too much of the wild turns Inheritance begins to take but suffice it to say it involves a man (Simon Pegg, The World’s End) who could sully her family name. Their relationship eventually forces Lauren to make the choice between family and virtue and leads to the awakening of some deep-seeded resentment toward her father we see played out in flashback.
Directing only his second feature film, Vaughn Stein takes Matthew Kennedy’s at times far out there script and finds a nice visual balance by draining the film of a lively color palate. Upstate NY (actually Alabama) looks bleak, leaving our heroine literally out in the cold for much of the film. Stein has a good eye to keep the film interesting to look at, even if he allows it to go on longer than it should because with a running time of 111 minutes it’s could easily lose 14 of them and be a tighter, tauter affair. Reviews of Inheritance have given away the twist and I could have expanded on what’s in the bunker but I’m deciding to be deliberately obtuse because I saw the film without any knowledge of the deeper plot and that’s how I think you should too. There’s a lot about the movie that’s, frankly, silly so the more you can take the seriousness when it’s available I say run toward it. While it builds to some truly ludicrous switcheroos and supposedly smart people acting like complete dopes, I found a lot of Inheritance to be an an engaging ride.
Remember how I mentioned that puzzle piece that seems like it fits but really doesn’t? That would be Collins as the leading lady who gives it her all but is just miscast in the role. Taking over the role from Kate Mara (who would have been aces), Collins doesn’t look old enough to be the Manhattan DA, let alone have a child that barely needs to be in a car seat. It feels like these character points were written when Mara was still cast and weren’t changed when Collins came on board. Had the script been tweaked to make her child younger and alter her career position (not because she couldn’t hold the position but because I didn’t believe she was old enough to have it yet) I would have been able to buy her character fully. Though Collins acts up a storm, she just feels out of place throughout. Aside from some truly heinous acting from a bit player Collins meets with to get answers about her father, the acting is strong from the rest, particularly Nielsen who feels underutilized…until she isn’t.
Inheritance is a perfectly OK thriller, one of those films that you’d see pop up on your Netflix queue that you’d give some time to and walk away none the worse for wear. It has some good points (I was surprised at a few rather spooky set-ups) and some stumbles but having approached it with no real investment there was nothing for me to be let down by. It’s well-made and nicely assembled with performances that are nothing less than fully committed – I just wish the script was tailored more to the actors playing the roles and not the other way around.
Review: All together now – What kind of movie does The MN Movie Man like more than anything as a guilty pleasure?: Underwater Creature Features.
You know that once I was offered the chance to watch and review the new Irish horror film Sea Fever I jumped at it because if there’s one thing I know, it’s a good horror film and if there’s one thing I like, it’s something creepy underwater that picks people off one by one. Add to that an eerie timeliness of arriving just as the world was put on its own lockdown quarantine and you have a movie that could be an effective winner if it comes off as planned. Thankfully, despite obvious budget limitations and some pacing issues, Sea Fever is infectious fun.
Marine biologist Siobhán (Hermione Corfield, Pride and Prejudice and Zombies) isn’t exactly thrilled about spending time on a fishing boat but she’s unable to graduate without doing some real world studies. While the Captain (Dougray Scott, My Week with Marilyn) and his wife (Connie Nielsen, Inheritance) are welcoming to the young student, the rest of the crew are dyed in the wool sea farers who believe in the superstitions about the ocean and all her mysteries. So something like Siobhán’s red hair means bad luck before they’re even out of port…and it turns out to be a harbinger of things to come. Straying from their intended course in order to guarantee a good net of fish and a hefty payday, the boat winds up converging with something massive that attaches itself to their hull. What’s locked onto their vessel eventually seeps inside…first the boat and then the crew, releasing a deadly parasite. Drawing from similar creature features like Leviathan and The Thing, it becomes a race against time to get back to shore alive while eliminating the hungry organism before it consumes them all.
Though it gets off to a good start, about 45 minutes into Sea Fever things get a little soggy because it feels like writer/director Neasa Hardiman has hit a wall in where to steer her ship next. She’s navigated to a solid place. did a fairly good job in establishing the crew (though, I have to say there were two that I kept confusing because they looked so similar), and introduced a corker of a scary situation. Then, everything kind of stalls for a good twenty minutes as Siobhán studies the organism and devises a way to defeat it, while trying to keep the crew (and herself) alive throughout. Thankfully, things pick up again for the last fifteen minutes and Hardiman is able to bring it home with a satisfying (if somber) finale…but trimming it by 10-12 minutes wouldn’t have been a bad idea.
Hardiman also gets nice performances out of her cast, with Corfield being a subdued and unexpected lead. She may be a bit of an enigma at times, but it worked for how she was acting and reacting to the situation and the ship’s crew – both of whom she seemed to be battling at one point or another. Scott and Nielsen not only offer worthy contributions as dependable leads but they find time to make a small backstory Hardiman has crafted seem germane to the film instead of distracting from the central horror of the plot. Of the crew, I most enjoyed Olwen Fouéré (Fantastic Beasts: The Crimes of Grindelwald) as a mother hen-ish type. With her wild white hair she could at times be a nurturing presence or a wild sea witch if provoked…it’s the type of performance that makes sense within the confines of this movie and kept you wondering where the real danger was lurking.
All in all, I’m glad a movie like Sea Fever is out there because we need more movies like this, especially written/directed by women! The effects aren’t going to blow your mind but they work better than expected for a smaller movie like this. Earlier this year, Underwater was another slick deep sea creature feature that excelled by keeping the focus tight on a small number of characters. That same logic applies here and it works quite well, resulting in a high degree of entertainment.
Synopsis: Fast forward to the 1980s as Wonder Woman’s next big screen adventure finds her facing an all-new foe: The Cheetah.
Release Date: June 5, 2020
Thoughts: THIS IS HOW YOU MAKE A TRAILER AND GET PEOPLE EXCITED!
Let’s face it, when Wonder Woman rolled into theaters in 2017 the odds weren’t exactly stacked in her favor thanks to the recent efforts from DC Studios. Yet the film was an unimpeachable knockout, with smart direction from Patty Jenkins and led by Gal Gadot (Keeping Up with the Joneses) to critical, audience, and box office success. True, subsequent DC films failed to build upon the good example Wonder Woman set so in summer of 2020 expectations are even higher for Wonder Woman 1984 to get things back on track.
From the looks of this trailer, we’re in for a rad delight with Jenkins and Gadot leaping ahead several decades to a story set in 1984 that finds Wonder Woman reunited with Steve Trevor (Chris Pine, A Wrinkle in Time) and dealing with super villains Barbara Minerva (aka Cheetah) (Kristin Wiig, Where’d You Go, Bernadette) and Max Lord (Pedro Pascal, If Beale Street Could Talk). The full plot is unknown but is it too much to hope they’ll take a page from Cheetah on the Prowl, the read-along book I had as a kid (see below)? 🙂 Everything about this preview is on point and gave me the kind of goosebump chills of excitement I used to feel when I was a teen waiting for the next ‘90s summer blockbuster. Love the editing, love the music choice, already looking forward to Wonder Woman’s visit to an ’80s mall. This just jumped to the top of my most anticipated list of 2020.
Review: With the rousing success of Wonder Woman this summer, you had high(er) hopes for Justice League too, didn’t you? After the gloominess of Man of Steel, the critical drubbing lobbed at Batman v. Superman: Dawn of Justice, and the just plain awful debut of the Suicide Squad, the first solo outing of the Amazon princess made a huge splash with a snazzy film that signaled the floundering DC Universe might be getting back on track. Alas, it was not meant to be because five short months later Justice League arrives with a huge thud, halting any momentum Wonder Woman had kicked off.
The problems are evident from the beginning. It should be noted that original director Zack Snyder had to be replaced shortly after filming ended while the movie was in post-production due to a family crisis. Joss Whedon (The Avengers) was brought it to touch up the script, and handle reshoots. Huge mistake. Whedon did good work with his involvement in the Marvel Universe but his humor doesn’t translate to the DC world that’s far darker and leaves itself less open for flights of fancy. His attempts to inject jokey humor crash and burn, especially seeing that they are awkwardly inserted into sequences already filmed by Snyder.
Another elephant in the room to discuss is Henry Cavill (The Man from U.N.C.L.E.), or, more to the point, Cavill’s mustache. After wrapping his scenes for Justice League, Cavill had grown a mustache to film a role in the next Mission: Impossible film and when he was called back for reshoots Paramount wouldn’t allow him to shave it. So he filmed his new scenes with facial hair that was then digitally removed…badly. Cavill comes off looking like a creepy puppet, with the bottom half of his face strangely not in communion with the upper. He’s in the first shot of the movie and it’s a jarring image that sets the tone for the rest of this schizo outing.
The first half of the film is occupied by a bewildering series of episodic vignettes where we meet characters that the movie treats us as if we already know but in reality have never seen before. We’re plopped right into the stories of Aquaman (Jason Momoa), The Flash (Ezra Miller, The Perks of Being a Wallflower), and Cyborg (Ray Fisher) without much in the way of introduction or origin, almost like these were clips from a previous entry that was never released. We’re supposed to know and care about these characters instantly, but their arrivals are treated with such little fanfare it’s hard to warm up to any of them. Miller winds up being the most intriguing; his loner character is secretly desperate for friends and is brought into the fold by Batman (Ben Affleck, Gone Girl, checking out so much I can see why he’s trying to get excused from The Batman, a planned solo shot for the Caped Crusader) and Wonder Woman (Gal Gadot, Keeping Up with the Joneses).
What I always enjoyed about the previous incarnations of Batman and Superman was how they were up against villains that seemed somewhat plausible…at least for a comic-book foe. From the Penguin to Lex Luthor, the heroes were battling adversaries that sought awesome power, not ones that already had other-worldly talents. The villain in Justice League is Steppenwolf, a poorly rendered CGI baddie voiced by Ciarán Hinds (Frozen) that’s as generic as they come. This is a bad guy that might have worked better as a Marvel rival but definitely not one the Justice League should be working to thwart. Steppenwolf is on the hunt for three Mother Boxes that form a trinity that can, snooze, give him power over all earth. Yawn, boring, wake me when it’s over.
Poor Wonder Woman. That’s what I kept thinking throughout Justice League. Gadot looks miserable having to carry this film, it’s clear the plot was tweaked at some point to give her character more to do and capitalize on the success of Wonder Woman. Her ascension to co-lead comes at the sacrifice of a bunch of familiar faces that get sidelined. Diane Lane (Inside Out) and Connie Nielsen pop up in brief cameos as the mothers of Superman and Wonder Woman, J.K. Simmons (The Snowman) doesn’t even have to glue down his toupee, and Amy Adams (Her) wears multiple bad wigs but does get the most unintentionally funny line of dialogue in the film: “I’m no longer Lois Lane, dedicated reporter”.
The effects of the hand-off between Snyder and Whedon really sink the film in its last ¼, when the Justice League works together to stave off Steppenwolf before he can unite the Mother Boxes. There are a few decent action sequences but they’re so darkly lit it all becomes a blur, especially when you add in Steppenwolf’s drone warriors that fly around in a head-spinning frenzy like wasps. It’s a blessing the movie is as short as it is, but it still feels pretty long when the content is as forgettable as this. You keep wanting to find something, anything to root for but no one seems interested in being memorable in any way shape or form. It’s like everyone was forced into making this and are waiting for their final scene to be shot.
There’s a post-credit scene that does nothing to get you excited for the future, it feels like it was shot last week with the actors involved under duress. Based on his performance here, I shudder to think about Momoa’s Aquaman film coming in 2018, wish that Wonder Woman 2 wasn’t two years away, and am intrigued at a chance to get more info on The Flash in 2020’s Flashpoint. At this point, whatever the creative team behind these DC films are doing, it’s not working. Not only do audiences deserve better, but so do the actors locked into contracts for future films.
Synopsis: Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy.
Release Date: November 17, 2017
Thoughts: With Wonder Woman becoming the top-earning movie at the summer box office, the producers behind the DC Comics franchise are riding a wave of positivity right now. Let’s hope they can keep that goodwill going strong as the November release of Justice League draws near. I didn’t mind Batman vs. Superman: Dawn of Justice nearly as much as my colleagues did but the unrelenting darkness of this franchise has kept it from truly taking off. Wonder Woman was a nice reminder of what these films could be while director Zac Snyder deals with a family tragedy, Avengers mastermind Joss Whedon was brought in to oversee postproduction so I’m hoping Whedon can bring a little Marvel spark to the DC Universe. This extended look at Justice League gives a few more clues for audiences to decipher and one cliffhanger that already has the internet abuzz.
Synopsis: Before she was Wonder Woman she was Diana, princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.
Stars: Gal Gadot, Chris Pine, Robin Wright, David Thewlis, Danny Huston, Connie Nielsen, Lucy Davis, Elena Anaya, Saïd Taghmaoui, Ewen Bremner, Eugene Brave Rock
Review: As a child, every few weeks my parents and I would travel 115 miles south to visit my mom’s family. Getting up early and missing Saturday morning cartoons wasn’t that big of a deal to me…it was the Sunday return trip that caused great anxiety in our car. You see, Sunday afternoon at 4pm is when reruns of Wonder Woman were on. Capping off a block of programming that included The Six Million Dollar Man followed by The Bionic Woman, Wonder Woman was Must See TV for this fella and my parents came to the understanding that come hell or high water, we had to be home by four. Now, several times this didn’t happen and let’s say…things got messy.
That context is helpful to you, dear reader, in understanding why this long planned big screen adaptation of Wonder Woman was more than just another anticipated summer blockbuster for me. This was the arrival of a character I truly grew up with, maybe more so than Batman or my ultimate favorite, Superman. I came to Wonder Woman via the Lynda Carter television show and not like many did by way of DC Comics. Created by William Moulton Marston, the Amazonian Princess first appeared in 1941 and quickly became a popular symbol not only of strength but of a woman with the ideals to be a natural leader of all.
A reboot of the TV show was attempted but failed at the pilot stage several years back and while Wonder Woman was hinted at being a part of the planned Warner Brothers DC Universe at some point, it wasn’t until the character was a surprise addition to 2016’s Batman vs Superman: Dawn of Justice that fans finally saw the light at the end of a long dark tunnel. While many (including me) had their own issues with BvS, most agreed that Gal Gadot’s Wonder Woman was a memorable highlight of that film and looked forward to the stand-alone movie that would be released before Justice League later in 2017. Then the deplorable Suicide Squad was released late summer 2016 and people began to worry that Wonder Woman’s bright beacon of hope would be unfashionably oppressed by DC Universe’s strangely dark style.
Fear not, though, because not only does Wonder Woman make a most excellent showing in her first solo big-screen adventure, but it’s by far the best comic book adaptation in almost a decade. Besting the best of the boys club that came before her, this heroine has brains and brawn in addition to her beauty. It’s more entertaining than you can possibly imagine and would make even the hardest non-fan of comic book movies buckle in their resolve.
While longtime fans may be bug-eyed that the screenplay by Allen Heinberg from a story by Zac Snyder, Heinberg, and Jason Fuchs moves the action from WWII to WWI, it plays into the overall success of the picture by showing Wonder Woman’s superhero emerge at the same moment that war-time weapons took a strikingly modern leap forward. Why wouldn’t a solider be just as amazed at a woman deflecting bullets as they would be by the automatic machine gun that’s firing them at her?
Wonder Woman is a classic origin story that manages to breeze quickly through the lore while satisfyingly hitting all the right notes at the same time. Living among the Amazon women on Themyscira (Paradise Island), young Princess Diana is a force of nature ready to learn to fight but kept at bay by her overprotective mother (Connie Nielsen, Gladiator). Secretly trained by her aunt (Robin Wright, Everest, buff as hell) over the ensuing years, her skills are put to good use when a plane carrying U.S. spy Steve Trevor (Chris Pine, Into the Woods) crash lands in the sky blue waters off the coast. Soon, Diana is accompanying Steve back to jolly old England (“This place is hideous”, exclaims Diana upon seeing the gloomy London harbor) and embarking on a quest to stop a crazed General (Danny Huston, Big Eyes) and his evil scientist comrade (Elena Anaya, The Skin I Live In, frightening in a Phantom of the Opera-esque ceramic mask) from releasing a chemical weapon onto their enemies.
Proving that maybe more females should be in charge of high caliber action films, director Patty Jenkins should be lauded for crafting one of the best entries in recent memory. Not only does she stage her battle scenes with grand flare but she manages to never over sexualize her star as I fear her male colleagues would have. There’s no gratuitous shots looking up at Wonder Woman (and up her skirt in the process), no scenes framed with her cleavage taking center stage, no temptation to give fanboys an opportunity to linger too long on the exposed skin. Instead, she presents Wonder Woman and all of the characters (male and female) as equals in the eyes of the camera. In fact, the most skin on display here is from Pine as he emerges from a healing spring on Themyscira, providing for some fun dialogue between Diana and Steve.
Gadot (Keeping Up with the Joneses) was a star on the rise going into this film but she firmly cements her justified ascent with a fully layered flesh and blood performance. Her delightful naiveté when entering the modern world reminded me of Daryl Hannah’s fish out of water exuberance as a mermaid on dry land in 1984’s Splash. We’ve seen this stranger in a strange land done before but never with such charm. As she grows to see that humans are deeply flawed, Gadot admirably portrays the disappointment of someone learning the truth after realizing they had believed too long in fiction.
Though he already has a strong foothold in the Star Trek franchise, Pine turns in one of his best performances as the American solider striving to do what’s best for his country. Pine and Gadot have excellent chemistry and when the inevitable sparks begin to fly, it turns into a courtship during combat that feels well earned. As for the bad guys and gals, Huston is his typical smarmy villain while Anaya memorably makes for a more interesting foe to our heroes.
The film has a lot packed into its 141 minute run-time but never feels long or taxing. Yes, the last half hour delves into the kind of special effects heavy finale that tends to assist my eyes in glazing over at double speed but so much was excellent up until then that Wonder Woman’s battle royale (with an enemy revealed in a nice twist) managed to hold me at the edge of my seat. While there’s no post-credit scene, the film doesn’t need one because the correct edges have been rounded off and just the right amount of loose ends remain for future installments to easily pick up and run with.
Some say that summer blockbusters begin in May but for me the summer has truly begun in June with Wonder Woman’s much appreciated arrival. There’s no regret to be had for seeing this one in the biggest theater possible with a packed audience. Enjoy!
Synopsis: An Amazonian princess leaves her island home to explore the world and, in doing so, becomes one of the world’s greatest heroes.
Release Date: June 2, 2017
Thoughts: Wonder Woman’s journey to the big screen has taken a looooooooooooong time. The popular female superhero has had life on the small screen but hasn’t used her lasso of truth to snag a major motion picture until now. While many audiences and critics reviled Batman v. Superman: Dawn of Justice (not me, I thought it was great), the one consensus was that Gal Gadot’s Wonder Woman was the highlight of that film. Gadot (Keeping Up with the Joneses) made good use of her brief screen time and boy does this new trailer for her origin pic look like a winner. Directed by Patty Jenkins and co-starring Chris Pine (People Like Us), June 2017 seems so far away…but it seems like the wait will be worth it. Fingers crossed.