Archive for May, 2022

Top Gun: Maverick

Posted in Action, Adventure, Drama with tags on May 30, 2022 by Mark Hobin

Rating: 4 out of 5.

Top Gun: Maverick is a sequel that understands what an audience craves and then unabashedly delivers it with gusto. A return to the 1986 classic should give you nostalgia that lovingly recalls the original, provide high octane thrills, and build drama to an exciting conclusion. This is a textbook example of how to satisfy the assignment.

The plot concerns Navy pilot Peter Mitchell known as Maverick (Tom Cruise). All the aviators have catchy handles like this, so I’ll dispense with their proper names from here on out. Maverick has returned to the fighter pilot program but now he’s an instructor for a dangerous objective that involves a group of cocky but much younger recruits. Among them is Rooster (Miles Teller), the son of his best friend Goose who tragically died in the 1986 film. Rooster is eerily reminiscent of his father. To emphasize the connection, the similarly mustachioed son sings “Great Balls of Fire” in a bar sporting a Hawaiian shirt exactly like his old man did. Maverick is emotionally conflicted. He wants to protect Rooster, but support the lieutenant for the skillful flyer that he is as well. The mission is to train the hotshot pilots to bomb the uranium enrichment facility of some hostile nation that is never named. The script shrewdly keeps everything non-political so as not to offend. Of course, the task is a perilous endeavor because it will require death-defying maneuvers and a low-level approach into enemy territory.

For the first 90 minutes, Top Gun: Maverick is entertaining but familiar as it draws upon the story beats of the first movie. The screenplay by Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie, doesn’t hide the fact that it is deeply indebted to the past. See Tom Cruise looking cool in sunglasses and riding a motorcycle again. Hear the same musical riffs in the score and Kenny Loggins singing “Danger Zone.” Oh and remember that beach volleyball game that was totally unnecessary to the plot? Of course you do. The slow-motion demonstration of sweaty athleticism became the stuff of legend. Director Joseph Kosinski refers to it as “the Super Bowl of shirtless scenes.” Sure enough, his update contains a similar competition that is supposedly another team-building exercise. This time it’s a game of beach football, and the dudes include Hangman (Glen Powell), Payback (Jay Ellis), Fanboy (Danny Ramirez), Bob (Lewis Pullman), and one woman — Phoenix (Monica Barbaro) wearing a sensible sports bra.

Top Gun Maverick embraces its predecessor but updates in clever ways. And why shouldn’t it? It’s 36 years later and a lot has changed. But guess who hasn’t? Tom Cruise. He is a compelling mentor to a batch of young recruits. Astonishingly, he looks just as fit as his youthful co-stars. I’ll concede creative camera angles, lighting and makeup may offer an assist. Yet he continues to exude the charisma of a star in this role. We understand why an obstinate but highly decorated pilot has remained a captain after all these years. In a touching moment, Iceman (Val Kilmer) who is now an Admiral — imparts sage advice to his old rival. Tom Cruise turns 60 in July. The actor is over four decades into his career and still commands the lead in summer blockbusters. There’s something almost alien about the actor, and no that’s not a Scientology joke.

Top Gun: Maverick gently recycles the original but ultimately soars to a thrilling finale. The saga sticks the landing and ends with one of the most exhilarating sequences in a decade. The final 40 minutes are a jaw-dropping example of action entertainment as the adventure ascends breathtakingly into the sky as the plan is carried out. I sat there, eyes glued to the screen, elated by the realism. The live-action dogfight battle has immediacy and authenticity. The spectacle makes the ubiquitous CGI-heavy effects of other films look like an artificial fabrication. It goes to prove how important it is to finish a story well. Send the audience off on a high when you leave the theater. Top Gun first delighted a generation 36 years ago. Now amazingly its sequel has accomplished the same thing. This is a rip-roaring good time.

05-26-22

Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on May 29, 2022 by Mark Hobin

On Sunday, May 22nd, I was on talkSPORT to discuss CHIP ‘N DALE: RESCUE RANGERS on Disney+. It’s the funniest picture of the year so far. I know, I’m shocked too! Also discussed are two popular titles to rent on streaming: DOG and MOONFALL. Click on the link below to hear my thoughts about both on talkSPORT radio. My segment begins 3 minutes into the 2:30 – 3:00 hour (about 27 minutes from the end).

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

Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on May 29, 2022 by Mark Hobin

On Sunday, May 15th, I was on talkSPORT radio to discuss OPERATION MINCEMEAT, a new WWII drama streaming on Netflix, and the breakout indie hit, EVERYTHING EVERYWHERE ALL AT ONCE Click on the link below to hear my thoughts about both on talkSPORT radio. My segment begins 7 minutes into the 2:30 – 3:00 hour (about 23 minutes from the end).

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

Men

Posted in Drama, Horror, Science Fiction with tags on May 26, 2022 by Mark Hobin

Rating: 2 out of 5.

An impressive setup is always appreciated, but a satisfying conclusion is fundamental. Obviously, a movie should hold up from start to finish, but a great beginning is all for naught if the resolution can’t make good on the buildup. Men is the manifestation of a promise unfulfilled, an interesting idea that devolves into a disappointment.

Jessie Buckley is Harper Marlowe, a woman who retreats to the English countryside after her husband’s (Paapa Essiedu) death. They had a heated argument in James’ final moments. He became abusive and struck Harper in the face. She angrily pushed him out of the room and locked the door. He either attempted to climb back into the room from the 2nd floor and slipped or purposefully committed suicide by jumping, impaling himself on the iron fence below. His passing haunts her. A retreat to more peaceful surroundings does little to allay her anxiety.

Men is a folkloric fable that exploits the darkness of rural landscapes. The Wicker Man is perhaps the granddaddy of the genre but The Witch, Midsommar, and Lamb are all recent examples that did this skillfully. At the very least, Alex Garland vividly extracts an unsettling atmosphere from the seemingly tranquil setting of a country estate. Ah but something sinister is afoot. The first half employs the splendid cinematography of frequent collaborator Rob Hardy in an account of a woman’s unease. Harper hopes to alleviate her stress. The heart of the drama is built on the solid base of a compelling performance. Actress Jessie Buckley engenders our sympathy. That’s key. Actor Rory Kinnear is also memorable as the landlord of the manor where she’s staying. He is — as the English say — an odd duck. Also bizarre are the townsfolk of the village. These include a vicar, a policeman, and a schoolboy. Each one is an insensitive male figure with a dismissive attitude. Rory Kinnear plays them all.

I enthusiastically anticipate a new production from Alex Garland. He gained notoriety with screenplays that included 28 Days Later, Sunshine, and Never Let Me Go. Then cemented this reputation with his directorial debut Ex Machina. He followed with Annihilation. I had high expectations for his latest offering. The tale brilliantly creates the impending sense of dread for a woman. I felt that. The appearance of a stalker in the garden of the estate is a disturbing image I won’t soon forget.

Sadly, the chronicle doesn’t end well. The allegory is rife with symbolism. The cerebral exercise inserts pagan iconography like the Sheela-na-gig and the Green Man without explanation. When she first arrives, Eve — er uh I mean Harper — picks and eats forbidden fruit from a tree in the garden. But what exactly is Garland trying to say? Deciphering a story bereft of a plot but loaded with imagery can be daunting — especially when the metaphors aren’t profound. As the saga limps toward its crushing denouement, one can only luxuriate in the mood. Delve further to decipher the meaning beneath what’s presented and I uncovered a superficial objective, unsuccessfully realized.

The ickiest body horror in filmdom can repel or fascinate based on context. David Cronenberg (The Brood, Scanners, Videodrome, The Fly) practically originated the genre. At the very least, he regularly exploited it. John Carpenter’s The Thing, and Rick Baker’s makeup for An American Werewolf in London are iconic examples. Those hallucinatory displays served the narrative and elevated the plot. Here the payoff rests on an over-the-top effect designed to shock, but to what end? I’ll leave a deep psychological analysis of its themes to the viewer. However, it’s hard to ignore that Alex Garland has saddled his movie with such an all-encompassing title. Men suggest the overall conflict between the sexes. Its reflection on gender is — at best — obvious and superficially explored. I didn’t glean any insight or enlightenment from the presentation. This ultimately failed in execution.

05-19-22

Chip ‘n Dale: Rescue Rangers

Posted in Adventure, Animation, Comedy with tags on May 23, 2022 by Mark Hobin

Rating: 4 out of 5.

I’m in shock. I can’t remember the last time a new release so thoroughly upended my low expectations. Chip ‘n Dale are an animated chipmunk duo first introduced in the 1943 cartoon short Private Pluto. I’m familiar with that iteration. However Chip ‘n Dale: Rescue Rangers the movie is based on a more recent 1990s version of a TV series that I have never seen. I was expecting a headache-inducing update aimed at young children. I got something far more clever.

The screenplay only takes inspiration from that TV program, then does something wholly unexpected. The story recasts the two chipmunks as cartoons existing within the real-life world of human people. Their shrill squeaks were only a pitch affected while acting. Here their articulations occupy a much lower register. John Mulaney is the voice of Chip who now works as an insurance salesman. Andy Samberg is vocalizing Dale. He’s undergone CGI surgery and is currently working conventions with other animated stars of the past.

Traditionally drawn cartoons are a big part of this world. Many are desperately trying to find work in an industry that increasingly prefers computer graphics. In one hilarious cutaway, Chip and Dale are spotted in the background on an episode of the TV show Full House. The plot is set in motion when their friend and detective teammate, Monterey Jack (voiced by Eric Bana), is kidnapped and risks possibly being subjected to the horror of video piracy. It’s up to Chip and Dale to save him.

Animation combined with live-action has existed since the very beginning of the film business. In 1988 Who Framed Roger Rabbit famously broke new ground and became the gold standard for this technique. That classic inspired a bevy of similar mash-ups attempting to replicate that success, always with diminishing results. Examples include Space Jam, and its sequel Space Jam: A New Legacy, Looney Tunes: Back In Action, and Tom & Jerry: The Movie. I could go on. I only list these examples to illustrate how none has ever approached the wit of Robert Zemeckis’ marvel. This production comes closer than anything in the 34 years since. In fact, Roger Rabbit unexpectedly pops up.

There are a ton of characters referenced within this environment. Many are now working different jobs. A lot of these intellectual properties aren’t even owned by Disney. These include random cameos from My Little Pony and South Park, as well as McGruff the Crime Dog, MC Skat Kat with Paula Abdul, and the ugly version of Sonic the Hedgehog before an internet outcry got him redesigned. There are many other personalities. Look fast for what’s on various billboards and landmarks. You’ll see Butthead is running for Senator and Chun-Li (of the Street Fighter video game) has a star on the Walk of Fame. You’ll need to watch the film more than once to catch them all or be prepared to hit that pause button.

Chip ‘n Dale: Rescue Rangers is the funniest movie of the year thus far. It’s also joyful, uplifting, and — most surprising — a sharp sendup of Hollywood. This is directed by Akiva Schaffer (Popstar: Never Stop Never Stopping) who frequently collaborates with Andy Samberg (and Jorma Taccone) as part of the comedy trio The Lonely Island. The screenplay from Dan Gregor and Doug Mand (TV’s How I Met Your Mother, Dolittle) pokes fun at a lot of things. The obsession with remakes and reboots (Meryl Streep in Mr. Doubtfire), how ideas are recycled to make films (LEGO Miserables, Waze the Movie), or the way cartoons are superficially modernized using CGI and rap music. That’s ironic because it’s Disney’s reliance on those qualities that had me dismissing this reboot before I had even seen it. Color me surprised. I expected a silly cartoon but I got an intelligent satire.

05-20-22

Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on May 22, 2022 by Mark Hobin

On May 9th, I was on talkSPORT radio to discuss DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS which had a massive $185 million debut at the box office. Streaming on Peacock is the mob drama THE OUTFIT starring Mark Rylance. Click on the link below to hear my thoughts about both on talkSPORT radio. My segment begins 5 minutes into the 2:30 – 3:00 hour (about 25 minutes from the end).

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

Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on May 22, 2022 by Mark Hobin

On May 1st, I was on talkSPORT radio.to discuss THE BAD GUYS from DreamWorks Animation which was the #1 movie for a second week and the UNBEARABLE WEIGHT OF MASSIVE TALENT with star Nicolas Cage. Click on the link below to hear my thoughts about both My segment begins 7 minutes into the 2:30 – 3:00 hour (about 23 minutes from the end).

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

Moonfall

Posted in Action, Adventure, Science Fiction with tags on May 19, 2022 by Mark Hobin

Rating: 2 out of 5.

Let’s face it, director Roland Emmerich peaked with Independence Day. He’s been chasing that achievement ever since. Oh sure, The Day After Tomorrow and 2012 were huge successes as well, but they were disaster films modeled on the blueprint of that success. The simple concept here: The moon’s trajectory has mysteriously altered and is now hurtling toward our planet. The monumental catastrophe makes no sense whatsoever. That would be fine if the script simply embraced the silliness and then gave us a show. However, Emmerich has other plans.

The central figure is Brian Harper (Patrick Wilson). The disgraced astronaut has been blamed for a calamity up in space while doing maintenance on a satellite station. The mission was led by Commander Jo Fowler (Halle Berry). She was knocked unconscious and has no memory of the event. At least she survived. The other astronaut (Frank Fiola) in their trio did not. Brian’s allegation that a large black mass attacked them is written off as crazy talk. Human error is the official explanation. The event takes its toll on his daily life. Brian eventually divorces his wife Brenda (Carolina Bartczak). Their teen son Sonny (Charlie Plummer) grows emotionally distant from him. Brenda gets remarried to Tom (Michael Peña) and moves to Jersey. Commander Jo also has an ex-husband (Eme Ikwuakor) who is an Air Force chief of staff. They share custody of their annoyingly cute 10-year-old (Zayn Maloney). None of the drama down on land is compelling. Unfortunately, these soap opera shenanigans are de rigueur for an Emmerich production.

Moonfall is a greatest hits album of Roland Emmerich themes: Manhattan gets decimated, an alien threat, broken father-son relationship. The “master of disaster” understands that audiences come to see a spectacle when things go wrong. He delivers that at least. Stuff will be destroyed, but he also feels the need to ground everything in characters that endlessly clarify the science of it all. The cast includes comic relief in the form of a wacky conspiracy theorist with a podcast. KC Houseman (John Bradley) believes the moon is an artificial megastructure whose elliptical orbit has changed. His character exists to explain things. Count how many times the word “megastructure ” is uttered if you get bored. Yes the developments do get sillier by the minute and I expect that, but exposition dumps are never an interesting way to describe what’s happening. These densely written monologues somehow make the plot sound more stupid. Even Donald Sutherland pops up briefly to collect a paycheck. As the gatekeeper of NASA’s secret archives, he imparts a bevy of information.

Moonfall could have been so dumb it’s fun. The title is literally the premise: Moon falls…toward Earth. The amount of science and data forced into the account effectively drains the lighthearted spirit out of the story. Emmerich didn’t act alone. He assembled this wretched screenplay with two others: Harald Kloser and Spenser Cohen. The ersatz drama of interconnected familial relationships and subplots is a real snooze too. With a $146 million budget, it’s one of the most expensive independently-funded movies ever made. When Moonfall opened in theaters back in February it flopped hard. I wasn’t surprised. It looked terrible and I ignored it. But it found a second life on VOD when it debuted in April. The rental has consistently remained in the Top 10. “Maybe it’s not so bad?” I thought. <sigh> I should trust my instincts.

05-17-22

Operation Mincemeat

Posted in Drama, History, War with tags on May 17, 2022 by Mark Hobin

Rating: 3 out of 5.

British cinema will always have a fascination with World War II. Dunkirk and Darkest Hour are recent offerings. Just this past January, we were blessed with Munich: The Edge of War which detailed Hitler’s early designs on Czechoslovakia. I now present Operation Mincemeat, a true-life tale about the effort to disguise the 1943 Allied invasion of Sicily. This involves obtaining a corpse and passing it off as a fallen soldier with secret documents suggesting Greece is the real target.

The best thing about the film is the cast which features Colin Firth and Matthew Macfadyen. Coincidentally, the two actors have each played Mr. Darcy in versions of Pride and Prejudice, Firth in a 1995 BBC production, and Macfadyen in the 2005 movie with Keira Knightley. The intelligence officers plan the disinformation campaign. Even Ian Fleming (Johnny Flynn) — yes, the future writer of James Bond — is tapped to help. Despite the fact that the central pair are on the same side, feelings of jealousy arise. Both are attracted to a widowed secretary who works in their office. Actress Kelly Macdonald portrays Jean Leslie. Jason Issacs oversees the tactical deception as Admiral John Godfrey. And what WWII drama would be complete without an appearance by Winston Churchill? That role is occupied by Simon Russell Beale.

Operation Mincemeat is a solid production skillfully assembled by experienced director John Madden (Shakespeare in Love, The Best Exotic Marigold Hotel). There are bits of levity inserted throughout. The attempts at humor enliven the atmosphere. If you relish fact-based espionage, then you’ll find this to be a competent melodrama ably supported by a talented ensemble. However, the account is a little too content to rely on proficient actors simply doing their thing. This is one of those cases where the truth is stranger than fiction. Reading about the real-life mission is a lot more fascinating than the entanglements depicted here. The period piece is polished and genteel, but I craved more excitement. It all culminates with a telephone call informing the audience how the endeavor went. I won’t spoil the outcome, but any history buff will already know the answer. I was kind of anticipating a recreation of the attack. Now that would have been exciting.

05-11-22

The Outfit

Posted in Crime, Drama, Mystery with tags on May 12, 2022 by Mark Hobin

Rating: 3.5 out of 5.

I love a clever title with a double meaning. The Outfit is about an English tailor named Leonard Burling (Mark Rylance) who sews suits, but it also concerns the Chicago Outfit, an organized crime syndicate. The story details one fateful night in the tailor’s life. Okay, so he’s technically a “cutter” because Leonard used to work in London’s Savile Row. It’s 1956 and he runs a neighborhood shop in Chicago controlled by Roy Boyle (Simon Russell Beale), an Irish Mob boss. Roy’s son Ritchie (Dylan O’Brien) and chief enforcer Francis (Johnny Flynn) are Leonard’s best customers but they also use his business as a place to hide dirty money. Oh and his receptionist Mable (Zoey Deutch) also happens to be Ritchie’s girlfriend.

The drama has all the trapping of the stage. The story is set in a single location. A twisty sequence of developments unfolds as the tailor attempts to stay alive by manipulating people with his words. The low-key vibe of the account takes a while to get going. However, things do get more complicated and even bloody. Before the night is over, not everyone will still be alive. A series of discussions propel the plot. Although the climax ultimately relies on a sequence of several actions. The ending could use a little — pardon the pun — tailoring.

The Outfit is an entertaining tale from screenwriter Graham Moore who won an Oscar for The Imitation Game. The dialogue is crisp and witty. A sample exchange:

Richie: [My father was] always stating, “A well-tied tie is the first serious step in life kid”
Leonard: Wilde
Richie: F***ing crazy, right?
Leonard: No, that’s a quote: Oscar Wilde

Screenwriter Graham Moore is making his directorial debut. He expertly builds tension from a unique situation. There’s a rat somewhere in Roy Boyle’s organization and he’s aiming to find out who it is. The centerpiece is a stellar performance from Mark Rylance. He’s a cagey individual but his unassuming nature belies a shrewd personality. A notable alumnus of the Royal Academy of Dramatic Art, his talent here recalls the work of another graduate of the prestigious school, Anthony Hopkins. I can’t give an actor higher praise than that. Mark Rylance elevates this well-written theater piece into a captivating pressure cooker drama.

05-06-22