Sonic the Hedgehog

Posted in Action, Adventure, Comedy, Family with tags on February 20, 2020 by Mark Hobin

sonic_the_hedgehog_ver6STARS3.5Surprise!  Sonic the Hedgehog is a hit.  I must say it’s a happy ending for a production that was the focus of some seriously negative online buzz last year.  The trailer dropped in April 2019.  Admittedly the main character looked ugly.  Sonic appeared as a rat-like entity with human teeth.  He was more than just a bit unsettling.  The backlash was so severe it led animators to redesign his look which delayed the release until Feb 14.   In this case, the decision to heed the public outcry was — in retrospect — smart.  The $58 million debut far exceeded expectations.  At $75 million and counting it’s currently the 2nd biggest hit of 2020 (after Bad Boys for Life).  Not sure what this will mean when movie trailers undoubtedly earn unfavorable reactions in the future.  However, in this case, the filmmaker’s decision to react to feedback was handsomely rewarded.

No one could have been less interested in this feature than me.  First off, I don’t care for films based on video games.  I’d be hard-pressed to name one I genuinely loved.  Mortal Kombat (1995) has been my go-to answer when asked to name my favorite and I’ll admit there’s a little nostalgia mixed in my enjoyment of it.  Pokémon Detective Pikachu came out in May of 2019.  It starred a “pocket monster.”  I tolerated it, but I didn’t recommend it to anyone outside of die-hard fans.  Sonic is yet another creature.  This one is an anthropomorphic hedgehog that first appeared in a 1991 game for the Sega Genesis.  It wasn’t part of my childhood so I had no interest in the character which makes what I’m about to say even more astonishing.  Sonic the Hedgehog is the best video game movie ever made.

Now I know what you’re thinking.  You’ve read my intro.  The competition isn’t even that fierce but hear me out.  I am not damning with faint praise.  This is indeed an enjoyable movie.  The saga concerns a hedgehog from another dimension.  He’s a blue computer-animated creation voiced by Ben Schwartz (TV’s Parks and Recreation) but he interacts with human people.  While using magical rings like portals to travel to other planets, he ends up in Green Hills, Montana.  There he meets a man named Tom Wachowski (James Marsden) and his wife, Maddie (Tika Sumpter).  Tom is the local sheriff who wants to help Sonic find his missing rings so he can return home.  The two form a friendship, not unlike a boy named Elliott and another extra-terrestrial from a 1982 science fiction classic.

The adventure heralds the welcome return of Jim Carrey in his finest performance in a decade.  The Department of Defense suspects something dangerous is going on after a widespread power outage.  They enlist the aid of Doctor Robotnik (Jim Carrey), a scientific genius sporting a bushy handlebar-mustache that would make any member of a barbershop quartet jealous.  I cannot downplay how much I enjoyed his antics.  His presence is truly a return to form.  I’m talking zany bonkers Jim Carrey in 1994 when he made Ace Ventura, The Mask, and Dumb and Dumber all in the same year.  In the hands of a lesser actor, this role might be tiresome, but in his capable hands, the wacky physical comedy is hilarious.  The high point is when Robotnik does his dance of anarchy to “Where Evil Grows” by The Poppy Family.  His facial expressions and vocal delivery are amusing whenever he’s on screen.  He’s supported by a sidekick named Agent Stone portrayed by actor Lee Majdoub and he’s a calming counterpoint to Carrey’s wild shenanigans.

Sonic the Hedgehog may ostensibly be an adaptation of a video game.  The chronicle is merely about a character that gets into lots of mischief while trying to evade his captors but there’s just enough oddity and edge to delight adults too.  Jim Carrey is indeed the MVP but a charismatic cast featuring James Marsden, Tika Sumpter, Lee Majdoub, Natasha Rothwell and Adam Pally all contribute.  The entire production is blessed with memorable and likable personalities.  At its center is Sonic and Tom, a duo whose evolving dynamic develops from casual acquaintances into close friends.  Thanks to them, this ends up being a sweet, warm, clever, and funny story about the importance of friendship.  This may be a broad, accessible family-friendly film for the pre-teen set.  Yet the narrative delves deeper to extract a depth of heart and feeling.  I wasn’t expecting that in a video game movie.

02-13-20

Birds of Prey

Posted in Action, Adventure, Crime, Superhero with tags on February 13, 2020 by Mark Hobin

birds_of_prey_ver6

 

STARS1
“Anything you can do, I can do better. I can do anything better than you.”  That’s what Annie Oakley confidently sang to marksman Frank Butler in the musical Annie Get Your Gun.  She was boasting about her abilities as a sharpshooter and she wasn’t wrong.  Birds of Prey is about a decidedly different kind of feminist icon — Harley Quinn.  Some would even call her a villain.  There’s an ideology that subscribes to the idea that women can be just as — if not more than — coarse, vulgar and harmful as the men.  This is the approach where the very exhibition of destruction itself is an idea more cherished than drama, plot or logic.

Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn is a complete assault on the senses.  Even the unwieldy title is an irritant.  Warner Brothers also realized this later, because they have now retitled it as Harley Quinn: Birds of Prey as a course corrective.  At $33.0M, the movie had the worst opening since the DC Extended universe began in 2013.  One day the marketing campaign will be studied as a course entitled “What Not To Do”.  But let’s talk about the actual movie.  It doesn’t help that the plot is an incomprehensible headache to follow.  An animated intro — the only lucid thing in the whole production — informs us that the Joker and Harley Quinn (Margot Robbie) were once lovers.  He has broken up with her and now she is no longer afforded his protection.  She is now pursued by numerous enemies.  The main baddie is an evil gangster named Roman Sionis (Ewan McGregor) who owns a dance club.  He’s too much of a buffoon to be threatening.  Meanwhile, a teenage pickpocket named Cassandra Cain (Ella Jay Bosco) has stolen and swallowed a precious diamond from Victor Zsasz (Chris Messina) one of Roman Sionis’ henchmen.  So Harley offers to retrieve it for Roman. In exchange, he will spare her life.

Suicide Squad doesn’t have a reputation as artistic cinema but it’s Citizen Kane compared to this bewildering collection of gibberish.  At least Suicide Squad had Margot Robbie’s appearance which rose above the chaotic assemblage of actors.  As part of an ensemble, Harley Quinn was the charismatic standout, but here as the main focus of a narrative, you realize just how shallow and empty she truly is.  The once certified psychiatrist is a brightly colored confection not motivated by anything.  She merely responds to whatever is happening around her.  For most of the saga, her raison d’etre is to simply not die.  As one brutal spectacle piles on top of another, I grew numb.

Margo Robbie isn’t a character she’s an affectation.  An entity entirely composed of mannerisms and attitude.  She’s Baby-Spice blasting glitter bombs, occasionally breaking the fourth wall by winking and talking to the audience under the guidance of director Cathy Yan.  This is the filmmaker’s second feature after the indie comedy-drama Dead Pigs.  Star Robbie is a two-time Oscar nominee.  She is unquestionably a talent but here she is being instructed to behave in a way that truly tests the patience of the audience.  Harley Quinn’s cutesy chirp of a New York accent seems cobbled from Madonna’s performance as Nikki Finn in Who’s that Girl (1987).  Even their names sound similar.  Harley also narrates the film in a scattered singsongy voiceover that explains what’s happening on screen.  Obviously required because no sane person could possibly divine a point to this nonsense.

There is no story — just a series of raucous setpieces to which Harley Quinn must react.  Fight scenes are accompanied by a rock soundtrack cranked at full volume to distract from the lack of rationality.  “I Hate Myself for Loving You”, “Love Rollercoaster” and “Barracuda” all play at various points in the background.   The aural soundscape blends together.  One scene bears little relationship to the one before it.  Indeed the tale is conveniently told in a nonlinear fashion.  The decision feels more like a desperate struggle to obfuscate the lack of structure rather than a purposeful choice of style.

Birds of Prey is a violent action fantasy based on DC Comics’ infamous supervillain “girl gang”.  They’re opposed by Roman and right-hand man Victor who cut their victims’ faces off while they’re still alive.  They gun down a family with children in a gory display too.  For most of the movie’s runtime, it concerns one Harley Quinn but three other women emerge who have been mistreated by men: a vigilante called Huntress (Mary Elizabeth Winstead), a singer dubbed Black Canary (Jurnee Smollett-Bell), and a police detective named Renee Montoya (Rosie Perez).  The screenplay disingenuously attempts — in the end — to reinterpret all this mindless cursing, and mayhem into a pseudo-feminist anthem of banding together against their male oppressors.  Yet the women are undeveloped and conventional as characters.  Their one-dimensional personas feel like a giant step backward for female empowerment.  Ultimately the disjointed narrative makes absolutely no sense.  Birds of Prey — utterly lacking in wit, cleverness or coherence — is a featherbrained mess.

02-06-20

2020 Oscar Nominated Short Films (Part 3 of 3)

Posted in Awards, Documentary, Shorts with tags on February 9, 2020 by Mark Hobin

ShortsTV continues to make all three of the Oscar-nominated short film programs (animated, live-action, documentary) available to audiences around the world. To find out where you can watch this year’s Oscar-Nominated Short Films, visit their Theatrical Release and On Demand pages.

Documentary

This victor in this category has always favored trends.  At one time it was the Holocaust.  Now the direction has been portraits about Muslim women.  I’ve reviewed and ranked these from my “want to win”  to my least preferred.  Personally, I don’t have strong feelings that one should triumph over the other.  I respect them all equally.  Learning to Skateboard in a Warzone (If You’re a Girl) has the best title so I predict that will prevail.  The results will be announced at the Academy Awards on February 9th.

 

Walk Run Cha-Cha
USA/20MINS/2019
Director: Laura Nix
cha-cha
Paul and Millie are in love. They met as teenagers in Vietnam but the war separated them.  Years later they are reunited in California.  The doc shorts category tends to favor heavy subjects with a strong message.  This piece stands out because it’s the only one that’s blessedly upbeat and lighthearted.  It’s simply about love.  That is why it’s my personal choice.

 

In the Absence
US/SOUTH KOREA/29MINS/2018
Director: Yi Seung-Jun
Lavery-IntheAbsence-SewolFerryVid
Disaster footage from overhead shows a passenger ferry sinking off the coast of South Korea in 2014.  300 people — most of them schoolchildren on a field trip — lost their lives.  The official state response is a jaw-dropping document of ineptitude.  If the way this unfolds doesn’t make you angry, please check your pulse.  Watching the victims’ families and survivors suffer the aftermath is heartbreaking.

 

St. Louis Superman
USA/28MINS/2019
Directors: Sami Khan, Smriti Mundhra
superman
Bruce Franks Jr. is a Ferguson activist and a battle rapper who served for two terms in the Missouri House of Representatives.  He is a political powerhouse the likes of which you have never seen.  He fights for a bill critical for his community while contending with overwhelming personal trauma.  This emotional account is unquestionably an admirable portrait of overcoming adversity but the coda at the end feels a bit like a rug pull.  It ends on a depressing note.  I wish the directors had focused more on the positives because there are so many to this man.  P.S. The rap battle should be subtitled.  Highlighting the poetry of his words would have emphasized why he won.  I think he won.  It’s not clear.

 

Learning to Skateboard in a Warzone (If You’re a Girl)
UK/US/Afghanistan/40MINS/2018
Director: Carol Dysinger
Skateboard
An inspirational tale about the status of Islamic women in Afghanistan.  Over the past decade, this theme has frequently won the award (Period. End of Sentence., A Girl in the River: The Price of Forgiveness, Saving Face).  Noble and important but also unfocused.  The title implies this chronicle will be about young Afghan girls who skateboard but in fact, this concerns a variety of topics including a basic desire to just read and write.  The sports aspect is, unfortunately, a very small part.   At 40 minutes it’s the longest of all the 15 nominees in the entire shorts program.  It feels like it.

 

Life Overtakes Me
USA/37MINS/2019
Director: John Haptas and Kristine Samuelson
netflix-life-overtakes-me-review-3
Many refugee children and their families have fled to Sweden from traumatic experiences in their home countries.  Some still face deportation.  Over 400 have become afflicted with something called Resignation Syndrome.  This dissociative disorder appears to be a coma-like state.  The experience resembles sleep.  The documentary highlights a fascinating affliction but it begs so many more questions than it answers.  Is this real?  Why is this specifically happening to the refugees in this country?  Have the parents asked their children to “fake it” to improve their prospects?  Directors John Haptas and Kristine Samuelson don’t press for explanations.  That’s frustrating.

 

02-03-20

2020 Oscar Nominated Short Films (Part 2 of 3)

Posted in Awards, Drama, Shorts with tags on February 8, 2020 by Mark Hobin

ShortsTV continues to make all three of the Oscar-nominated short film programs (animated, live-action, documentary) available to audiences around the world.  To find out where you can watch this year’s Oscar-Nominated Short Films, visit their Theatrical Release and On Demand pages.

Live-Action

Let’s hear it for Tunisia!  The North African country actually figures in two out of the five films nominated in 2020.

As I do every year, I’ve reviewed and ranked them from my preferred champion to my least favorite.  I really enjoyed my top two picks a lot.  I would be happy if either of those won.  The results will be announced at the Academy Awards on February 9th.

 

The Neighbor’s Window
USA/20MINS/2019
Director: Marshall Curry
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The lives of Alli and her husband are affected when two free-spirited twenty-somethings move into the apartment across from theirs.  Large expansive bay windows without curtains conceal nothing.  Soon they’re immersed into the daily doings of the couple across the street like a TV show.   Actress Maria Dizzia gives an affecting performance as a new mother fascinated by her neighbors’ behavior.  This account was based on a true incident that occurred in San Francisco.  Few portraits can turn from lighthearted comedy into heartfelt drama on a dime and this does it as beautifully as any I saw last year. A real charmer. I teared up.

 

Nefta Football Club
FRANCE–TUNISIA/17MINS/2018
Director: Yves Piat
Nefta-Football-Club4
In the south of Tunisia, two young brothers come across a donkey in the desert on the border of Algeria. Strangely, the animal is wearing headphones over its ears.  Then they make a discovery.   I’ll be honest.  I wasn’t really digging this very sober and meandering chronicle at first.   Then I was on the edge of my seat fearing the worst.  This could’ve gone any number of ways.  It sticks the ending.   By far the funniest entry this year.  The final shot could be enough to actually win this award.

 

A Sister
BELGIUM/16MINS/2018
Director: Delphine Girard
A-Sister
A woman traveling in the passenger seat of a car is in trouble.  She makes a phone call.  Tense thriller doesn’t attempt to detail too much but does exactly what a short should.  This is a simple concept that extracts anxiety from the audience in an efficient way.  I was mesmerized although I had questions.  What kidnapper would let his victim make a 16-minute phone call?  It also loses points for its similarity to Danish crime thriller The Guilty which did this subject first and did it better.

 

Brotherhood
CANADA-TUNISIA-QATAR-SWEDEN/25MINS/2018
Director: Meryam Joobeur
Brotherhood
The 2nd of two films from Tunisia. This is the apparent frontrunner of the category but I would be shocked if it won.  Narratively opaque portrait of a callous shepherd named Mohammed living on a farm in rural Tunisia.  His oldest son Malik returns from Syria, with a mysterious new wife covered in a burka.  Director Meryam Joobeur doesn’t play fair with the audience purposefully hiding information so we cannot figure out what is going on.  The viewer (and father Mohammed ) is led to believe Malik became a radical and joined ISIS. Honestly, if father and son had simply had a conversation the misunderstanding at the heart of this drama could have easily been avoided.  Extremely frustrating for its inept depiction of the father’s shameful decision.

 

Saria
USA/22MINS/2019
Director: Bryan BuckleySaria
This true story dramatizes an appalling event that occurred at the Virgen de La Asuncion Safe Home in Guatemala in 2017.  A fire claimed the lives of 41 young women including two friends, Saria and Ximena.   This is a shocking violation of human rights.  The fact that real-life orphans are playing orphans is more interesting than the film itself.   The circumstances surrounding their deaths is clearly a tragedy worth telling so it gets credit for that.  However the film’s slick, unemotional presentation doesn’t feel as powerful as it should.  When the severity of these events comes across like a cliche, something is wrong.  Director Bryan Buckley has helmed over 60 commercials for the Super Bowl since 2000 so the cinematography is stellar.  I’ll give it that.

01-29-20

2020 Oscar Nominated Short Films (Part 1 of 3)

Posted in Animation, Awards, Drama, Sports with tags on February 6, 2020 by Mark Hobin

ShortsTV continues to make all three of the Oscar-nominated short film programs (animated, live-action, documentary) available to audiences around the world. To find out where you can watch this year’s Oscar-Nominated Short Films, visit their Theatrical Release and On Demand pages.

Animation

Regardless of how expected the rest of the Oscar races are, the shorts programs have always been the most difficult category in which to predict a winner.  They make forecasting interesting.

With the exception of Kitbull, this year’s selections all have to do with familial relationships but even that short is essentially about the connection that forms a family. They have all been carefully constructed to make you tear up — with either joy or sadness — in some way.

As I do every year, I’ve reviewed and ranked them from my preferred champion to my least favorite.  The results will be announced at the Academy Awards on February 9th.

 

Hair Love
USA/7 MINS/2019
Directors: Matthew A. Cherry, Everett Downing Jr., Bruce W. Smith
hair love
A young black girl is desperately trying to style her hair for a special occasion. She consults an online tutorial video for help but is unsuccessful. She then asks her father for help. This warm depiction highlights a loving bond between father and daughter. But where is the mother? That’s the poignant ending to this heartfelt account.

 

Kitbull
USA/9 MINS/2019
Director: Rosana Sullivan
kitbull
Appealing feature about a cat and a pit bull and the unlikely attachment that develops between them. This was produced by Pixar Animation Studios under their SparkShorts umbrella which gives employees the autonomy to create their own independent films. The characters are quite simply drawn, almost abstract, but the movement is spot on. The way the kitten moves is surprisingly realistic. The story adds depressing elements but it’s quite engaging.

 

Sister
CHINA-USA/8 MINS/2018
Director: Siqi Song
sister-oscar-nominated-animated-short-film
A man reflects back on his childhood memories of growing up with his little sister in China in the 1990s.  She is a constant annoyance to him.  This stop motion entry (there’s 3 this year) appears to be a rather simplistic tale at first.  A haunting reveal ends things on a very serious note.  It has a point and it effectively makes it.  This stayed with me.

 

Mémorable
FRANCE/12 MINS/2019
Director: Bruno Collet
image-louis-alzeimer_court-metrage-animation-memorable-bruno-collet-vivement-lundi_le-blog-de-cheeky
A painterly representation of one man’s descent into dementia.  The stop motion is an artistic manipulation of post-impressionism.  The characters look like living portraits by Van Gogh, Picasso, and other masters.  It holds an undeniably hypnotic quality that verges on calculated preciousness.  Alzheimer’s disease was the theme of last year’s Late Afternoon.  Do I sense the beginning of a trend?

 

Daughter
CZECHIA/15 MINS/2019
Director: Daria Kashcheeva
Daughter_Daria_Kashcheeva
This wordless recollection details the strained relationship between a young woman and her father.   The abundance of silence doesn’t help this obtuse chronicle.  The animation is stop-motion but then a handheld camera is used to heighten the movement so hey that’s different.  However, the pointless grudge this woman held her entire life could have been easily solved with a simple conversation.  Try talking to your father.  Narratively frustrating.

01-24-20

Gretel & Hansel

Posted in Fantasy, Horror, Thriller with tags on February 4, 2020 by Mark Hobin

gretel_and_hansel_ver3STARS3.5Cinephiles know that January is a dumping ground for terrible movies.  I’m not talking about pictures like 1917 which go wide in the first month.  Award-worthy films like that have limited openings in December in New York and LA to qualify for the Oscars.  No, I mean productions that drop in January for the first time.  Horror flicks are especially suspect in the winter months because the best ones are usually distributed in summer and fall.  The Grudge and The Turning both opened to extremely negative reviews and “F” Cinemascores.  Gretel & Hansel is also a horror movie released this month.  Plot twist: It’s actually good.

Gretel & Hansel is indeed based on the 200-year-old German folklore tale.  Those fables collected by the Brothers Grimm have always been a little twisted so the fact that this has been reimagined as a dark adventure isn’t such a stretch.  Director Osgood Perkins or rather Oz (son of Anthony) essentially recounts the same legend but with a few tweaks.  As the reversal of the title implies, the girl is the focus in this drama.  Gretel (Sophia Lillis) is now a teenager looking after her younger brother, Hansel (Sam Leakey).  Their father has already passed on.  After their awful mother kicks them out of the house, the two venture into the woods in search of food.  They come across a dwelling in a clearing where they meet a mysterious woman named Holda (Alice Krige).  In exchange for food and shelter, they’ll cook and clean for her.  Sounds like a fair trade…or is it?

The cast is uniformly excellent — particularly actress Alice Krige (Star Trek: First Contact) who narrowly gets my vote for the MVP as the wonderfully creepy Holda.  She delivers her lines with a Shakespearean energy that imbues the words with more importance than they actually deserve.  Sophia Lillis is exceptional as Gretel too.  Her interaction with the aged woman — OK let’s be honest, witch — is an interesting relationship that propels the story forward.   Gretel may exhibit an anachronistic personality but that demeanor makes her more relatable to a modern audience in fact.   The behavior applies to her brother, Hansel (Sam Leakey) as well.  Gretel has visions that verge on nightmares.  The witch senses Gretel’s abilities.  She teaches Gretel how to tap into her powers.   Also worth mentioning is Jessica De Gouw as a young Holda who is a malevolent presence.

Gretel & Hansel is the third feature from director Perkins.  He bestows a vibrancy to this ancient yarn heretofore unknown.  His previous efforts were The Blackcoat’s Daughter which made a mere 20k domestically and I Am the Pretty Thing That Lives in the House which debuted on Netflix – both horror films.  It’s clear that Perkins loves the genre.  He explores it with a rare subtlety.  The box office of Gretel & Hansel may have been a modest achievement.  It earned just $6.1M in the U.S. opening weekend but given that the budget was only $5M, I’d call that a success.  It’s well on its way to profitability.

There is so much to recommend about this production.  As the PG-13 rating would imply, this movie relies far more on atmospherics than gore.   The outstanding production design is arguably the movie’s strongest asset.  Jeremy Reed extracts fear out of gloomy spaces.  The rooms and buildings have an ominous air to them.  Cinematographer Galo Olivares captures all of this with stylish elegance.  He was a collaborator on Roma and the talent he brought to that triumph is clearly evident here.  One particular set piece involving a bucket of guts leaves a lasting impression.  Now let’s talk about the soundtrack.  I love the Beatles and the Moody Blues so I’ve always been a sucker for any melody that features a mellotron.  The eerie synth-heavy score is composed by Paris-based composer ROB aka Robin Coudert (Maniac, Horns).  He adds a glorious soundscape that further immerses the viewer into a sinister environment.

If I must register a gripe, it’s that director Oz Perkins favors slow-burn pacing at the expense of a compelling story.  Ironically it’s during the climax that the chronicle suddenly feels rushed.  Plot is not this saga’s strong point.  However I enjoyed this overall, so I won’t end on a pessimistic note.  The gorgeous production is content to revel in a dark climate.  It’s intensely disturbing.  The music and visuals really add to the sense of dread.  I was quite taken by the mood.  Gretel & Hansel mesmerizes while it simultaneously unsettles.  What it lacks in a narrative, it more than makes up for in some hauntingly beautiful tableaus.

01-30-20

Bombshell

Posted in Biography, Comedy, Drama with tags on January 29, 2020 by Mark Hobin

bombshellSTARS2.5I wasn’t planning to review Bombshell.  I saw it weeks ago.  When it went wide on December 20, it did rather poorly at the box office.  Apparently, a drama about sexual harassment wasn’t what people wanted to see right before Christmas.  Go figure.  I assumed it would be forgotten.  Then on Monday, January 13, it was unduly rewarded with three Oscar nominations.  Seven weeks later it’s still hanging on for dear life in theaters.

Bombshell is based on the accounts of several women at Fox News who decided to bring a case against chairman and CEO Roger Ailes for sexual harassment.  It features a triumvirate of star power in the form of three actresses.  Charlize Theron portrays the very real news anchor Megyn Kelly and Margot Robbie plays a fictional associate producer named Kayla Pospisil – a character based on a composite of witnesses.  Pospisil’s uncomfortable private meeting with Roger Ailes is the acting reel highlight of the entire picture.  Both actresses garnered regrettable Oscar nods.  Either slot could’ve been filled by a host of far more deserving candidates: Awkwafina, Lupita Nyong’o, Jennifer Lopez, Zhao Shuzhen…I could go on.  Ironically the Academy actually failed to honor the best performance in the production.  That would be Nicole Kidman as “Fox & Friends” co-host Gretchen Carlson.  Her no-nonsense portrayal is the heart of this film that sets everything in motion.

I will defend one of Bombshell‘s nominations to the hilt, however.  The MVP is makeup artist Kazuhiro Tsuji who won an Academy Award for transforming Gary Oldman into Winston Churchill for The Darkest Hour.  He’s responsible for the uncanny physical modifications of this production too.  John Lithgow plays Roger Ailes under pounds of old age fat makeup.  Charlize Theron, in particular, looks eerily like Megyn Kelly.  She is changed but in an intangible way.  You don’t realize her subtle alteration is due to makeup.

Bombshell is a moderately captivating piece of entertainment.  Nevertheless, you won’t feel you’ve learned anything new or that the subject has been explored with even a modicum of depth.  It’s is a slick movie with no teeth.  This story deserved a deeper and more intelligent handling.   This is directed by Jay Roach (Austin Powers, Meet the Parents) and written by Charles Randolph who was a co-writer on The Big Short.  The atmosphere here has that same comedic style — giving you details at a snappy pace but without the complexity that the subject demands.  The tone is flippant and irreverent.  Fans of Fox News won’t enjoy being mocked and people seeking a hard-hitting takedown aren’t going to feel any satisfaction either.  Just who exactly is the audience for this movie?

12-15-19

The Gentlemen

Posted in Action, Crime with tags on January 28, 2020 by Mark Hobin

gentlemen_ver8STARS3George Cukor’s infinitely superior classic The Women (1939) is probably the last film any sane person would use as a comparison to this one.  However, Guy Ritchie’s latest offering does have a similar title.  Furthermore, the game of oneupmanship and catty comments that made those ladies such a force to be reckoned with is the underlying basis of what makes this story tick.  Words, not guns, are the most powerful weapon of all.

If only the screenplay (also by Guy Ritchie) completely understood this.  The Gentlemen is a violent comedy with shootings, assaults and plenty of blood.  Yet the movie frequently relies on conversation-heavy scenes.  That is what captivated me.  Ritchie got his start making high octane British crime thrillers like Lock, Stock and Two Smoking Barrels and Snatch.  Then he went on to direct Hollywood box office blockbusters like Sherlock Holmes and AladdinThe Gentlemen is a return to the kinds of pictures he used to make.  Longtime fans should be quite pleased.  All others will be less entertained.

The acting ensemble assembled here is a charismatic lot and they’re clearly having fun.  Matthew McConaughey stars as a cool cannabis baron named Mickey Pearson.  Mickey has his values.  Hard drugs are bad but pot is perfectly harmless.  His wife Rosalind (Michelle Dockery) and right-hand-man Ray (Charlie Hunnam) are there to assist him in his sordid dealings.  He’s opposed by a sleazy investigative reporter — a character played by Hugh Grant sporting a goatee and leather jacket.  Also included are American billionaire Matthew Berger (Jeremy Strong) and Chinese mobster Dry Eye (Henry Golding).  Then there’s Colin Farrell as Coach who’s just kind of shoehorned into the mix.  The man isn’t as closely affiliated with the criminal underworld as the others but he’s still a welcome presence.  Actually, the entire cast is very good.

What always highlighted Ritchie’s gangster films was a breezy wit that played fast and loose with a linear narrative and frankly didn’t give a damn of whether you grasped what they were saying or even doing.  The dialogue is flamboyantly funny when it isn’t relying on race-related jokes or the mere sound of dirty words.  Another problem is that there are also too many plot twists.  One or two is clever but twelve is a headache to follow.  I would never spoil specific developments in a review anyway but I couldn’t — even with a gun to my head.  Get it?  The Gentlemen isn’t as good as Richie’s best.  Heck, it’s barely recommendable.  However, style and panache make this chronicle captivating.   It kind of wins you over through the sheer power of its aesthetic.

01-26-20

Bad Boys for Life

Posted in Action, Comedy, Crime, Thriller with tags on January 18, 2020 by Mark Hobin

bad_boys_for_life_ver2STARS3 I was skeptical.  When they unearth and dust off some long-done franchise for another sequel, it’s very easy to simply view it as a cash grab.  Bad Boys II was released in 2003.  17 years have passed and now we get this entry.  Surprise!  The result is a lively diversion.  Jerry Bruckheimer is back again to produce but Belgian directors Adil El Arbi and Bilall Fallah are helming the film.  The ambiance is calmer and more coherent than the previous movies directed by Michael Bay.   However, fans will appreciate this.  Critics have already hailed it as the best of the trilogy.  (Side note: a fourth episode is planned).

Bad Boys for Life is entertaining.  Sometimes going back to the well can yield engaging results.  I was one of the few that enjoyed Men in Black: International, so I guess I shouldn’t be surprised.  The fundamental difference with this release is the original stars have returned.  The pairing of Will Smith and Martin Lawrence is the reason to see this.  They ground the film with their considerable charisma.

The comedy smartly acknowledges that they are indeed older.  Although can they rightly be called “boys” at this point?  They’re quinquagenarians.  Nevertheless, Will Smith doesn’t seem to age.  As Mike Lowrey, he’s the straight man while Martin Lawrence gets to be the comic relief as Marcus Burnett.  Marcus just wants to retire and spend time with his newborn grandson.  It’s a formula but hey it works.  This conventional action movie coasts on the affable charm of its stars.  The screenplay by Chris Bremner, Peter Craig, and Joe Carnahan has given some depth to the backstories of these characters. Actors Kate del Castillo and Jacob Scipio portray antagonists that are better than the run of the mill kingpins that have blighted this franchise in the past.   One individual has prior ties with a villain.  That connection adds some interesting insight into these relationships.

Bad Boys for Life is undemanding fun.  That is — it has little value beyond providing an evening’s worth of amusement.  If anyone should be enriched the most from this exercise it’s Sony Pictures.  This was a surprise hit.   People often bemoan the fact that Hollywood likes to recycle old properties.  The success of this picture is a prime example of why studios rely so heavily on the practice.  It’s perfectly fine.  Aficionados of the earlier flicks will be satisfied and those seeking 2 hours of distraction should be appeased as well.  I was.  Nonetheless, I’m glad I wrote this review shortly after I watched the film.  I doubt I’ll remember much of it by next week.

01-16-20

Just Mercy

Posted in Drama with tags on January 14, 2020 by Mark Hobin

just_mercy_ver2STARS2.5Just Mercy is a straightforward saga for people who don’t want to be burdened by individuals who show more than one side to their personality.   If you like your villains twirling a mustache and your heroes as pious do-gooders then Just Mercy will fit the bill quite nicely.

The drama concerns attorney Bryan Stevenson as he takes the case of Walter McMillian, a man wrongfully imprisoned for the 1986 murder of a woman in Alabama and sentenced to death.  The crusading lawyer is portrayed by Michael B. Jordan.  He’s the one looking beatifically toward heaven on the movie poster.  Jordan is a charismatic actor and he brought so much to roles in Fruitvale Station, Creed, and Black Panther.  Meanwhile,  actor Jaime Foxx portrays the man on trial and he also brings genuine humanity to the part.  They’re both compelling, skillful actors.  It’s a credit to the abilities of Michal Jordan and Jaime Foxx that they bring gravitas to their characters.

It can be tricky criticizing an account that denounces a shocking miscarriage of justice.  Screenwriters Destin Daniel Cretton and Andrew Lanham have their hearts in the right place.  This is a true story that Cretton and Lanham have adapted from Bryan Stevenson’s book published in 2015(!)  Stevenson wrote this account about himself.  It’s unfortunate that an important tale on race and discrimination is given such a formulaic and uncreative treatment.  There’s no mistaking who’s right and wrong.  Southerners and the police are all seething racists while the accused and the defender who fights for him are candidates for sainthood.  I’ve seen some pretty simplistic dramas in my day but this screenplay underestimates the moral decency of its audience by fashioning a narrative that’s so obvious it’s condescending.

There are works that handle this material with more subtlety.  The obvious inspiration is To Kill a Mockingbird which is coincidental because the murder committed here in Monroe County, Alabama is the very same place where Harper Lee wrote her much-celebrated novel.  Every resident here seems extremely proud of this fact and yet no one seems aware that their racial attitudes haven’t changed since the book was published in 1960.

Bryan Stevenson is a counselor dedicated to pro bono work for death-row inmates and other prisoners needing representation.  These also include Herbert Richardson played by actor Rob Morgan. Richardson is incarcerated for the pipe-bomb killing of an 11-year-old girl.  His psychologically troubled Vietnam Vet is able to register a little nuance.  Despite his arrest Walter McMillian (Foxx) is innocent.  The evidence against him is entirely based on a questionable witness, Ralph Myers (Tim Blake Nelson), who received a much lighter sentence for his testimony.   His blatant perjury is simply presented as an indisputable fact early on.  Nevertheless, the police and the townspeople refuse to acknowledge what is conspicuously a grave injustice.  One side is thoroughly ethical.  The other is completely corrupt.

Just Mercy is a tale of good vs. evil vs. good storytelling.  A lot of people will enjoy this movie.  Its uncomplicated narrative of clearly delineated personalities highlights a true and egregious case that is important to know.  Many will appreciate seeing the oppressed ultimately triumph in the face of overwhelming racial inequality.  Their righteous anger validated by the display of what transpires here.  However, I wanted to know more.  Why do these southerners continue to hold such narrow-minded beliefs in this day and age and how could the accused and his family be so passive and understanding?  You won’t find those answers here.  The characters have no development through the picture.  What you see is what you get.  There are no shades of gray.

01-09-20