Movie Review ~ Run This Town


The Facts
:

Synopsis: An emerging political scandal in Toronto in 2013 seen through the eyes of young staffers at city hall and a local newspaper.

Stars: Ben Platt, Nina Dobrev, Mena Massoud, Damian Lewis, Jennifer Ehle, Scott Speedman

Director: Ricky Tollman

Rated: R

Running Length: 99 minutes

TMMM Score: (6/10)

Review: Political movies can go one of two ways in my book.  They can either be timely pieces that illustrate how current events line up with the past (or vice versa) or they can be too talky, with insider-baseball scripts that only a third year Senate intern would appreciate.  So it’s interesting to note that Run this Town is one of these genre films that wants to have it both ways.  It revels in deep dive dialogue that strives to impress while looking to find a way to connect up with our political climate today.

Living in the early months of 2020 and the simmering pot of salty water that will soon be brought to a boil by our November presidential election, it can be easy to forget the 2013 events that are covered in Run this Town.  Even I needed to stop the movie for a few minutes to get a little refresher about what’s happening in writer/director Ricky Tollman’s breathless opening, a back and forth between a group of young politicos that hits the ground running without much of a warm-up. While I’m more familiar with Toronto’s Rob Ford for his infamous antics first as Mayor and then as a scandalized fallen citizen with drug charges, I admit I wasn’t aware of the late politician’s troublesome behavior in a pre-Harvey Weinstein sexual harassment landscape.

At the center of the film is Bram (Ben Platt, Pitch Perfect), a recent college grad hoping to become a journalist that lands a job at an impressive paper in Toronto where his bosses are Scott Speedman (The Vow) and the imposing Jennifer Ehle (RoboCop).  Coming from a privileged family (not unlike Platt himself), Bram has an uphill battle in proving himself and he’s after a big story…and it presents itself to him when he catches wind of the dirty dealings surrounding Mayor Rob Ford (Damian Lewis, Once Upon a Time… in Hollywood, unrecognizable in a fat suit and prosthetic facial additions) and his political office.  As Bram attempts to navigate the tricky ethics of exposing a political animal, Ford’s long-suffering aide (Mena Massoud, Aladdin) struggles with his own morals in protecting his boss though he knows what kind of man he is.  An encounter between Ford and a young aide (Nina Dobrev, The Perks of Being a Wallflower) proves to be a catalyst that will send a ripple effect through the political halls and newspaper rooms of Toronto and, soon, the world.

Reminding me to a lesser extent of Spotlight, Run this Town absolutely has its focus in the right place but I’m not sure if there was something lost in the translation of Tollman’s script to the screen or what but the movie is dense and distracting.  Even focusing in on the dialogue, the movie is sometimes hard to follow and at a not that long 99 minutes the film feels padded for time.  The performances are solid across the board, but the jury is out if Lewis is excellent under all that plastic and padding or if it’s an absolutely terrible hammy take on Ford.  You won’t be able to take your eyes off it, that’s for sure.  There’s promise in Tollman’s ear for sharp dialogue though and, with time, I think he’ll be a director to watch out for.  Not quite the talk of the town yet, but Run this Town is a good start.

Movie Review ~ Aladdin (2019)

The Facts:

Synopsis: A kindhearted street urchin and a power-hungry Grand Vizier vie for a magic lamp that has the power to make their deepest wishes come true.

Stars: Mena Massoud, Naomi Scott, Will Smith, Marwan Kenzari, Nasim Pedrad, Navid, Negahban, Billy Magnussen, Numan Acar

Director: Guy Ritchie

Rated: PG

Running Length: 128 minutes

TMMM Score: (4/10)

Review: When Disney released their animated Aladdin in 1992 it was right around the time when I had passed over from being the target audience for their bright musical fare. I remember seeing it in the theaters, though, and finding it to be long and kind of…boring. Over the years it has been one I’ve regarded with some occasional interest but it’s never high on my list of re-watchable Disney Classics. To me, the movie will always be synonymous with two things: Robin Williams as the Genie and the song ‘A Whole New World’, both enduring classics no matter what you think about the film.

When Disney announced Aladdin would join their ever growing roster of live-action adaptations of animated classics, I could understand why they’d think this would be an eye-popping visual feast that would translate well but couldn’t for the life of me figure out why they’d want to try and top the unforgettable work of Williams. It seemed like a losing battle. As the movie came together, there were more curious decisions from the studio. Tough-guy director Guy Ritchie (The Man from U.N.C.L.E.) would be at the helm? No songs from the expensive Broadway musical of Aladdin would be utilized in the film? Will Smith would be taking over as the Genie? Early previews and set pictures didn’t do much to quell the fears that this was going seriously astray but I can honestly say when I walked into the screening on a rainy day I was looking forward to settling in for something special.

The short and easy review of the 2019 live-action Aladdin is say that it rubbed me the wrong way. Almost from the very beginning, I knew this wasn’t going to meet expectations on any level and I was proven right for the next 128 minutes. From the rushed opening third to its saggy middle and lackluster finale, it seems like almost everyone involved forgot what kind of movie they were making. When they were focusing on music, they forgot to make it sound good. When they were focusing on fantasy, there was no effort to be truly transporting. This is film that’s overly conscious and cautious, staying decidedly in a safe zone much of the time, only occasionally finding some magic.

An unnecessary framing device introduces Smith (Suicide Squad) as a mariner with two children asking him to sing them a story instead of just telling them one. Not known as a singer, when Smith opens his mouth to sing for the first time it’s a remarkably flat tone that rarely shows range. The big notes feel enhanced or are drowned out by a gigantic chorale delivering quite a few new lyrics written by Pasek/Paul (The Greatest Showman) and original composer Alan Menken (Beauty and the Beast). Smith’s narrator relays the story of Aladdin (Mena Massoud, Run This Town) a scrappy ragamuffin on the streets of Agrabah that has a meet cute with a Princess in disguise (Naomi Scott, The 33) and falls in love.

When Aladdin later sneaks into the palace to reconnect with Princess Jasmine, he’s caught by Jafar (Marwan Kenzari, Murder on the Orient Express) the Sultan’s traitorous Vizier who needs to find a “diamond in the rough” to enter the Cave of Wonders and search for a magic lamp. When Aladdin accidentally releases a Genie (Smith) from the lamp and is granted three wishes, he uses one to become a visiting Prince to win the heart of Jasmine. It isn’t long before Jafar recognizes the Prince, putting all in Agrabah in danger when the Vizier schemes to get back the lamp at any cost.

The story of Aladdin stretches back to ‘The Arabian Nights’ from the 18th century and is an oft-told tale through the centuries. Surprising to me was that its original story differs quite a bit from the fairy tale we all grew up on, though it isn’t shocking how dark things get for Aladdin the way he was originally written. Screenwriter Ritchie and John August (Frankenweenie) stay away from a total revisionist version of Aladdin (ala the stellar live-action remake of Pete’s Dragon from 2016) instead choosing to follow the structural outline from the animated film rather closely. This makes the film feel even more beholden to its hand-drawn predecessor and invites unfavorable comparisons off the bat.

For starters, there seems to be a need to speed through the introductory moments of the movie. The credits have barely ended and we’re on a bullet train to get to that magic lamp and Smith’s Genie – which is understandable because the Genie is supposed to be the most memorable thing in the movie. The trouble is Smith’s rather charmless Genie is kind of creepy, all buff torso and swirly cloud for legs. The ‘Friend Like Me’ number, such a mega-shot of adrenaline in the film and a literal showstopper on the Broadway stage, barely registers because Ritchie has the Genie zooming around the screen in such a frenzy we don’t know where to look or what to follow. Unconvincing CGI throughout doesn’t help matters when you are always keenly aware the desert-set movie was shot on a soundstage, even if some location shooting was done in Jordan.

While Kenzari sinks his teeth nicely into the scenery as Jafar, I questioned why they turned the character from a creepy older man in his fifties to a brooding mid-thirties guy that isn’t quite threatening until his true intentions are revealed. Massoud is just fine as Aladdin, as blandly interesting as the character has always been. He may be the titular character but he’s never been the star of his own movie…not with Williams (and now Smith) there to overshadow him. He develops some good chemistry with Scott, though, and that goes a long way in making him more memorable. The real find is Scott who gives Jasmine the kind of 2019 make-over the character was sorely needing. Though saddled with the worst song (Pasek/Paul/Menken’s woefully Glee-ish ‘Speechless’) she makes the scene directly after that truly come alive by delivering a very “woke” speech with conviction. For some reason, Billy Magnussen (Game Night) turns up as a doofus Prince also vying for Jasmine’s affection in a scene that should have been excised.

Flashy numbers like ‘Friend Like Me’ and ‘Prince Ali’ are meant to be the crowd-pleasing ones but the most winning number in the movie and, ultimately, the best sequence in the film is the one that has always worked like a charm and that’s the ‘A Whole New World’ number. Flying through the skies on a magic carpet, Aladdin and Jasmine sing that beautiful music and lyrics and you remember, however briefly, why Aladdin became a classic in the first place. If only the filmmakers had used this simple and sweet sequence as a jumping off point maybe they would have dialed down some of the garish excess evident in the rest of the movie.

So far in 2019, Disney is 0 for 2 in live-action remakes. Dumbo didn’t fly back in March and while I think Aladdin will make more money, it won’t do the kind of business Disney is hoping for. That leaves The Lion King in July with a big question mark and an even bigger target on its back. Can that be the one to right this sinking adaptation ship?