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Friday, October 5, 2018




"You're a loser, Eddie," the black, goopy, alien symbiote calling himself Venom tells Eddie Brock (Tom Hardy). And we agree. Then the symbiote adds, "On my planet, I'm a loser too." And we're like, "Huh? That's... weird." Then again, this is a movie where Eddie is placed in an MRI machine, which is torture to Venom, and the doctor asks "Eddie, are you okay? Are you okay, Eddie?" He's been hit by, he's been hit by a smooth symbiote.

In director Ruben Fleischer's Venom, weird works and that in and of itself is weird. Venom is a bizarro buddy comedy crossed with a superhero movie crossed with a body horror alien invasion movie. As Eddie Brock, Hardy plays a swarthy, unethical San Francisco TV journalist who betrays his lawyer fiancee Michelle Williams in order to humiliate and expose sinister billionaire Carleton Drake (Riz Ahmed), head of the sinister Life Foundation. Instead, Eddie is exposed, loses his job, his fiancee, and six months later, he becomes even more swarthy while basically remaining the same amount of unethical. And then, this down-and-out loser meets Venom, a down-and-out loser symbiote from outer space. It's the worst thing that ever happened to Eddie. Or the best? Not sure, jury's out. But let's see these two best buds make a go of it, shall we?

Eddie was right to suspect Carleton Drake, though. Drake is a little like Adrian Veidt in Watchmen; he's a very rich, smart man who has a terrible plan to save the world. Trouble is, Drake hates humanity, though we can kind of see his point; just like in Shane Black's The Predator, the real enemy in Venom is climate change. The Predator estimated the Earth was two generations away from becoming uninhabitable. Venom moves that timetable up to one generation and Drake puts all the blame for this squarely on people. But his solution to our extinction ain't great: his space shuttle (piloted by astronaut John Jameson, hero son of Daily Bugle publisher J. Jonah Jameson), finds a comet containing alien life forms and brings four of the symbiotes back to Earth. One escaped during re-entry and crashed the ship in Malaysia. The Life Foundation recovers three of the symbiotes and brings them back to their labs right next to the Golden Gate Bridge. The fourth symbiote murders and body-snatches Malaysian women until it finds its way onto an airplane to SF. 

Meanwhile, Life Foundation scientist Jenny Slate (who did ADR so that she pronounces "symbiote" properly, unlike in the trailer) has serious ethical qualms about how her boss kidnaps homeless people and exposes them to the symbiotes. The aliens try to bond with the human guinea pigs but quickly eat up their organs and murder them. One of the vagrants killed is Melora Walters, who has fallen on really hard times in the 20 years since Magnolia. Slate betrays Drake by clueing Eddie Brock in on the murders happening at Life, but Eddie being Eddie, he goes where he shouldn't go and has a meet-cute with Venom. They end up bonding in all the worst ways. Or best ways? Not sure, jury's out.

Eddie-Venom is a new kind of Odd Couple. Their banter is the highlight of the movie and man, is it weird. Hardy performs as Eddie being possessed by Venom and he portrays Venom's voice, talking to him in his head and sometimes manifesting physically as a black, jacked-up, toothy-faced monster. And for a homicidal alien freakshow, Venom sure is sensitive. He gets upset every time Eddie refers to him as a "parasite" and the first time he climbs to the top of a skyscraper like Spider-Man and looks out over San Francisco Bay, he decides Earth isn't so terrible and wants to stay. Venom also wants to reunite Eddie with his ex-fiancee; the alien monster playing Dr. Phil, giving Eddie romantic advice, and urging him to apologize to her is the weirdest part of the movie. No wait, Eddie sitting in a lobster tank at a fancy restaurant and eating a live lobster is the weirdest part. No no, hang on, Venom possessing Michelle Williams' body, turning her into She-Venom, and then making out with Eddie as he oozes back into Eddie's body is the weirdest. 

Of course, the fourth symbiote makes it to San Francisco and bonds with Carleton Drake. It calls itself Riot, and that's weird too. So wait, their names were Venom and Riot before they came to Earth? Riot's plan is to fly a new Life Foundation spaceship back into space, fetch a bunch more symbiotes, and then come back to invade and conquer Earth. Venom decides this isn't a good deal for him or his new human friend so he and Eddie go off to stop Riot. The battle between two disgusting, monster-faced, alien goopballs is brief but gross, but fortunately for Earth, good(?) triumphs over evil and Eddie/Venom kill Carleton/Riot.

In the end, all's well that ends well. Eddie and Venom settle into their new relationship, somehow Eddie is a reporter again, he and Michelle Williams are cool again, and Venom gets to stay on Earth but he can only murder certain kinds of people. So, great? What about climate change, are we doing anything about that? Nah, that's not really Venom's problem, so it's fine. In the end, we walk out of Venom hoping E&V can make it together in this crazy old world. Venom is a good time superhero movie if you can get on board with the movie's Looney Tunes-logic and Tom Hardy's gonzo Jim Carrey-in-The Mask performance. But like Gretchen Weiners trying to make "fetch" happen, Venom makes a serious case for replacing "So bad, it's good" and making "So Venom, it's good" happen.

Sunday, September 9, 2018

How The Fist Has Turned



Iron Fist season 2 is one of the great Marvel comeback stories. It's the Marvel TV equivalent of how Thor: Ragnarok successfully reinvigorated the Thor franchise. There's really no need to rehash the problems with Iron Fist season 1, but the season 2 turnaround is simply remarkable for all the ways new showrunner M. Raven Metzner wildly improved the show he inherited. Season 2 accentuated the positives, eliminated all of the negatives and baggage (this is the really amazing part), and changed the paradigm of Iron Fist, which will in turn reverberate across the Netflix Marvel Universe. 

Most importantly, Iron Fist 2 was a great deal of fun that took a hard look at its characters, worked out how they think and feel, and then set them all on better paths (except maybe Joy. Poor Joy is in a bad spot, but that's what you get for being the bad guy). Here are the big hits Iron Fist 2 struck - the five fingers of the Fist, if you will - that really turned the entire franchise around:

The Ballad of Danny Rand. Season 2 considered the man at the heart of the series, Danny Rand himself, asked the hard questions about him and came to the proper conclusions: he's just not good enough. Yet. He could be, but he's not there. Kudos to Finn Jones (who was always better than the material he'd been previously given) for how he took on the challenge of actually taking a back seat as the lead of his own series. Danny loses the Iron Fist in episode 4 and incredibly, he doesn't get it back until the final moments of the season, in a denouement set 'months later.' 

Danny was a problem child who, at long last, chose to address his biggest problem - himself. He asked for help from the right people, he admitted his limitations, and he chose the harder path - to grow and better himself. It's not often in a superhero series that the hero realizes he's not the person he ought to be and surrenders his powers to someone who could use them better than he does. This was a bold choice and it felt very right.

Colleen Wing is the Immortal Iron Fist. What a fantastic switcheroo - one that the show really had the balls to follow through on! The truth is Colleen was always the better character. She is smarter, more worldly, more mature, knows herself, and it never made sense that she was second fiddle (and 'the girlfriend') to Danny Rand. Not that she wasn't a great girlfriend and partner, but Colleen could be a lot more. Amazingly, Iron Fist 2 came to that same logical conclusion and empowered Colleen as the co-lead of the series. She's now the Iron Fist, and she deserves to be. Colleen absolutely deserves to stand alongside the other Defenders as a marquee superhero.

What was incredibly rewarding about season 2 was how well the seeds of Colleen's ascension were planted throughout. She was the calm and rational one, the peacemaker in a room full of Triad bosses and Danny Rand, the trustworthy one who did the right things for the right reasons. The absolute best thing about season 2 was how they finally utilized Jessica Henwick to her utmost; of course, she played Colleen as a badass, but Henwick also got to smile, laugh, crack jokes, and even host a dinner party (maybe the best moment in the series) where Colleen cut right to the heart of the tension at the table. Colleen is the real hero NYC needs; she's the most balanced, intelligent, and least damaged Defender. With Colleen wielding the Iron Fist, the future looks as bright as her glowing hand and her katana.

The Daughters of the Dragon stole the show. Bringing in Misty Knight paid off dividends. Simone Missick is simply fantastic and Misty has grown into the unsung hero of the Marvel Netflix shows. She's the true adult in the room who brings credibility and heart to every moment she's in. The Daughters of the Dragon mini-show within Iron Fist 2 was one of the best things ever in a Marvel Netflix show; not only is it great to see two female heroes take on missions together, but they brought out the best in each other. Colleen and Misty are every bit as funny, cool, and effective together as you'd hoped. And, as they each pointed out, they don't even really know each other but they're each other's mutual best relationship. The Daughters of the Dragon delivered an amazing proof of concept for their own spinoff series and hopefully, they'll get it.

All the negatives eliminated. The season 2 writers room must have asked the right question - What was dragging Iron Fist down? - and then they made a list and systematically crossed the cons right out of the show. The Hand? Gone gone gone. No time was spent in Rand Enterprises dealing with boring corporate shenanigans. No resurrections of old villains like Madame Gao or Harold Meachum no one wanted to see again. And the bad fight scenes? Completely turned around. The action in season 2 was top-drawer, especially all the moments (like Colleen and Misty fighting the Crane Sisters in episode 6) where you could see the actors were really performing the fights. Jones, Henwick, Missick, Sacha Dhawan as Davos all committed fully to the action and the results are right there on the screen. 

Down Ward, Up Ward. I dunno about you, but Ward Meachum is my favorite character in this whole series, just slightly outpacing Colleen. This poor guy suffers from his own demons and falls off the wagon constantly, but he's trying, man. No matter in what bad way Ward finds himself in, Tom Pelphrey plays him with a twinkle in his eye where you root for him and hope Ward somehow pulls it together. Just as entertaining as the Daughters of the Dragon are, Pelphrey and Finn Jones are magical in their many scenes together. They're brothers who both know they're just not quite good enough for the spots they found themselves in, but they take solace in each other with wry in-jokes and oddly touching personal revelations. For their part, Jessica Stroup had a bit more of a thankless task as a villain but never lost touch with the humanity in Joy Meachum, while Alice Eve created an intriguingly complex villain in Mary Walker, who is poised to reveal even more layers to herself.

Even at a shortened 10 episodes, the season still felt a bit too long for the story they were telling and maybe could have best been consolidated into 8 episodes, but despite that and a few other minor issues, Iron Fist 2 is a win, pure and simple. It's a remarkable feeling to walk away from Iron Fist dying to see more. 

Where's the place to be in Marvel NYC? Harlem? Hell's Kitchen? Forget it, Jake. It's Chinatown.

Friday, August 24, 2018

Crazy Rich Asians



The reactions of Rachel Chu (Constance Wu) and her best friend Goh Peik Lin (Awkwafina) in the photo above are apt for Crazy Rich Asians. Directed by Jon M. Chu and based on the bestseller by Kevin Kwan, the first Hollywood film in 25 years starring an all-Asian cast is an exuberant, funny, insightful, and eye-popping look at how the rest of the world lives. By rest of the world, I mean the insanely wealthy Chinese who practically own all of Singapore. Addressing themes of family, identity, self-worth, and tons of romance set in the luxurious backdrop of South Asia, Crazy Rich Asians is a stunning and joyous crowd-pleaser that is dominated by lovely performances by an outstanding cast, especially all of the women in the film, and earns its multitude of fireworks popping throughout.

The plot is simple: Rachel, an NYC-based Chinese American economics professor, is invited by her handsome and dashing boyfriend Nick Young (Henry Golding) to be his date to his best friend's wedding in Singapore. Rachel would, of course, have to meet Nick's family. Nick is like the Bruce Wayne of Singapore - his every movement is tracked on social media by a cadre of female admirers - and like Mr. Wayne, Nick has been keeping a secret. He doesn't run around in a Batsuit at night, but he is fabulously wealthy. Nick is a bit suspect in his behavior throughout the film; he likes keeping things from Rachel (like his plan to propose to her), and he claims he wants nothing to do with being the Golden Child and heir to his family's vast fortune, but it's not that simple. Nick is very much devoted to his stern mother Eleanor (Michelle Yeoh) and even more so to his grandmother (Lisa Lu), the matriarch and true power behind the family. Still, for every questionable decision Nick makes, the film bends over backward to reaffirm that he's really a good man and his heart and devotion to Rachel are true.

For Rachel, the trip has highs and lows. Anyone's jaw would drop at the sprawling mansions, exotic island getaways, and limitless food and privilege she's exposed to, but all of that comes at a price: most of the crazy rich Asians Nick grew up with are, unsurprisingly, total assholes. There are some exceptions: Nick's gorgeous cousin Astrid (Gemma Chan) is elegant and kind but stuck in a bad marriage, and the couple about to wed, Colin (Chris Pang) and Araminta (Sonoya Mizono), are lovely people inside and out. Still, Rachel is subjected to hazing and treated like an outcast for being a crazy not-rich Asian who has the gall to be dating Nick Young. Luckily, Rachel has her friend Goh to take solace with. Goh may not be crazy rich, but her weird-ass family (her father is played by Ken Jeong in total Asian clown mode) is still rich enough to take Rachel on a Pretty Woman-inspired shopping spree to find a dress suitable for the wedding. And what a wedding it is; an opulent, mermaid-inspired affair that may well be the most magical nuptials ever captured on film.

The wedding isn't so great for Rachel, though. Eleanor's obvious disapproval leads her to investigate Rachel's family and reveals some buried secrets about her mother and her past. The film seems to set up a fitting breakup between Nick and Rachel, with Rachel scoring her important moral victory by getting one over on Eleanor. That should have been enough and would have been a nice, bittersweet ending, but Crazy Rich Asians isn't in the market for bittersweet. Instead, Nick rises to the occasion and makes a final romantic bid to marry Rachel. It doesn't quite jive with the way Rachel asserted herself and her self-worth in the third act, but this is a Hollywood romantic comedy and there was plenty of money left in the fireworks budget, so we are delighted to put our quibbles aside to see Rachel and Nick get their happy ending and become Crazy Rich Man and Wife. Rachel probably should have asked for a little space to think things through, but fuck it, let's all leave the theater feeling good, why not? Rachel does marry into Nick's incredible wealth, but she learns the real treasure are the Crazy Rich Asians we met along the way.

Sunday, August 12, 2018

The Meg



The Meg is 33% decent and 67% shameless and, for a Jason Statham vs a giant shark movie, these turn out to be surprisingly winning statistics. This is a film where the actors take on everything with total earnestness while the screenplay by Dean Georgaris, Jon Hoeber, and Erich Hoeber and the direction by Jon Turteltaub throw in things like a tiny dog swimming in the middle of the ocean and coming face to face with a giant shark and a Chinese woman yelling "Pa! Pa!" whom they felt the need to subtitle "Dad! Dad!" The finale of The Meg is like Crazy Rich Asians at the beach, except dozens of them are being ripped apart by a Megalodon. Also, soldiers sent to kill the Meg with dynamite can't tell the difference between a shark and a whale. This is that kind of movie. But for a 2018 summer film about a prehistoric beast, it's way more ridiculously entertaining than Jurassic World: Fallen Kingdom. Bite me.

And yet, the actors 100% believe nothing happening is ridiculous, which helps a whole lot. Jason Statham is a deep-sea rescue diver who unwittingly encountered the Meg five years prior. When an attempt to explore the Marianas Trench deep, deep in the ocean unwittingly reveals the existence of a Megalodon shark, long thought extinct, Statham is brought back to rescue his ex-wife Jessica McNamee, who is in command of the lost sub. Statham saves the day but the rescue ends up unleashing the Megalodon, which swims up to the surface and decides all of these humans on the deep sea research station owned by skeezy billionaire Rainn Wilson are its mortal enemies. 

Statham and the multinational cadre of actors like Li Bingbing (whom he has the hots for and vice versa), Cliff Curtis, Ruby Rose, and Page Kennedy, declare war on the Meg right back. Off they go a-huntin' for the giant shark, only to find out there's a second, even bigger Meg! "Nobody said there were two of them!" Kennedy yells, echoing the audience's thoughts at the movie's marketing. Despite their best efforts, the Meg(s) destroy every single boat the humans are on, their shark cages, most of their submarines, and the sharks ruin a fun beach holiday off the coast of China to boot. 

The Megs themselves are not sharks to remember. They're drab, brownish, CGI monstrosities that lack the presence and character of Spielberg's shark in Jaws. But no matter. This is a movie where Statham pilots a one-man sub against the Meg and then goes into hand-to-hand combat with it for good measure. But while Statham's gruff, macho skills are put to the test against the sharks, the real action is between him and Li. Sparks fly between the two, and her 8-year-old daughter Shuya Sophia Cai is all for her mommy moving on with this heroic, macho, bald Englishman with the magic lips that resuscitated her when she drowned. We end up rooting for them to get together as much as we root for them to beat the Meg. In the end, we're glad they all end up chums.

Friday, July 27, 2018

Mission: Impossible - Fallout



"Hope is not a strategy," August Walker (Henry Cavill) says to Ethan Hunt (Tom Cruise). Ilsa Faust (Rebecca Ferguson) quips back, "You must be new." Indeed, if you think about it, we never really see Ethan Hunt eat or drink, so he must be fueled purely by hope as he does impossible things to save the world.

In the relentlessly entertaining Mission: Impossible - Fallout (the 6th Mission in 22 years), Ethan is pushed to his absolute limits as he and the IMF, consisting of the hilarious Benji (Simon Pegg) and the ever-loyal Luther (Ving Rhames) - race around the world to stop two nuclear weapons from killing millions of innocent people. The genius of Fallout, directed once more by Christopher McQuarrie, is in how all of the dangers the IMF has ever faced has been balled up into the personal guilt of Ethan Hunt. He's responsible for all of us, and he knows it. "I'll figure it out!" is Ethan's response every time the IMF asks him what to do, though by then, Ethan has already taken off to perform some type of aerobatic insanity. Bless him, Ethan will go to absolutely any lengths to save us, because that's simply what Ethan Hunt does.

The last three Missions have been a more tightly-woven narrative than the original trilogy from 1996-2006. 2011's Mission: Impossible - Ghost Protocol introduced the Syndicate, a rogue nation of former government operatives led by an anarchist named Solomon Lane (Sean Harris). Ethan and the IMF captured Lane in Mission: Impossible - Rogue Nation, but two years later, the remnants of the Syndicate have reorganized into a new terrorist network called the Apostles. They want their old leader back and they'll detonate three nukes to get him. Of course, the IMF mobilizes to stop them, this time led by Secretary Hunley (Alec Baldwin). Hunley was the IMF's greatest critic until he saw Ethan in action in Rogue Nation; like anyone who gets to see what Ethan Hunt can do, Hunley was instantly converted. Indeed, Hunley delivered an astonishing pro-Ethan speech in Rogue Nation where he called Mr. Hunt "the living manifestation of destiny." Now's he's Team Ethan all the way. However, the IMF always has to be disavowed in some way. New CIA head Angela Bassett thinks the IMF are a bunch of "grown men in Halloween masks" and sends her own man to oversee Ethan, August Walker. If Walker could twirl his infamous mustache, he would have.

The action in Fallout is typical for Mission: Impossible, which is to say it's deliriously breathtaking. With the 56-year-old Cruise once more performing the majority of his own stunts, Ethan soars higher and takes more risks than ever. Ethan and Walker HALO jump 25,000 feet into Paris just to crash a party where the mysterious Apostle leader named "John Lark" is set to meet a broker called the White Widow (the fetching Vanessa Kirby). If you think about it, was the HALO jump even necessary? It's Paris, not North Korea - there are a dozen safer ways to enter the City of Lights. Nevertheless, that sets the stage for a brutal men's room brawl and an incredible motorcycle and car chase sequence all over Paris as Ethan evades the police after capturing Solomon Lane yet again. Ethan then parkours and runs across the rooftops of London chasing after Walker, who is revealed to be the real John Lark, before it all culminates in an absolutely spectacular helicopter chase that concludes with a fight on a Kashmir mountaintop where Ethan is literally dangling off the mountain by his fingertips.

For her part, Kirby delivers a speech about her mother Max, which means she must be the daughter of the original broker of information Ethan encountered in his first Mission in 1996. And the White Widow is powerfully attracted to Ethan, so like mother, like daughter. Also attracted to Ethan is MI-6 agent Ilsa Faust, who was Ethan's partner and foil in Rogue Nation. Ilsa joins the IMF at last, though not after betraying Ethan again, which he naturally forgives because he knows she has "reasons." That's the spy game for you. The best callback of all, however, is the return of Ethan's wife Julia (Michelle Monaghan), who has been on the run for her own safety since Mission: Impossible III. She's a doctor without borders now, married to Wes Bentley of all people, but when Ethan comes back into her life once again, she knows it's because the world is at stake. She gets him. "I like her," Ilsa realizes, and we agree. Even while four action set pieces are going on at once, George Lucas-style, in one of the best roller coaster third acts ever in an action movie, we're stunned at the emotional punch Julia and Ethan's reunion packs.

Poor Ethan apologizes eight times in Fallout: once to a French police woman who finds herself in the wrong place in the wrong time, once to Alec Baldwin, twice when he runs into a funeral in a cathedral while being chased by the Apostles, and four times to Julia herself. But as Julia notes, Ethan has nothing to be sorry for. Ethan's guilt over the way his adventures have upended his wife's life is expunged and finally, he's free of the secret torment he harbors - the same torment Solomon Lane uses against him in his nightmares. Of course, Ethan Hunt can't ever stop trying to save the world, and the world desperately needs him. But by the end, with Ilsa and the IMF, his team - no, his friends - rallied around him in the hospital after he put it all on the line once more, we regard Ethan with the same admiration that they do. Rest up, Mr. Hunt, and get back out there. The world needs you in Mission: Impossible 7.

Tuesday, July 24, 2018

The Equalizer 2



The Equalizer 2 plays right into that time-honored stage trope: if you say that there's a storm coming in Act 1, then that storm better come in like a motherfucker and you fight all the bad guys in it in Act III. Director Antoine Fuqua's The Equalizer 2 resists calling itself the logical title of The Sequelizer; nonetheless, this is Denzel Washington's first-ever sequel in his illustrious career. Denzel returns as Robert McCall, a Boston native and former CIA operative with a certain set of skills and a hole in his lonely soul he can only fill by putting the hurt on very bad people. As established in the previous film, McCall is a man who believes in pure justice and will apply his certain set of skills on behalf of the unfortunate souls who cross his path and need his help. He's intelligent, unrelenting, and unstoppable. If you need the Equalizer, you can reach him via your Lyft app.

In the years since he massacred the entire Russian mafia to help a teenage prostitute (Chloe Grace Moretz) get her life on track, McCall has left his job as a beloved manager at Home Depot. His vigilante activities require him to set his own hours, plus he needs to be amongst the people to figure out who is worthy of his incredible talent for murder. Like old man Logan, McCall entered the livery business; the many scenes of him scooting all over Boston and taxiing people to and fro are the most entertaining scenes in the movie. For all of the driving around, however, The Equalizer 2 is slow to get where it ultimately wants to go. The many, many scenes of Bob behind the wheel or trying to help out his neighbors, who had their apartment building and garden vandalized, are intermittently interspersed with, you know, the actual plot of the movie.

Bob is eventually pulled into a quest for revenge when his best friend and former CIA overseer Melissa Leo is murdered in Brussels. All signs point to Pedro Pascal, Bob's former teammate when they were running black ops together for the agency and sure enough, Pascal is the bad guy. There was never any doubt about this. The way McCall calls him out is a clever reversal of the villain threatening the hero's family; Bob drops by with all smiles and gets Pascal's wife and kids to warm up to him. They're blissfully unaware they're human shields while McCall plays Pascal right into his trap. After threatening Pascal and his mercenary buddies lives by telling them flat out he's going to murder them, McCall goes and does exactly that.

The original Equalizer climaxed with an extended shootout of McCall against the Russian mafia at Home Depot. Once more, McCall takes on his enemies on his home turf: he booby traps his seaside hometown of Marshfield, MA Home Alone-style and decimates Pascal's men in the middle of a typhoon. McCall effortlessly navigates his quaint New England hamlet completely unbothered by the relentless rain and wind, delivering methodical and brutal vengeance as the Right Hand of God. It's satisfying watching Denzel annihilate bad people, yet at the same time, he is never truly challenged, rarely injured, and he's not once in any actual danger. By staging the climactic battle in the midst of Mother Nature's wrath, The Equalizer 2 flat out announces that Bob McCall is the real force of nature.

Overall a drab affair, The Equalizer 2 takes quite a long while to shift into gear, yet it's comforting to ride along with Bob McCall. Even though he's a mass murderer, he is a righteous one and deep down we know he is the good guy. His murders are actually much lower key this time around; compared to the first movie, McCall's body count is seriously reduced. With no Moretz as his youthful foil, McCall is paired up with a troubled young artist named Miles (Ashton Sanders) whom he saves from becoming a gangbanger and tries to teach some life lessons to, but Miles doesn't exactly win the audience over. The question now is whether Denzel will actually set another precedent and make another Sequelizer. Maybe he will if we leave him a five-star rating.

Thursday, July 5, 2018

Ant-Man and the Wasp



There's a moment early in director Peyton Reed's Ant-Man and the Wasp that subtly epitomizes why Marvel Studios superhero films work so well. Hope Van Dyne (Evangeline Lilly) gets double-crossed by a criminal dealer in exotic technology played by Walton Goggins. As his goons set upon her, she transforms into the microscopic but wondrous Wasp and goes to town on the bad guys. Naturally, they open fire while she takes refuge in a chandelier. As she waits for the coast to clear, Hope is breathing heavily - being a superhero and fighting baddies is hard, it takes effort. And even though she has the superpowers to shrink and fly with mechanical wasp wings, Hope is human through and through.

The human moments are the highlight of Ant-Man and the Wasp, which continues the story of Scott Lang (Paul Rudd, as affable as ever), the smallest (not officially an) Avenger. The last time we saw Ant-Man, he was in a maximum security prison called the Raft after he was captured for fighting alongside Team Cap in Captain America: Civil War. In the two years since, Scott copped a plea bargain for violating the Sokovia Accords by revealing that his Ant-Man tech came from super scientist Hank Pym (Michael Douglas). As a result of his shrinking technology being unregistered with the UN, Hank and Hope are now fugitives on the run and are not at all happy with Scott. For his part, Scott is under house arrest and, in a spin on a classic cop movie trope, he's only got a few days left until retirement his sentence is up and he's a free man. But Scott had the best of reasons to give up the Pyms: he did it to be with his adoring 10-year-old daughter Cassie (Abbie Ryder Fortson), the apple of his eye and the best pre-teen in the entire Marvel Cinematic Universe. 

Family is what Ant-Man and the Wasp is all about, and the plot really thickens when Janet Van Dyne (Michelle Pfeiffer, a bit underutilized), the original Wasp who was lost for 30 years in the other-dimensional Quantum Realm, somehow mind-melds with Scott, who was briefly lost in the Quantum Realm in the first Ant-Man movie. (This is called a Quantum Entanglement but, as Scott wryly notes, the Pyms put the word "Quantum" in front of most of their super-sciencey words.) Since the coordinates to find Janet are in Scott's head, Hank and Hope kidnap Scott and launch a wacky series of shrinky-dink adventures in their quest to find Janet and bring her back home. Hank has constructed a Quantum Tunnel is his secret shrinking lab, and the film overdoses on jokes about how the Pyms can shrink and enlarge just about anything, especially the Hot Wheels cars they drive on several gonzo chases all over San Francisco. 

All of the bad guys, including the mysterious Ghost (Hannah John-Kamen), want that shrinking lab, and practically all of the characters play an extended game of hot potato with that lab. Unfortunately, after super villains like Vulture (Michael Keaton), Killmonger (Michael B. Jordan), and Thanos (Michael Josh Brolin), Ghost, a desperate victim of Hank Pym's super science mistakes who can phase through solid matter but is in danger of disappearing into the Quantum Realm entirely, is a bit of a letdown despite John-Kamen's best efforts to make her poignant.

In the meantime, just about everyone from the first Ant-Man comes back for the sequel, including Scott's ex-con cohorts-turned-business partners led by the hilariously motormouthed Luis (Michael Pena). Despite his house arrest and the film's ticking clock trope of him needing to be back home periodically to throw the Feds off his scent, the fact that Scott can be in business with a bunch of ex-cons in a security company literally called X-Con shows that he somehow struck the most lenient plea bargain deal in the short history of the Sokovia Accords. Also back are Judy Greer as Scott's ex-wife and Bobby Cannavale as her cop husband; this time, they amusingly love Scott and can't get enough group hugs. But then, it's incredibly hard not to like and want to hug Scott Lang. 

The first Ant-Man was a tidy little (but honestly, probably superior) Marvel superhero movie disguised as a heist film. Ant-Man and the Wasp is more sprawling and ambitious, but considerably less focused. This can be attributed to the film being the product of no less than five screenwriters, including Paul Rudd, who reportedly emphasized Scott's family ties. Meanwhile, Lilly is a firecracker as the Wasp; one senses she has been waiting her whole life to be a superhero (just like Hope) and she makes the most of finally getting to wear a supersuit and sock bad guys. Hope and Scott continue to have chemistry that the film doesn't quite go all the way with, perhaps realizing that this prequel film must eventually synch up with the tragic events of Avengers: Infinity War. Thanos' finger snap does factor into the film, and most of the characters fade to dust in the end - a rather ballsy denoument after a pleasingly lighthearted and fun adventure yarn. But before half the universe dies, Ant-Man and the Wasp is a good time Marvel palate cleanser - which, all things considered, is no small feat.

Friday, June 22, 2018

Jurassic World: Fallen Kingdom



With Jurassic World: Fallen Kingdom, the Jurassic franchise jumps the Mosasaurus into full-on Terminator franchise territory: taking a tidy, elegant, initial idea - what if there was a theme park full of dinosaurs? - and sending it careening out of control to keep the billion-dollar money train rolling. It's true that the franchise had to evolve; Fallen Kingdom is the fifth time humans ventured to the doomed island Isla Nublar and were chased by the cloned dinosaurs that rule it. The previous film, Jurassic World, soft-rebooted the original trilogy to show the theme park John Hammond dreamed of fully operational before the dinos ran amok. Fallen Kingdom is the next step - making the title manifest by bringing the dinosaurs into the mainland at last. By the end, the planet (starting with America, naturally) threatens to become a Jurassic World, for better or worse.

The plot is simple: Isla Nublar suddenly has an active volcano about to blow and wipe out all of the dinosaurs. Despite the fact that InGen took all the embryos off the island and can make more dinosaurs, Congress debates whether the Jurassic World dinosaurs classify as an endangered species and warrant protection (their answer is no). Nonetheless, Bryce Dallas Howard, now a dinosaur protection crusader, is bamboozled by Evil Businessman to recruit Velociraptor whisperer Chris Pratt and return to the island to rescue Blue, the raptor he raised and taught to follow human commands. Blue is the last of her species, they argue - again forgetting they have the embryos and can create more Velociraptors for Pratt to train if need be. Still, they go back to the island and are immediately doublecrossed by the military guys who are secretly there to traffic the animals. 

The fact that Pratt, Howard, and their two assistants Justice Smith and Daniela Pineda, survive their ordeal on the island stretches believability to its snapping point - and that's saying something for a dinosaur movie. The four manage to elude certain death many times over from a dinosaur stampede as volcanic fire rains from above and then miraculously don't drown despite dinosaurs plummeting into the ocean all around them. Their escape from the island is so frantic and impossible, it's simply not believable. This is followed by sea travel so ridiculous that it makes the travel in Game of Thrones look reasonable: Isla Nublar is 100 miles from Costa Rica. The Lockwood Mansion, where the second half of the film takes place, is in the Pacific Northwest. You cannot travel from one to the other by ship overnight - unless you're in Jurassic World

Regardless, the latter portion of Fallen Kingdom takes place entirely in a gloomy gothic mansion complete with a Museum of Natural History-like dinosaur gallery. This madhouse also has a sub-basement containing a secret genetics lab, a dinosaur holding facility, and even an auction era - apparently all built without the knowledge of sickly billionaire James Cromwell, who we learn was the best friend and business partner of the late John Hammond. Despite already being established as expendable and the targets of attempted murder, for no good reason other than the movie needs them alive to be its heroes, Pratt and Howard are inexplicably kept alive by the mercenaries.

Meanwhile, Evil Businessman auctions off the dinosaurs captured from Isla Nublar and then unveils Fallen Kingdom's newest Big Bad: the Indoraptor, a hybrid dinosaur which will be the lynchpin of a ridiculous plot to sell Indoraptors to be used as military-grade weapons (because "Indoraptors can take commands better than human soldiers"). Of course, the Indoraptor escapes and massacres everyone except Pratt, Howard, and their friends, who can miraculously outwit it. There's also the revelation that dinosaurs aren't the only thing InGen has the power to clone - Fallen Kingdom introduces the concept that perfect human clones are a thing in the Jurassic universe. Repeat: PERFECT HUMAN CLONES exist and no one bats an eye about this. But Emperor Palpatine will be pleased; he can summon a Clone Army to fight the dinosaurs.

As Jeff Goldblum (largely wasted in a mere walk on) warns, humans are irresponsible, will be the cause of our own demise, and boy, do we deserve it. As such, Fallen Kingdom - while containing a few thrilling and outright terrifying sequences well-directed by J.A. Bayona - boasts an illogical and nonsensical script by franchise architects Colin Trevorrow and Derek Connelly that eschews wonder and heart. Instead it is a deeply cynical and violent exercise in stretching a franchise out while condeming human beings for being the worst creatures on Earth. It makes abundantly clear humans are the villains, populating the film with ruthless, greedy businessmen, international arms dealers looking to weaponize dinosaurs, and paramilitary animal traffickers who have no qualms about leaving the film's heroes to die horrifically on an island about to be destroyed by an erupting volcano. Wheras the previous films feasted on humans being eaten by dinosaurs (they usually deserved it), Fallen Kingdom is the first Jurassic film to show humans murdering other humans in cold blood. 

Ostensibly, Fallen Kingdom is about empathy for the dinosaurs - there are two shots of dinosaurs crying and the most heartwrenching moment if the film is being forced to watch a Brachiosaurus left behind on the island to be consumed by volcanic fire - but virtually none for humans. The final act of the film makes the choice to let the dinosaurs live and allow them to run freely into the world - an errand of mercy for the dinos that nonetheless will condemn countless people and other animals wholly unprepared for a T-rex or a Velociraptor to suddenly storm their neighborhoods to horrific deaths. Fallen Kingdom likes dinosaurs but hates humans. Maybe it has a point, but it's a weird one for a billion-dollar movie dinosaur franchise to make - except that they've got to make another couple of billion, yo.

Thursday, June 14, 2018

Hotel Artemis



Hotel Artemis is the cinematic equivalent of one of those distracted boyfriend memes that's been all over the Internet for the last couple of years. You know the one. Written and directed by Drew Pearce, Hotel Artemis posits an exclusive, members only secret Los Angeles hotel sanctuary for criminals run by the Nurse (Jodie Foster). It's a haven for bad guys who can't turn to traditional avenues for hospitality and medical care. 

However, outside the confines of the hotel is Los Angeles circa 2028 (a year before the events of the original Blade Runner; the universes are unrelated but the spirit is evoked). LA is in lockdown. The city is in the grips of a destructive riot as ordinary people take to the streets to protect the lack of clean drinking water. The City of Angels is a warzone. Helicopters are shot out of the sky by rocket launchers and explode into buildings as law enforcement struggles to contain the mob, These events, fleetingly glimpsed by news reports and by the film's main characters occasionally stepping outside the hotel, comes off as so much more compelling than what's actually going on in the Hotel Artemis. Hence. the distracted boyfriend meme, Hotel Artemis version:

Since we're mostly stuck in the hotel with criminals, albeit portrayed by some charismatic actors, you'd think the interactions between these bad guys with different agendas in such cramped quarters would be super interesting, but no, not really, though the actors try. Sterling K. Brown and Sofia Boutella are standouts; he just accidentally robbed the biggest crime boss in the city, Jeff Goldblum, and is trying to protect his dying brother from that very crime boss who's on his way to the hotel. Meanwhile, Boutella is a sexy international assassin here to kill Goldblum, but she runs afoul of a foul-mouthed skeevy arms dealer played by Charlie Day. Meanwhile, the Nurse tries to hold all this chaos together with the help of her loyal and good-hearted orderly Dave Bautista

A lot of scores are settled and there are revelations dropped about the Nurse's past and how it all ties into Goldblum, but it all feels undercooked and unearned. The third act, especially, should be taught in film schools, but as a cautionary tale since the reasons why the characters do just about anything they do are bewildering. Their actions feel more in service of the plot than anything that might actually benefit them from the way they're set up inititially - after all, they are criminals. There is bloody action and shootouts, but this isn't a visceral violent tour-de-force like John Wick either - though they try by giving Boutella a Daredevil-like hallway fight scene that she's fantastic in. Meanwhile, we're left wondering how the clean water riots turn out and the events that sparked them, all of which could have made for a hell of a lot more interesting a movie than Hotel Artemis turned out to be.

Wednesday, June 13, 2018

Ocean's 8



Like the cubic zirconia duplicate of the $150-million Cartier diamond necklace Debbie Ocean (Sandra Bullock) plots to heist, Gary Ross' Ocean's 8 is an imperfect copy of Steven Soderbergh's Ocean's Trilogy. Debbie Ocean is the younger sister of Danny Ocean (George Clooney), who is believed to have died but she doesn't know for sure. Either way, Ocean's 8 spends a lot of its running time genuflecting at the feet of its predecessors, making it very clear that they're heisting in the spirit of Danny Ocean and his crew. "You would have loved it," Debbie swears to Danny's grave at the very end, and one can picture George Clooney's affable grin and agreeable nod, though what Danny Ocean was really thinking we never knew for sure. He'd probably react the same to Ocean's 8.

Debbie spent 5 years in prison masterminding a jewelry heist at the Met Gala (while making it clear their score is stealing from someone at the museum and not from the museum itself - though that turns out to be a lie). Once out of the clink, she immediately assembles roughly 70% of the crew that her big brother usually ran with: Cate Blanchett is her partner, Rihanna is their hacker and tech guru, Mindy Kaling is their forger, Sarah Paulson is their fence, Helena Bonham Carter is their accomplice, Awkwafina is their pickpocket, and Anne Hathaway is their unwitting mark, until she isn't. 

Hathaway blows everyone away and is the best thing in Ocean's 8; she delights as a wry parody of how people perceive celebrated movie star actresses (especially herself) behave, but she's also the only one with a character arc in the film. Blanchett, in the Brad Pitt sidekick role, does her best despite having to actual character to play; she even lacks Pitt's constant eating as a running gag. As for Debbie Ocean herself, Bullock is subdued, as if she's either keeping a private joke or stifling the urge to sneeze the entire time. Debbie Ocean's 8 lack the overall charm of Danny Ocean's Eleven (and Twelve and Thirteen), but the actresses' raw talents rise above what little there is for them to work with on the page.

Of course, Debbie is working a side hustle, just like big brother was. Danny's original Las Vegas score was also a plan to reunite with his estranged wife Tess (Julia Roberts). For Debbie, it's the opposite: she's out to frame and send her ex-boyfriend Richard Armitage to prison for ratting her out and sending her to the slammer for five years. Like Brad Pitt did to Clooney, Blanchett objects when she finds out, then goes along with it anyway.  What Ocean's 8 sorely lacks, however, is a villain of any sort, and Ross' film illustrates how vitally important Andy Garcia's malevolent casino owner Terry Benedict was to Ocean's Eleven. Without an opposing force that puts the Ocean crew at risk, Ocean's 8 essentially sails through its heist in a breeze. All of their plans go off without a hitch, they're never in any jeopardy whatsoever, and what little that does momentarily go wrong is covered up by Sandra Bullock yelling at someone in a foreign accent.

Overall, Ocean's 8 is entertaining enough but proves itself to be a fraction as good as Eleven or Thirteen (it probably ranks alongside the unmemorable Twelve). After each scoring eight figures in the end, even the rewards the ladies choose for themselves are boring: Hathaway decides to become a film director (why?), Blanchett buys a motorcycle, and Bullock takes a subway ride to Danny Ocean's tomb instead of buying a house in Lake Como, which is what big brother would do.

Friday, May 25, 2018

Solo: A Star Wars Story



Han Solo (Alden Ehrenreich) gets his famous surname in Solo: A Star Wars Story. It's given to him by a disinterested recruitment officer for the Empire because Han says he's all alone. The three years Solo serves in the Empire, first as a washout pilot in the Imperial Navy and later as a boots-on-the-ground grunt (the Empire has normal soldiers and doesn't rely exclusively upon Stormtroopers?), are the only time Han is ever really solo. Otherwise, Solo is surrounded by friends, most importantly, Chewbacca (Joonas Suotamo), the heart and soul of the whole movie. Where would Han be without his best Wookiee friend (who owes him a life debt for busting him out of Imperial prison, though the film never mentions the life debt part)? Nowhere, that's where.

Ron Howard's Solo: A Star Wars Story is the story of Solo, formerly known as just "Han", a twentysomething who grew up a thief in the grimy, ship-building world of Corellia. (If there's a bright center to the universe, Corellia would be the planet it's farthest from, to paraphrase some kid on Tatooine.) Han wanted to run away and see the galaxy with his best girl Qi'ra (Emilia Clarke), but the gangsters who raised them had other ideas. Qi'ra began Han's canonical attraction to petite brunettes with pretty faces and British accents. It turns out a British accent is Han's biggest lure: on an Imperial battlefield, he meets his mentor Beckett (Woody Harrelson), a smuggler working with Val (Thandie Newton), who has, you guessed it, a pretty face and a British accent. Han and Chewie end up as part of their crew, pulling a bungled train heist for crime lord Dryden Vos (Paul Bettany), the leader of the Crimson Dawn syndicate. Vos also has a British accent, and Bettany has a pretty face, so he counts. Luckily for Han, Qi'ra, the girl he's trying to get back to save, now works for Vos as his trusted lieutenant. She's "done a lot of things" to get to where she's at, warnings to Solo she ominously and routinely drops and Han is happy to ignore. Solo is the only one shocked when she turns on him.

Since this is a Star Wars story of a beloved canonical character, Solo has to check the many boxes of Fan Service. We learn how Han meets his frenemy Lando Calrissian (Donald Glover), the smooth, impeccably-caped card sharp who just happens to own the Millennium Falcon, the ship destined to belong to Solo. The fastest hunk of junk in the galaxy is brand-spanking new - at least until Solo gets his hands on it. Lando's co-pilot is a social justice-seeking droid named L3-37 (Phoebe Waller-Bridge), who has a British accent if not the requisite pretty face, but that's good enough for Han as well. Together, this motley crew pulls off the infamous Kessel Run in less than 12 parsecs as they steal and smuggle unstable hyperfuel called Coaxium to pay off a debt to Vos. Hunting them down are space pirates led by the masked Enfys Nest (Erin Kellyman). When Nest removes her helm and reveals herself to be a girl with a pretty face and a British accent, there's instantly no doubt Solo will turn on Vos and side with this babe and her burgeoning 'Rebellion' against the evil Empire. (Qi'ra even says it outright: "He's going to help her.") And there are, or course, callbacks to the Original Trilogy (thermal detonator, a kiss on the cheek "for luck", the Falcon runs afoul of a giant monster in outer space, Han shoots first) that are fun to spot.

Solo's climax is impressive (most impressive) by featuring no less than five double crosses: 1. Lando double crosses Han and leaves with the Falcon. 2. Han, Qi'ra and Chewie double cross Vos with fake Coaxium. 3. Beckett double crosses Han by revealing he sold them out to Vos. 4. Qi'ra double crosses Vos and kills him to take command of the Crimson Dawn (for those of us who don't read or care about the Star Wars Extended Universe, the sudden appearance of a long-dead Phantom Menace villain makes no sense and reeks of Fan Service), and 5. Q'ira double crosses Han and leaves him with his Wookiee as she becomes the new crime lord of the galaxy. As Homer Simpson would say, Solo learns a valuable lesson: "Never trust anyone." Except for your Wookiee. Always stand by your Wookiee and he'll look after you.

Volumes have been written - and will continue to be - about the behind the scenes chaos that birthed Solo, ultimately resulting in Ron Howard directing the picture and bringing it to the finish line. Solo shows the mark of an efficient, experienced hired hand brought in to make the shoot days and execute this by-the-numbers origin story written by Lawrence and Jonathan Kasdan. Howard rarely generates his own material, preferring to adapt existing works or the stories of others to mixed results (Apollo 13, The Da Vinci Code, Rush, In The Heart of the Sea), but his surehanded guidance keeps this project from the disastrous, Millennium Falcon-crushing gravity well it was turning into. One also gets the sense that if Howard was in charge from the start, he wouldn't have cast Ehrenreich, whose constant mugging masks a genuine sincerity, yet never jives with the beloved 'real' Han Solo originated by Harrison Ford. This would be fine if Ehrenreich were playing an alternate universe Han like Chris Pine did Kirk in J.J. Abrams' Star Trek films, but this is supposed to be the same guy Ford played, so. Although Solo never makes the jump to a magical hyperspace of imagination like the best Star Wars films (could it ever have?), overall, it's a solid, enjoyable romp through the seedier worlds of the galaxy far, far away. Considering the Han Solo solo film should have detonated like so much unstable Coaxium, the fact that the Han Solo solo film is fine (it's fine) is a win.

Sunday, May 13, 2018

Women of Avengers: Infinity War at Screen Rant


One of the best parts of writing feature articles for Screen Rant is getting to deep dive into the biggest films, like Marvel's Avengers: Infinity War. I've written over a dozen Features about the film - such as Infinity War Was Worth The Ten Year Wait, which I totally recommend checking out - and among them were a series of mini features on the spectaular female superheroes of Infinity War.

Friday, April 27, 2018

Avengers: Infinity War



I Hope They Remember You

"I'm with you til the end of the line," is the famous promise Captain America (Chris Evans) and Bucky Barnes (Sebastian Stan) made to each other for a century. Avengers: Infinity War is that end, the 19th film and the culmination of the last decade of the unprecedented success called the Marvel Cinematic Universe. A grand and shattering treatise on death, loss, sacrifice, and heroism on a truly universal scale never before witnessed in superhero movies, Infinity War brings the epic feeling of event comic book crossovers to movies. It's not for the newbie; it's for the True Believer. Infinity War demands a working foreknowledge of the characters, relationships, and plot points that have been woven through most of the prior films. It trades on the affection audiences have for these heroes (and villains). And in the end, it shockingly wipes the slate clean with a snap of Thanos' fingers.

A loose adaptation of arguably the greatest Marvel epic, The Infinity Gauntlet, Thanos (Josh Brolin) finally attempts to assemble the six Infinity Stones which represent the fundamental aspects of the universe: Power, Space, Reality, the Soul, Time, and the Mind. He's driven by his lifelong quest to balance the universe by eradicating half of it. In the comics, Thanos is a vainglorious lunatic in love with the personification of Death who is nonetheless charming and fascinating. Brolin's Thanos is a different, but satisfying take on the Mad Titan; driven, intelligent, mournful, but savage. Thanos has a heart, which is reserved for children he adopts and raises to be his lieutenants for his twisted cause. His favorite remains one of the Guardians of the Galaxy, Gamora (Zoe Saldana), to the chagrin of her long-suffering "sister" Nebula (Karen Gillan). Thanos and Gamora's relationship takes center stage, the latest and most tragic of Marvel's exploration of the harm fathers can cause their children.

Wholesale slaughter is Thanos' stock and trade, and absolutely everyone feels his wrath. The Avengers, broken apart and scattered on Earth and in space since their own Civil War, assemble in smaller groups to try to protect the two Infinity Stones still on Earth: the Time Stone is in the possession of Doctor Stephen Strange (Benedict Cumberbatch), who, along with Tony Stark/Iron Man (Robert Downey, Jr.), Spider-Man (Tom Holland), and the remaining Guardians of the Galaxy, try to take the fight to Thanos on his homeworld of Titan. Meanwhile, the Mind Stone ensconced in the forehead of Vision (Paul Bettany) is defended in Wakanda by Black Panther (Chadwick Boseman), Steve Rogers, Black Widow (Scarlett Johansson), Falcon (Anthony Mackie), Bucky, War Machine (Don Cheadle), Vision's lover Scarlet Witch (Elizabeth Olsen), and Bruce Banner (Mark Ruffalo). In one of the film's many interesting inversions of expectations, Banner can no longer Hulk out after his gamma-powered alter ego is humiliated by Thanos in battle when the evil aliens slaughter the people of Asgard, including poor Loki (Tom Hiddleston). 

Not every character meets each other, and some long-simmering issues remain unresolved (the biggest being Steve Rogers and Tony Stark's falling out), but the meet-cutes between the Avengers and Guardians of the Galaxy that occur are beyond satisfying. No surprise, Marvel's two biggest egotists, the technological Tony Stark and the mystical Doctor Strange can't stand each other. Peter Parker is finally christened as an Avenger and fights alongside his mentor Tony, who watches out for him with a care and affection we've never quite seen Iron Man display before. The Guardians meet Thor (Chris Hemsworth), whose handsomeness impresses Drax (Dave Bautista) and irritates Star-Lord (Chris Pratt). Meanwhile, Thor takes a shine to Rocket (Bradley Cooper) and Groot (Vin Diesel). The God of Thunder has by far suffered the most loss and tragedy in his two most recent appearances, but Infinity War restores him to his maximum godhood, complete with a new weapon, the Stormbreaker ax. 

The Avengers rise to the occasion in Infinity War. Despite their differences and the apocalyptic odds against them in the form of Thanos' powerful servants and their army of CGI monsters who invade New York City and Wakanda, we see the heroes at their very best (except Peter Quill). At a muscular, relentless, and overwhelming two-and-a-half hours, Infinity War is still unable, by design, to deliver everyone and every type of interaction one would hope to see. No one in the film gets the full picture of everything going on. Steve Rogers and his team's actions speak louder than words in defense of Wakanda, while Stark and his warriors are cut off from their fellow Avengers in space. Some of Thanos' minions have sufficient personality for the Avengers to banter with as they lay the smack down on each other, while Tony Stark's fame is revealed to be universal. Rather than kill the man at the center of the Marvel movie universe, Infinity War reaffirms Tony Stark as the center of that universe. It also, shockingly, does the same for the original core group of Avengers who started it all (well, almost all of them). 

The final act goes for the gusto and cements Infinity War as Marvel's version of Lord of the Rings. The universe is changed, and the body count is "Holy shit!" staggering and truly shocking. The boldest choice by directors Joe and Anthony Russo is how the main character of the story succeeds in his ultimate goal, with no obvious path to how the surviving heroes can come back and save the universe. It's a true, genuinely unsettling cliffhanger. Everyone, in the film, and in the audience, loses someone they love in Infinity War, and the Marvel Cinematic Universe loses its innocence at last. There's no telling what exactly happens next or how. Just a slight tinge of hope at the very end that the universe can indeed be saved, by a woman who bears Marvel's namesake.

Friday, April 20, 2018




Chappaquiddick is a sturdy lesson in crisis management, Kennedy-style. On July 18, 1969 - a couple of days before Neil Armstrong walked on the moon - the DUI Senator Edward M. "Ted" Kennedy (Jason Clarke) drove his car off the Dike Bridge into the water below. Kennedy somehow escaped but his passenger, Mary Jo Kopechne (Kate Mara) wasn't as lucky. As Kennedy emerged safely, Mary Jo drowned in his vehicle. Fearing public disgrace, the end of his prospective Presidential run and the ruination of his political career, Kennedy waited 9 hours to report the incident. Instead, he recruited Joe Gargan (Ed Helms), his cousin, attorney, and family fixer, and Paul F. Markham (Jim Gaffigan), the U.S. Attorney for Massachusetts, to help him explain away the crime. And he would have gotten away with it too if it weren't for the meddling press, investigators, and everyone else peering into this careless and sloppy attempt at a cover-up. 

As Kennedy wrestles with his conscience, his poor character, and the expectations of his disappointed, ailing father Joseph P. Kennedy (Bruce Dern) - whose strategies for a cover-up Kennedy ignores - Chappaquiddick doesn't really build up steam until the lawyers come into the picture. Led by Robert McNamara (Clancy Brown), essentially Mr. Burns' ten high-priced lawyers all take turns yelling at Kennedy for his hare-brained ideas to keep his name clean. Kennedy's dumbest, by far, was feigning a concussion the night of the accident and wearing a neckbrace to Mary Jo's funeral. Like the swarthy guy who wore a neckbrace to Carol Brady's trial and Mike Brady subsequently exposed in a Brady Bunch episode, Kennedy forgot a guy in a neckbrace shouldn't be able to crane his neck around. In the end, Kennedy never did become President, but his public statement and apology to the voters of Massachusetts ended up saving his political career.

Clarke is terrific as Ted Kennedy, and Chappaquiddick does a fine job evoking the Kennedy mythology, asking the audience to weigh whatever positive mystique the family retains to this day against the ugly reality of the deeply flawed, entitled men who carry that surname. The Kennedy magic largely died with Jack and Bobby, but Chappaquiddick showed enough of the mystique remained that the local law enforcement and even the voters still bent over backward to explain away the grave mistakes of the surviving Kennedy brother.

Friday, April 13, 2018

DC's Legends of Tomorrow at Screen Rant


Midway in season 2 of DC's Legends of Tomorrow, during the Legion of Doom story arc, the needle began to move. Legends was always considered the fourth and least of the Arrowverse shows behind Supergirl, The Flash, and Arrow, but a shift had begun. Now that Legends' fabulous, raucous, and utterly bizarre season 3 is over, it has surpassed its sister series and has taken the top slot as the most entertaining - and dare I say best - Arrowverse series on The CW.

I've gotten to write some fun features in recognition of Legends season 3 for Screen Rant. Check them out collected below:

Wednesday, March 7, 2018

Tomb Raider



Tomb Raider could be more accurately titled "Lara Croft's Adventures With The 2nd Unit." The reboot of the 2001 and 2004 films that starred Angelina Jolie as the world's most famous British video game heroine (which itself is based on the video game reboot of the 1990s games) is the origin story of the titular Tomb Raider. Here, Lara is a 21 year old launched on her first adventure to find her father Dominic West, missing for 7 years and presumed dead on a mysterious Japanese island. Essentially "Lara Croft Begins", the young Tomb Raider-in-training must travel to that same island to find answers and her destiny. Unfortunately, somewhere along the way to that island, the film lost its director Roar Uthaug and its two credited screenwriters. They must have died en route. With no director and no story to speak of, this left the 2nd unit to stage elaborate stunt shows for Lara to survive to pad out the film's running time.

"I'm not that kind of Croft," Lara says wink-wink in the beginning. Indeed, Alicia Vikander is the best and only thing to watch in Tomb Raider, but she decidedly isn't her predecessor. The commonalities Vikander shares with Jolie are that they are both Academy Award-winners and neither of them are British, which seem to be the two requirements to portray Lara Croft. Lean, chiseled, and constantly injured, Vikander's Lara is neither as fully-formed in bountiful proportions nor in Tomb Raiding skills and gadgetry as Jolie, but she makes up for it in pluck and likeability. Jolie was a perfect video game avatar given flesh and form. In contrast, Vikander's Lara is not the best at everything; she gets her ass kicked a lot and barely scrapes through by the seat of her pants (she also wears pants in the jungle, unlike her predecessor). By the end though, Vikander takes on the more familiar iconography, weaponry, and confidence of Lara Croft, but she's more interesting as a reckless youth in over her head.

The first act of Tomb Raider is its best: unwilling to inherit the vast fortune left behind by her missing father, Lara spends her wayward youth getting pummeled in an MMA gym and eking out a living as an East London bike courier. This section of Tomb Raider surprisingly plays as a welcome (if unintended) homage to Jessica Alba in Dark Angel, wherein Alba's genetically-engineered super soldier also made two-wheeled deliveries while hanging with the eclectic layabouts of Jam Pony Express. Soon, Lara discovers her dad is a big weirdo: the kind who uses his own family crypt (on the grounds of Croft Manor!) as a secret headquarters full of Tomb Raiding paraphenelia. Lord Richard Croft left behind puzzles for his clever daughter to solve, as well as video instructions to destroy all evidence of his quarry: the tomb of an ancient Japanese Empress of Death. Lara decides to use the research to find her father. She jets off to Hong Kong and hires drunk sailor Daniel Wu to charter her a course to the mystery island in the Devil's Triangle. Sure, enough the seas start getting rough and their tiny ship is tossed. The movie's ability to tell a coherent story also goes down with the boat. 

Essentially, Lara washes ashore on Lian Yu, the island Oliver Queen was trapped on in Arrow. On the island, instead of Deathstroke, Lara meets the lone American in the film played by Walter Goggins, a dead-eyed villain who has been on the island for 7 years looking for the Japanese Empress' tomb. Why? He doesn't say. He works for a shadowy evil global network called Trinity. Why? He doesn't say. Why does Trinity want what's in the tomb? He doesn't say. To proclaim that every other character in Tomb Raider besides Lara is "underwritten" seems insufficient; it's more like they are "unwritten." Once the 2nd unit takes over the movie, Lara is kidnapped, beaten, chased, shot at, strangled, and survives harrowing cliffhangers that should have killed her. Yet, for everything else not involving frenetic action that Vikander is gamely up for, the island is Tomb Raider's dead zone.

Meanwhile, after 7 years of Goggins and his armed mercenaries leading an Asian death camp, they somehow were unable to find The World's Most Obvious Tomb On A Mountain Which Has Puzzles Set In The Gate until Lara showed up. 7 years?! The island isn't even that big: Lara ran across it in like a minute. Oh, Lara's father is alive, no surprise, and he's a huge disappointment. Lord Croft is no Henry Jones Sr.; he's as boring and empty as the blank pages in Henry's diary. The raiding of the Japanese Empress' tomb is Indiana Jones and the Last Crusade-lite, with Lara solving easy color puzzles while the bad guys are picked apart by the tomb's many death traps. Adding to the sum total of Things That Don't Make Sense, the island is dangerous to get to by boat because storms sink anything that sails towards it, but Trinity can send a helicopter to the island any time it wants and they're greeted by clear, sunny, blue skies.  

Tomb Raider utterly fails its star and the audience. The film collapses like the floor of the Japanese Empress' tomb under Lara's dainty weight. Through it all, though, Vikander is imminently watchable and gung ho, even if the stunt team are the only ones in the production offering her any support. If Tomb Raider ignites the desire in any girls or boys in the audience to enter the Tomb Raiding profession, Tomb Raider teaches that the most important skill a Tomb Raider can have is the ability to do one-armed pullups. This will literally save your life every ten minutes despite whatever the 2nd unit can throw at you.

Monday, March 5, 2018

Red Sparrow


"Your superiors are getting impatient," Dominika Egorova's handler says to her more than once in Red Sparrow. Personally, I wouldn't consider the audience Jennifer Lawrence's "superior", but it does accurately describe sitting through the bulk of Red Sparrow. Lawrence plays Dominika, a prima ballerina who suffers a terrible accident on stage that ends her lauded career. Her value to the state depended entirely on being a beautiful dancer, but now that she can no longer dance, what is to become of Dominika and her sick mother Joely Richardson? The solution comes in the form of her uncle Matthias Schoenaert, a high-ranking official in Russian Intelligence who's a bit of a perv. Schoenaert has always fancied his fetching niece and sends her to serve the state in a brand new way: to be a Sparrow. "You sent me to Whore School," Dominika later accuses him. Well, yes. Funny, that.

To be a Sparrow, Dominika learns all of the important arts, namely how to seduce a man or woman and get all of their secrets, which also sets them up for disappearance or assassination. After learning her injury was no accident, Dominika gained her admission into Sparrow School by attacking the two ballerinas who ruined her career, in the first of two naked and bloody mid-sex bathroom beatdowns that brings to mind the banya scene from Eastern Promises. Dominika is then raped as she sets up a powerful Russian magnate for assassination, and thus her Sparrow School tuition is paid. Sparrow School is the best part of the movie; it's like Hogwarts for sexy Russian adults where the magic is all about what goes on underneath their robes. Dominika is a reluctant but quick study at disrobing, and soon, she graduates with honors and is ready to be a real-life Sparrow. 

Dominika's mission is to get close to the goofy-named CIA agent Nate Nash (Joel Edgerton) and learn all of his secrets. As soon as this crazy hot Russian no one had ever heard of before gets close to Nash, everyone in the CIA knows she's a Sparrow, but they all play along anyway. (It's obvious why Nash lets Dominika get close to him.) As the story lurches forward for a glacially-paced 2 1/2 hour runtime, Dominika gets drawn into a labyrinthine web involving a drunken US Senator's assistant played by Mary-Louise Parker (the only comic relief in this grimly serious film) selling secrets in exchange for six figures in booze money. There's also a mole in the Russian government Dominika must uncover. Mostly, Dominika wants to get revenge on her uncle for sending her to Sparrow School in the first place, and for all of the torture and beatings she endures for Mother Russia.

Red Sparrow took a lot of shots on the Internet for basically being a Black Widow movie, but to finally see Red Sparrow is to realize this isn't a Marvel film at all. Though there's plenty of graphic and bloody violence, Dominika is no action heroine. Sparrow School teaches Dominika plenty about sex and seduction but no kung-fu superhero skills. Still, Sparrow School was more engaging than the 2/3rds of the movie with Dominika out in the wild, as we try to sort out what she's doing and why. Is Dominika a good Sparrow or a bad Sparrow, and who is she ultimately working for? For her part, Lawrence goes for broke playing Dominika, especially in the sex and nudity department. Probably the biggest victim of Internet leaks of her private photos a few years ago, Lawrence decides that it's high time she gets paid for your Fappening, and more power to her. Red Sparrow is also a reunion between Jennifer and her Hunger Games director Francis Lawrence (no relation), and naturally, it contains the staple of Jennifer Lawrence waking up in a hospital. That Katniss Everdeen classic bit is evergreen, even if she's called Dominika now.

Friday, February 16, 2018

Black Panther



Wakanda Forever!

Greetings from Wakanda! It's a nice place to visit and... goddamn it, why can't I live here forever? The Marvel Cinematic Universe has taken us to far-flung locales like Asgard, Knowhere, Sakaar, and uh, Queens, but it turns out the greatest destination of all is right in our own backyard. Well, Africa, which secretly houses the hidden nation of Wakanda. Director Ryan Coogler's Black Panther builds a sensational and inviting new universe within the Marvel Universe and populates it with a noble king, a dastardly but provocative villain, dynamic and inspiring women, and only two white people. (Okay, three, counting Bucky Barnes.) Truly, Wakanda is the best place on Earth.

We first met and immediately grew to love T'Challa (Chadwick Boseman) in Captain America: Civil War, but Black Panther only deepens our admiration for the Wakandan King. Newly crowned after the death of his father King T'Chaka (John Kani), T'Challa fends off two challengers to his throne while hunting down an old enemy, Ulysses Klaue (Andy Serkis), the devious black market smuggler who has spent decades heisting Vibranium, the strongest metal on Earth, which is only found in Wakanda. Aside from an explosive jaunt in South Korea (and trips to Oakland, CA), the bulk of Black Panther vividly explores Wakanda and asks pointed questions about the sins of its past and its hopeful future.

Soon, T'Challa discovers a long-buried secret of his father's: a tragic tale of fratricide and the existence of his American-born cousin, Erik Killmonger (Michael B. Jordan, all amazing swagger). The gradual reveal of Killmonger's history and why he covets the Wakandan throne elevates Black Panther to another level of superhero movie altogether. As does the thoughtful political debate the film inspires, where T'Challa wrestles with whether to shed Wakanda's millennia-held guise as a poor Third World nation and use their Vibranium technology to benefit the world. Meanwhile, Killmonger has his own ideas about that: conquest, and arming people of African descent with Vibranium weapons to forge a Wakandan Empire. T'Challa and his cousin Erik are two sides of the same coin, and their conflict is thrilling, deeply personal, and by the end, genuinely moving.

The Black Panther has a ball playing with all of the toys at his disposal, gleefully provided by the scene-stealer Shuri (Letitia Wright), T'Challa's irrepressible teenage sister who also happens to be the smartest person on the planet. Along with Shuri, the king is also surrounded by the most resplendent female cast ever in a Marvel movie. His mother Ramonda (Angela Bassett) is noble and proud. Wakanda's greatest warrior Okoye (Danai Gurira), the leader of the elite all-female Dora Milaje, is every bit as formidable as the king she protects. Best of all, Nakia (Lupita N'yongo) shatters the "Marvel Girlfriend" tradition by being devoted to her king while remaining independent, brave, globally-minded, and heroic in a fight. Nakia is as personally responsible for saving Wakanda as T'Challa is, a fact that does not escape his attention or appreciation.

Black Panther is not just a great Marvel superhero movie, it's one of the best-ever examples of the genre. Coogler stages thrilling action set pieces and not just honors Marvel's proven comic book movie tropes but also invokes classic James Bond movie iconography with a "Q scene" of T'Challa receiving upgraded tech, an eye-popping casino action sequence, and a glorious Bond-like end credits sequence. (Black Panther is as great a Bond movie as Skyfall, in fact.) The third act is reminiscent of and betters The Phantom Menace, with three simultaneous action sequences: a battle between two armies in a field, an aerial dogfight, and the hero and villain battling in a high-tech subterranean location that seems to descend into infinity. Through it all, we heartily cheer on the heroes while the villains maintain understandable motivations as they commit their nefarious acts. Also, Black Panther is the only superhero movie where two of the only three white people in it are missing their left arms. Like Wakanda itself, that's a record that should remain forever unbroken.