Archive for January, 2022

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Munich – The Edge of War

Posted in Biography, Drama, History with tags on January 30, 2022 by Mark Hobin

Rating: 3.5 out of 5.

Munich: The Edge of War is an intimate period piece. OK sure we’re dealing with countries on the brink of World War II but at heart, it’s a human drama about individuals. As such, the portrait employs lots of tight close-ups and conversations framed by a constantly moving hand-held camera. The technique is ostensibly employed to create a sense of urgency, but I got motion sickness from all the movement.

That objection is honestly the most critical complaint I have. I rather enjoyed this handsomely mounted political thriller. The chronicle is set in September 1938 over the four days of the Munich Agreement. For the uninformed — myself included before seeing the film — this was a settlement reached by Germany, Great Britain, France, and Italy that ceded a portion of Czechoslovakia, (called the Sudetenland) to Germany. At the time, most of Europe celebrated the pact which was presented as a way to prevent a major conflict. Unfortunately, it was completely signed on Hitler’s terms. As history has shown, this so-called “agreement” was merely the very beginning of Hitler’s conquests.

The movie is set during the events of real history but it features two fictional characters. These are childhood friends who work in the government. Fresh-faced George MacKay portrays Englishman Hugh Legat with all the naivete his appearance can muster. He is the secretary of British prime minister Neville Chamberlain (sympathetically portrayed by Jeremy Irons). Actor Jannis Niewöhner is Paul von Hartmann who works as a German translator in the Foreign Office in Berlin. Paul may hold strong nationalistic beliefs, but he is still part of the German resistance. Paul acquires a top-secret document and comes to realize Hitler has been underestimated. He’s just getting started and far more dangerous. Actor Ulrich Matthes presents the most emaciated version of the Führer I have ever seen. Although Matthes registers a flicker of madness behind the eyes. Paul challenges his friend Hugh to help stop this contract from being signed. The two become reluctant spies.

Munich is conveniently based on having the 20/20 hindsight of what would ultimately happen but it is a fascinating tale of “what if”. It’s an expertly crafted and well-acted saga with an adapted screenplay by Ben Power (The Hollow Crown TV series ) from Robert Harris’ novel. Interestingly, the view of Neville Chamberlain’s actions is a decidedly positive take that gave Britain and France more than a year to prepare for combat. The somewhat revisionist view frames his rather submissive lack of opposition as an overall plan for the greater good. This political procedural can drag occasionally. However, people who love historical dramas — particularly those about the events that led up to WWII — will find a lot to enjoy here.

01-28-22

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Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on January 30, 2022 by Mark Hobin

On Sunday, January 2, I was on talkSPORT radio where I discussed the global phenomenon that is SPIDER-MAN: NO WAY HOME and potential Oscar contender TICK, TICK…BOOM! with Andrew Garfield. My segment begins 4 minutes into the 2:30 – 3:00 section (about 26 minutes from the end). Click below and enjoy!

Source: The world’s biggest sports radio station | talkSPORT

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Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on January 30, 2022 by Mark Hobin

On Sunday, December 19, I was on talkSPORT radio to discuss BEING THE RICARDOS — the Lucille Ball / Desi Arnaz biopic starring Nicole Kidman and Javier Bardem. Also Itay’s Oscar entry for Best International Feature THE HAND OF GOD. My segment begins 5 minutes into the 2:30 – 3:00 section (about 25 minutes from the end). Click below and enjoy!

Source: The world’s biggest sports radio station | talkSPORT

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The Tragedy of Macbeth

Posted in Drama, History, Thriller with tags on January 27, 2022 by Mark Hobin

Rating: 3 out of 5.

Bold, minimalist, and grim – Joel Coen’s adaptation of The Tragedy of Macbeth is a stark vision in black and white amidst the “shadows and fog.” Joel may be working sans brother Ethan for the first time, but he isn’t alone. Cinematographer Bruno Delbonnel and production designer Stefan Dechant support his vivid display of German expressionism. The movie shot on a Los Angeles soundstage is an austere stage drama but with cinematic flourishes thrown in to maintain interest. There’s a lot on which the eye can feast although computers still can’t seem to render a realistic-looking bird. Oh, but brush up your Shakespeare! This version makes no concessions for those not intimately familiar with the text.

You’ll probably get the gist of it. Lord Macbeth (Denzel Washington) and Banquo (Bertie Carvel) win a decisive battle over the treasonous Thane of Cawdor, for King Duncan (Brendan Gleeson). On their way back from combat they meet three witches (all portrayed by Kathryn Hunter) who prophesize that Macbeth will be awarded the next Thane of Cawdor, then become King of Scotland. Macbeth and his scheming wife Lady Macbeth (Frances McDormand) collude to assassinate Duncan and take the throne. It all ends in a lot of deaths, like every great Shakespearean tragedy.

Naturally, the language is pure poetry. Disciples of the text will be in heaven. Phrases like “the be-all and end-all”, “at one fell swoop”, and “crack of doom” all first appeared in Macbeth. This is an ensemble with an A-list cast. Stars Denzel Washington, Frances McDormand, Brendan Gleeson, and Corey Hawkins all contribute. However, it is considerably less well-known theater vet Kathryn Hunter who makes the biggest impression. She appears as one entity that can shapeshift into three witches, contorting her body in odd shapes as she speaks in raspy tones. As she sits looking downward in the rafters, the floor turns into an imagined reflective pool. That re-interpretation of the cauldron scene (with no metal pot) is a stunning highlight.

Sadly the issues I have are attributable to the Bard himself. An emotional attachment to anyone in the cast of Macbeth is elusive. The central role is consistently evil and the rest of the characters aren’t likable either. Without someone to champion, we have “no dog in this fight.” People are slain left and right and I couldn’t even summon up the feeling to give a care. Justin Kurzel, Roman Polanski, Orson Welles, and Akira Kurosawa have all launched adaptations. Throne of Blood is the most compelling, but then again, Kurosawa dispensed with Shakespeare’s language. Joel Coen makes a valiant effort but fails to convince me this play is anything more than an evocative curiosity of Elizabethan English that students can pick apart and study. It will no doubt have a long run in classrooms for the next decade by English teachers who use movies as an “instructional tool.”

01-14-22

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Flee

Posted in Animation, Biography, Documentary, Drama with tags on January 25, 2022 by Mark Hobin

Rating: 3.5 out of 5.

“What does the word home mean to you?” an inquisitor asks. “It’s someplace safe,” the subject responds. The interviewer is Danish filmmaker Jonas Poher Rasmussen. The man he’s talking with is 36-year-old Amin Nawabi, although that is an alias. A title card informs us “This is a true story.” However, “some names and locations have been altered in order to protect members of the cast.” Flee is the saga of a man born in Afghanistan who fled his native land to preserve his own life. It was a difficult journey, but he found sanctuary in Denmark as a refugee. Jonas and Amin met in the 1990s when they were teens. They have remained close friends ever since. This is Amin’s tale.

Amin is a now successful academic on the precipice of marriage. He lives a good life in Denmark though he hides a painful past. The sacrifices of his family weigh heavily on him. Here he publicly reveals his hidden trauma for the first time to anyone. That includes his partner. He begins 30 years prior. As a little boy, he enjoyed flying kites, listening to A-ha, and wearing his sister’s nightgowns in public. Jean-Claude Van Damme fascinates him. However, they weren’t all happy times. The Mujahideen seized the capital city of Kabul in 1992. His father was seen as a threat and was arrested by the communist government.

The family had to leave. Conditions in Afghanistan were simply too dangerous. Initially, Amin joined his brother, two sisters, and mother on a perilous expedition across countries. First a terrifying getaway to Moscow. Then Amin escapes to Estonia via corrupt human traffickers and winds up in prison. His brother Abbas makes arrangements to get him to Sweden. Amin ultimately finds a literal home in the Danish countryside with his fiancé Kasper. What makes the chronicle so compelling is the vivid recreation of a trek. Flee is a unique depiction in that it presents these recollections as an animated movie rated PG-13. Visually the drawings are simple but realistic and immersive. Occasional live-action newsreel footage of Kabul and Moscow are inserted throughout.

The intimate narrative vividly conveys Amin’s traumatic ordeal. One harrowing nightmare follows another. It is an experience that many refugees must endure before finding asylum in a new country. Its scope is impressive. Flee is a captivating portrait of self-preservation that has attracted widespread attention. Riz Ahmed and Nikolaj Coster-Waldau serve as executive producers. It has acquired unanimous acclaim from film festivals and critics winning numerous awards. As such it’s a potential Oscar contender for Best Animated Feature but as a factual account made in Denmark, it could also compete for Best International Feature and as Best Documentary. In that respect, it shares a kinship with the Israeli animated war documentary Waltz with Bashir which earned a nod for Best Foreign Language Film in 2009. Will it be the first picture to make history with a nomination in all three categories? I’d love to see it.

12-20-22

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Cyrano

Posted in Drama, Music, Musical, Romance with tags on January 20, 2022 by Mark Hobin

Rating: 2.5 out of 5.

I’ve always had a hard time understanding people who make the blanket proclamation, “I hate musicals.” How can someone write off an entire artistic discipline? It’s akin to dismissing all Westerns or horror movies. Their reasons inevitably vary, but it’s often based on the artificiality of it all and no enthusiasm for the songs. To them I say, you haven’t seen the right one. But as I sat watching Cyrano, I sympathized with those people.

It’s a tale as old as the 19th century. That’s when poet Edmond Rostand wrote a play that ultimately outgrew the fame of the actual man who inspired it. It barely needs recounting but I’ll oblige. Cyrano de Bergerac (Peter Dinklage) is a cadet in the French army. He’s both a talented fighter and an expressive wordsmith. He carries the torch for his longtime friend, Roxanne (Haley Bennett). Although his short stature (it’s his nose in the novel) gives him a lack of confidence. A foppish duke (Ben Mendelsohn unrecognizable under pounds of makeup and a big white wig) also has designs of marriage on Roxanne. She has eyes for neither. Her attention is captivated by a soldier named Christian (Kelvin Harrison Jr.) who returns the same affection. However Christian is inarticulate and Roxanne demands to be wooed with eloquent words and letters. A mere “I love you” isn’t going to cut it. When Roxanne admits having feelings for Christian to her lifelong friend, Cyrano secretly decides to assist by ghostwriting the letters that Christian will send to Roxanne. They come from the heart.

Let’s start with the good. Actor Peter Dinklage is captivating and the #1 reason to see yet another adaptation of this work. This version is penned by Erica Schmidt who is married to the star. Dinklage and co-star Haley Bennett were part of the original stage production. When Cyrano hears Roxanne has something to confess, he assumes it is her love for him. His dejected expression perfectly captures heartbreak when she doesn’t return his feelings. His crooning is less mellifluous. Peter Dinklage’s bass-baritone is reminiscent of Brad Roberts of the Crash Test Dummies. In fact, all of the singing is — quite frankly — mediocre with Haley Bennet being a notable exception. She is the only vocalist with a dulcet tone. I appreciated her ability. Nevertheless, this is a perfect segue into what didn’t work.

Music is the foundation for any great musical. “Well, duh!” The show features songs by twin brothers Aaron and Bryce Dessner of the indie rock band The National and lyrics by Matt Berninger (also of The National) and his wife, Carin Besser. Sadly, Cyrano lacks memorable tunes. One forgettable ballad follows another. I’m usually humming the melodies after a production. I cannot recall a single one. They’re pleasant I suppose, but dull — like dialogue recited with a singsong delivery. I’d say more but I can’t discuss them with specificity. Oh, I do remember one where Christian sings the reprise, “I’d give anything for someone to say…” but that’s only because of the choreography by Jeff and Rick Kuperman. The soldiers flamboyantly prance about with overly affected gestures as they fence. It is a sight.

I have an issue with the original text. Cyrano de Bergerac is a bummer of a story. The titular character pines for a woman oblivious to his love. Here the poor guy is pouring out his soul and she’s completely distracted. Her heart has been duped by — let’s face it — a handsome face. She wouldn’t be the first, but is she worthy of his admiration? I think not. I wish Cyrano would just move on. So sad. Meanwhile, her growing frustration with Christian’s clumsy vocabulary adds self-righteousness to her obnoxious qualities. Roxanne’s ongoing fascination with Christian becomes even more superficial. I’ve never found Roxanne to be deserving of praise. Viewers are rewarded for enduring her behavior with a complete downer of a resolution. It casts a pall on the entire saga.

Even when mounted well, the developments of the narrative are difficult to embrace. The 1897 play by Edmond Rostand has been adapted numerous times, most famously as a 1950 film starring José Ferrer who won an Oscar, and as a 1990 French picture with Gérard Depardieu (he was Oscar-nominated). Roxanne — the 1987 modernization with Steve Martin — sidestepped the letdown by substituting a happy ending. Erica Schmidt’s Cyrano was originally a stage musical. I’ll give her credit for trying something new. Unfortunately, the songs don’t enhance the production. Peter Dinklage’s performance kept me somewhat engaged. This leads me to assert it would have been better as a straight-ahead drama. And yet there are so many of those. Did we really need another?

12-14-21

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Scream

Posted in Horror, Mystery, Thriller with tags on January 17, 2022 by Mark Hobin

Rating: 3.5 out of 5.

Definitions vary but in Scream, a “requel” is a movie that functions as a sequel to an existing franchise but mimics so much of a previous entry that it verges on being a remake in disguise. Pictures like Mad Max: Fury Road, Jurassic World, Creed, and The Force Awakens are examples of this. Those all coincidentally came out in 2015. Ghostbusters: Afterlife is a recent illustration. As most of these titles show, a requel isn’t necessarily bad. That similarity exists between Scream and…Scream. Of course, Scream is fully aware of this before it apes the plotline of…Scream. Now this is confusing. From here on out, I’ll be adding a 5 to the latest Scream so I can (1) distinguish it from the title of its 26-year-old predecessor and (2) call it out for what it is.

Scream 5 returns to the quiet (?) town of Woodsboro, California. Yet another killer dons the Ghostface mask and begins targeting a group of teenagers. An attack on Tara (Jenna Ortega) compels her estranged older sister Sam (Melissa Barrera) to visit her in the hospital. Tara’s group of young and attractive friends assemble to figure out whodunit. Secrets from the town’s past come to light. That’s it. The plot isn’t going to win any awards. It’s Scream redux. In 1996 Scream became a substantial hit by turning the slasher film inside out. It satirized the clichés of the genre while also exploiting them. But let’s face it, it’s 26 years later and Scream 5 certainly can’t continue doing that.

Scream 5 brings something new to the table. This casts a wider net and considers the current state of sequels whose plot may seem like carbon copies of the original movie. Scream 5 mocks this idea. Then proceeds to do the very same thing by mimicking the developments of Scream but gently tweaking the narrative in meaningful ways. The screenplay is indeed funny and that’s where this installment shines. Even the very title imitates the recent trend of “back to basics” sequels that dispense with numbers like Halloween (2018) and Candyman (2021). This act of self-awareness is a precarious balancing act. There’s a fine line between smug and clever, but luckily screenwriters James Vanderbilt and Guy Busick straddle the line. Scream 5 keeps you entertained with what it has to say.

It’s the spirited new cast that carries the story. The chronicle opens with a recreation of Scream‘s iconic intro when Drew Barrymore as Casey Becker answered the phone. This time however it’s actress Jenna Ortega playing Tara Carpenter. She has a debate about “elevated” horror pictures from directors like Jennifer Kent, Jordan Peele, and Ari Aster with an unknown voice. “I prefer The Babadook,” she says. I feel you, girl. The caller then forces her to play the most stressful trivia game ever before invading her home. Ortega is effective as Tara Carpenter. Even more compelling is actress Melissa Barrera (In the Heights) who portrays her older sister Sam. They enhance the saga because they’re likable. That’s important in a slasher film. I mean it helps when we care the people don’t die, right? “Legacy” characters David Arquette, Neve Campbell, and Courteney Cox are all back to placate longtime followers. They’re appreciated in supporting roles but aren’t essential to the story.

The screenplay also offers a cogent dialogue concerning certain zealous fans — specifically enthusiasts who feel betrayed by franchise installments that don’t adhere to a narrow definition of what constitutes a “good” sequel. Mindy (Jasmin Savoy Brown) recounts how Stab 8 — the meta slasher film series within the Scream universe — forgot everything people loved about the first and undermined the subsequent movies. She is hip to horror tropes like her uncle, Randy Meeks (Jamie Kennedy) in Scream & Scream 2. Her conversations with twin brother Chad (Mason Gooding) are where the script is able to intelligently introduce discussions about the perpetrator of these attacks and toxic online fandom.

Scream is the most meta franchise we have. Yes, I see you Deadpool. For the first time, a Scream movie is not directed by Wes Craven, who sadly passed away in 2015. Directors Matt Bettinelli-Olpin and Tyler Gillett honor the spirit of the original while still offering a fresh take. This is the same directorial duo who created the ultraviolent Ready or Not in 2019, so expect blood to spurt and spray more than you’ve ever seen in a Scream film — at least since the first. I didn’t need to see the camera linger on a victim as the knife goes into the side of their neck and pops out the other side. Nor witness the ridiculous number of stabs that one (albeit deserved) fatality gets. With that said, the kills are creatively staged. One murder recreates the shower scene in Psycho but wait a minute…does it? The killer’s whereabouts upends our expectations. Scream 5 pokes fun of the sequel, fandom, and of course the slasher genre. A lot of it will feel familiar and that’s kind of the point. A witty screenplay coupled with a youthful and charismatic cast make this material feel vibrant once again.

01-13-22

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Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on January 17, 2022 by Mark Hobin

On Sunday, December 12, I was on talkSPORT radio to discuss Steven Spielberg’s glorious update of WEST SIDE STORY — my favorite film of 2021. My segment begins 5 minutes into the 2:30 – 3:00 section (about 25 minutes from the end). Click below and enjoy!

Source: The world’s biggest sports radio station | talkSPORT

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Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on January 17, 2022 by Mark Hobin

On Sunday, December 5th, I was on talkSPORT radio to discuss THE POWER OF THE DOG (Netflix), a potential Oscar contender starring Benedict Cumberbatch, Kirsten Dunst. and Jesse Plemons. We also revisited the Polish movie COLD WAR from 2018. My segment begins 7 minutes into the 2:30 – 3:00 section (about 23 minutes from the end). Click below and enjoy!

Source: The world’s biggest sports radio station | talkSPORT

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Belle

Posted in Adventure, Animation, Drama, Music, Science Fiction with tags on January 12, 2022 by Mark Hobin

Rating: 2.5 out of 5.

When they call you the spiritual successor to legendary animator Hayao Miyazaki, you must be doing something right. Director Mamoru Hosoda originally garnered fame at Toei Animation in the early 2000s with two films in the Digimon Adventure series. In 2011, he co-founded Studio Chizu. Wolf Children and The Boy and the Beast were their first two films. Mirai followed and was Oscar-nominated for Best Animated feature in 2019. Belle is the studio’s fourth release.

OK, let me see if I can make sense of this story. Suzu is a withdrawn freckle-faced girl living in rural Japan. Following the death of her mother, the high school student retreats into an online virtual world called “U” with 5 billion players. She creates an avatar linked to her biometric info and becomes a pink-haired pop princess named Belle (also with freckles). It is within this alternate reality that Suzu achieves her true potential. As a lithe and beautiful Barbie-like singer, she attains global superstardom. She later meets a mysterious fellow player within the fantasy world called “The Dragon.” After this beast interrupts her concert — ultimately ruining it — he is pursued by a phalanx of vigilantes led by the arrogant Jason. They have superpowers naturally. Suzu’s desire to uncover The Dragon’s true identity develops into an obsession.

Belle is nothing if not bewildering for the number of plot threads it throws into the mix. The title acknowledges a debt to Beauty and the Beast. It even has an extended sequence that “pays homage” to the iconic ballroom dance from that Disney film. That’s merely one minor component. An ordinary teen who secretly performs as a pretty singing star is reminiscent of the 1980s American cartoon TV series Jem but in a simulated existence. Think Jem visits The Matrix.

Suzu is constantly being pulled between reality and fantasy. In the real world, Suzu is trying to come to terms with her mom’s passing. A group of uniformed high school peers comprises a soap opera that could be the foundation for a completely different movie. Suzu has a crush on childhood pal Shinobu. Popular “It” girl Ruka has eyes for jock Kamishin and appeals to Suzu for help. Meanwhile, her intellectual but snarky best friend Hiro offers Suzu advice on how to navigate the internet world of U. Hiro assists in trying to unveil The Dragon. It’s here that the saga goes off on another tangent as various odd characters are introduced: a troubled baseball player, a tattooed artist, and some random woman pretending to be the ideal housewife. If all that weren’t enough, there’s also an investigation into child abuse. Why have one plotline when you can have six or more?

Belle is an ambitious tale inundated by exquisite imagery. There are undeniably dazzling moments. Mamoru Hosoda populates his virtual environment with a glittering confection of digital avatars, pixies, critters, superheroes, confetti, glowing orbs, and whales in the cosmos. When Belle sings “A Million Miles Away” at the climax, it’s an epic finish that achieves a poetic finality. Unfortunately, the chronicle continues for another 20 minutes in order to tie up some unfinished details. The bizarre unpredictability of the production may have more appeal for fans familiar with the capricious nature of anime.

It’s sci-fi! It’s a fairytale! It’s a soap opera! Belle’s demanding two hour+ runtime entertains a dizzying number of subplots. Sadly they don’t coalesce into a compelling singular narrative. The spotlight is on Suzu (and her alter ego Belle), but this poor girl is beset by a myriad of distractions. The death of her mom, the cute boy at school, acquiring confidence, a J-Pop singing career, computer technology, and helping out an abused youth, all vie for her attention. Those craving a focus will be mystified. The lack of consideration for one central objective makes an emotional connection to this material impossible.

01-07-22

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