Archive for the Adventure Category

Pokémon Detective Pikachu

Posted in Action, Adventure, Comedy, Fantasy with tags on May 13, 2019 by Mark Hobin

pokemon_detective_pikachu_ver2STARS2.5Has there ever been a great movie based on a video game?  The debateable consensus to that question has always been no.  Because of that, films adapted from computer games incur very low expectations.  Pokémon Detective Pikachu is the latest in a nearly three-decade tradition that began with Super Mario Bros. in 1993.  This has received better reviews than other pictures of its ilk.  Keep in mind the bar has been set pretty low.  I’ll get right to the point.  This isn’t a great movie, so the answer is still (sadly) no.  However, Detective Pikachu deserves some discussion because it has the potential to make a lot of money.  Since 2001, Lara Croft: Tomb Raider starring Angelina Jolie has remained the most monetarily lucrative adaptation of its type. That’s the gold standard based on box office grosses earning $131 million.  Given 18 years of inflation, Pokemon Detective Pikachu should easily (duh) shatter that record.  Even if we’re adjusting in 2019 dollars, it should still clear $208 million.  Pokemon is a global phenomenon.

The Pokémon franchise began with a pair of games for Nintendo’s Game Boy back in 1996.  Since then this multimedia conglomeration has gone on to include an anime television series, a trading card game, manga comics, music, books, and a mobile game.  Now please do enjoy this live action picture.  The tale concerns an insurance salesman named Tim Goodman (Justice Smith).  The poor man has learned that his estranged father Harry has died while investigating a case.  Humans are usually paired with a Pokemon in this universe.  Harry’s former Pokémon partner, detective Pikachu, is a rodent-like creature with powerful electrical abilities.  Pokémon don’t normally talk, but this one is different.  He’s got a sarcastic point of view with a voice provided by Ryan Reynolds.  Harry’s death is suspicious and Lucy Stevens (Kathryn Newton), a junior reporter, is looking into it.  She is accompanied by a Psyduck, another Pokémon species.  Lucy pens fluff articles, but you can guess by her preternaturally perky demeanor, she’s destined for better things.  Although Tim expresses an interest in Lucy, their relationship emits fewer sparks than a damp match.  Oh, and the considerable talents of Bill Nighy and Ken Watanabe are criminally wasted in supporting parts.

This adventure is an urban mystery wrapped up in a fantasy.  As such, a successful production must rely on the screenplay’s ability to create a fully realized world.  The problem is the superficial script credited to five (count ’em—FIVE) screenwriters, isn’t up to the task.  Disney’s Zootopia had disparate species coexisting beside each other with a concerted attempt to acknowledge the incongruity.  There was a lot of thought put into that story.  In contrast, Pokémon: Detective Pikachu puts very little effort into world-building.  It just is.  Accept it.  Fantasy doesn’t have to be moronic.  The Wizard of Oz, Star Wars, Lord of the Rings, and Pan’s Labyrinth all advanced something new and exciting.  Ryme City is a metropolis inhabited by magical creatures that live alongside humans.  The setup could have offered a fiction so deliciously bonkers that it would have won me over by sheer imagination.  No such luck.  There are brief glimpses.  The CGI of the animated characters is amazingly photorealistic.  Each creature looked like a living breathing thing.  Mr. Mime is a particularly offbeat Pokémon.  He’s the highlight of the feature.  So strange –in fact– that the writers had to apparently convince the Pokemon company to include him.  That’s telling because the rest of the saga isn’t blessed by the bizarro mentality that infuses his creation.

The account settles on being a Sam Spade-style story via film noir.  It’s surprisingly bland and predictable.  Wags have compared this science fiction as an appropriation of Who Framed Roger Rabbit and Blade Runner.  That’s a generous comparison because this doesn’t even remotely approximate the intellectual creativity found within either of those two classics.  This is generic.  It pains me to write this review because I welcome family entertainment.  To his credit, director Rob Letterman (Monsters Vs. Aliens, Goosebumps) steers these cutesy PG-rated shenanigans toward younger viewers.  It will certainly provide charms for those raised on this stuff.  I can appreciate the concept.  If we were talking about a live-action Pac-Man movie, perhaps nostalgia might absolve the minor deficiencies in the work for me.  I’ll concede this wasn’t made with me in mind.  Pokémon: Detective Pikachu is a film for the millions of already converted fans.  Be forewarned, if you don’t know the difference between a Jigglypuff and a Squirtle, you may be underwhelmed.

05-09-19

Advertisements

Avengers: Endgame

Posted in Action, Adventure, Fantasy, Superhero with tags on April 28, 2019 by Mark Hobin

avengers_endgame_ver2STARS4Dear Marvel fan, this is the movie you’ve been waiting for.  Avengers: Endgame is ostensibly the direct sequel to 2018’s Avengers: Infinity War.  We’ve waited one year with bated breath for a resolution to the cliffhanger of that film.  In a much larger sense, it’s the impressive culmination of 21 films that all began when Iron Man first debuted 11 years ago in 2008.  It was a daunting task.  There were many goals, but for me the three most important were to (1) fashion a chronicle that could coherently juggle a myriad of superheroes with various backstories (2) remain emotionally invested in each one and (3) maintain interest without relying on haphazard conflicts that can often degenerate into a bloated slog. (see Avengers: Age of Ultron).  I’m relieved to say Endgame satisfies every one of these objectives.

A good review shouldn’t recapitulate the plot.  As such, I won’t be revealing spoilers contained within this new episode.  However, I will assume you have at least seen Infinity War which is essentially Part 1 to the continuity of this film.  If that’s not the case, and the denouement of that story still remains a mystery, congratulations on abstaining from every single form of social media!  Furthermore, please stop reading here and come back after you have watched Infinity War first.  Ok ready?  We begin after half of all living things in the universe have been snuffed out by the mighty supervillain Thanos (Josh Brolin).  Among those left to deal with the aftermath are the six original Avengers. There’s Iron Man (Robert Downey Jr.), Captain America (Chris Evans), Black Widow (Scarlett Johansson), Thor (Chris Hemsworth), the Hulk (Mark Ruffalo), and Hawkeye (Jeremy Renner).

The situation is dire.   The loss of life is even more calamitous than a decimation as that word is, by definition, only 1/10 of all living things.   The Avengers have lost many of their closest friends.  Understandably they are a doleful bunch.  Being the do-gooding champions that they are, they set out to recover the Infinity Stones from Thanos so they can reverse his actions.  Sadly he has already destroyed them.  The first hour is abnormally solemn, a somber rumination on coming to terms with what has happened.  The characters now exude a world-weary exterior.  There is a poignancy in the first third that sucks you into the developments that unfold later.  The movie isn’t afraid to gradually lay the groundwork for what must ultimately be done.  The Avengers devise a plan to undo the damage that Thanos has caused.  Hint: the conclusion of Ant-Man and the Wasp provides a crucial element.  The narrative takes its time but once the events of the 2nd hour begin, the payoff is all the better for it.

Endgame is surprisingly moving.  Working from a screenplay by Christopher Markus and Stephen McFeely, the Russo brothers, Joe and Anthony, rely heavily on past films and alliances.  Given that, this will unquestionably please die-hard fans.  Having seen every installment will surely add to your experience.  Endgame includes a profusion of moments to delight those people, a consideration now known as fan service.  The bad news is that this not an adventure for newbies or even the casual moviegoer that may have seen, oh let’s say, less than 5 of these productions.  Your enjoyment directly depends on an appreciation of formerly established alliances and circumstances.  Tony Stark/Iron Man is a key personality.  His relationship with Steve Rogers, Pepper Potts, and Peter Parker all provide touching high points.  I, like the rest of my theater, was visibly affected by the sentiment.  Conversely, newcomers are likely to sit stone-faced, shrug and wonder why the rest of the theater is in tears.

The narrative brings out the humanity in these beloved individuals.  They may be all-powerful, but they still care for one another.  The drama frequently relies on previously articulated interpersonal connections.  For those that have been on this journey since the very beginning, this entertains on every level.  There’s gratification is seeing this branch of the franchise tied up in such a satisfying way.  The spectacular climax fully captivated the 12-year-old in me.   It was a complete and utter wow – the visual manifestation of the epic battles in my wildest imagination as a child.  Along the way, we’re treated to a lot of developments over the course of a 3+ hour movie.  Amazingly, it never drags.  The script brings closure to many personalities while always providing interesting happenings on screen.  Endgame‘s take on the Hulk and Thor present enjoyable character changes that really made me smile.  The return of Queen Frigga of Asgard (Rene Russo) is particularly poignant.  This isn’t the termination of the MCU mind you, but it is the concluding phase of the Infinity Saga which handles the exit of several cherished favorites.  I’ve seen every single entry in this series.  The Russo brothers clearly embody a genuine love for this franchise.  Sure, this is merely a fantasy about superheroes.  The plot isn’t deep or essential in any spiritual or metaphysical sense.  However, the production generates the wave of feelings that this fan craves.  In that respect, Avengers: Endgame is an emotional catharsis that totally delivers.

04-25-19

Missing Link

Posted in Adventure, Animation, Comedy with tags on April 15, 2019 by Mark Hobin

missing_linkSTARS3Laika needs help.  The studio specializes in fastidiously mounted, exquisitely produced stop-motion animated features.  They receive critical raves but are increasingly ignored at the box office.  Their latest effort debuted at $5.9 million which set a record for the lowest total ever for a film to open on more than 3,200+ screens.  It helps that Laika is owned by Nike founder Phil Knight who has the power to subsidize their efforts.  Knight’s son Travis is President and CEO.  To be fair, their movies have never been huge money makers, but they can turn a profit.  The darkly twisted yet lovely Coraline made a substantial $75 million at the box office in 2009.  Their stop motion technique is liberally enhanced using computer-generated effects and 3D printing.  Some critics have blamed a lack of audience interest on Laika’s approach, but that doesn’t ring true.  The finished product is not dissimilar to Pixar’s or Disney’s computer-animated style.  I admire the meticulous craft that goes into making Laika’s art even when the production doesn’t charm me (The Boxtrolls).  I really want Laika to succeed because they make gorgeous looking pictures.  Missing Link likewise is visually stunning, but overall a relatively low point in their filmography.

The story concerns Sir Lionel Frost (Hugh Jackman), a self-absorbed trailblazer that sets off on a trek of the Pacific Northwest.  He seeks to prove the existence of a legendary primitive man creature.  By doing this he hopes to secure admission into London’s Optimates Club, a group of narrow-minded explorers headed up by the insufferable Lord Piggot-Dunceby (Stephen Fry).  Why Frost so desperately wants to belong to an organization of arrogant snobs is rather baffling.  At any rate, he meets the Sasquatch rather quickly in the forest.  Turns out “Mr. Link” (Zach Galifianakis) as Frost dubs him, is a gentle giant who can talk.  Incidentally, with his tiny beady eyes and large pig nose, the design of the titular beast isn’t appealing.  Honestly, he’s downright ugly.  My unsolicited advice: if your main protagonist is furry and virtuous, make him adorable so kids will want the stuffed animal version.   The two set out to find Mr. Link’s long-lost relatives in the fabled valley of Shangri-La in the Himalayas.  Adelina Fortnight (Zoe Saldana), Frost’s former girlfriend joins the two on their journey.  Her look may mimic the style of the “Gibson Girl” but her contemptuous personality isn’t cute.  Meanwhile, they are pursed by Willard Stenk (Timothy Olyphant) a bounty hunter on a mission to kill Frost.  Apparently, Piggot-Dunceby wants Frost dead so he has no chance of ever joining their group.  I still can’t get past the idea that Frost craves this guy’s acceptance.

Missing Link has its charms but they’re mostly visual.  The adventure has no momentum.  Just a meandering saga highlighting beautifully executed stop motion skills.  The chronicle is lacking a spark of inspiration to bring it to life.  Coraline and ParaNorman both had this audacious quality that entertained through sheer eccentricity.  But Missing Link is much saner and safer.  Frost’s whole purpose to gain admission into this highfalutin society of people who are beneath contempt is just misguided and sad.  The prim Victorian era setting isn’t an atmosphere that’s ripe for laughs.  Unless of course, you find colonialism and stuffy tradition, inherently funny.  Most of the stodgy repartee doesn’t land.  Emma Thompson, as the Yeti Elder Queen gets in a few laconic quips.  ‘Throw them in the Pit of Misery and Perpetual Disappointment!’ and “Shangri-La means, Keep out. We hate you,” are droll lines.  An adult fan of sarcasm might chuckle but it’s not banter that would delight a young child.   Ads for the movie clearly mismarketed this to children when this really should’ve been targeted at teens and adults.  However, the climactic action scene is a real cliffhanger – literally.  It entertains all ages.  The moment energizes with inspired loopiness.  That zany joy is sadly absent from most of the film.  It was a wacky jolt from a tale in desperate need of it.

04-11-19

Shazam!

Posted in Action, Adventure, Comedy, Superhero with tags on March 28, 2019 by Mark Hobin

shazam_ver3STARS3.5I’m officially ready to concede that the DC Extended Universe has me excited.  It’s been a rocky road ever since Man of Steel debuted back in 2013.  For a while, this current DC iteration of films subscribed to the gospel of Christopher Nolan.  Moody and brooding realism equaled a quality flick.  I adore The Dark Knight trilogy so, in theory, it sounded like a good idea.  Then one joyless, poorly written project after another proved that something wasn’t working.  I wasn’t a fan until Wonder Woman came along in 2017 and then Aquaman solidified that love in 2018.  Both were entertaining episodes that stood on their own.  They were individual chapters that didn’t depend on having seen the rest of the series.  Justice League, which was sandwiched between the two, negated that concept, but let’s focus on the positive.  We currently have a new offering based on a DC Comics property previously known as “Captain Marvel” when it was originally published by Fawcett Comics 1940–1953.  Branded as the DC character “Shazam!” In 1972, the superhero has made his first appearance in a theatrical feature since the 1941 movie serial from Republic Pictures. What took so long?  This production is an outright charmer.

Well color me surprised.  I had seen the trailers and thought the whimsical — no make that goofy — mood was a tonal misfire.  We haven’t seen such brightly colored tights on a superhero costume in quite a while.  The whole thing seemed too irreverent to be taken seriously.  Turns out the jokey tone is the screenplay’s greatest asset.  Not since the halcyon days of Christopher Reeve has a buoyant, upbeat tone been employed so effectively.  Superman II (1980) is one of the greatest films ever made (not kidding) so pardon the aforementioned blasphemy.

Billy Batson (Asher Angel) is a foster kid with a mischievous and arrogant demeanor at first, but he has a kind and compassionate heart.  While escaping a couple of schoolyard bullies, he’s magically whisked to a magical realm known as The Rock of Eternity where he meets the Wizard Shazam (Djimon Hounsou).  No stranger to comic book adaptations, Hounsou has played Korath the Pursuer in Marvel productions (Guardians of the Galaxy, Captain Marvel) and (using CGI) the ruler of the Fisherman Kingdom in DC’s Aquaman.  Here he portrays the sorcerer who chooses to bestow his magical powers on Billy.  By saying the word “shazam”, Billy receives Solomon’s wisdom, Hercules’ strength, Atlas’ stamina, Zeus’ power, Achilles’ courage, and Mercury’s speed.  It’s all in the name.

A big part of the chronicle is the joy of discovery as young Billy becomes acclimated to his new god-like abilities.  Remember, he’s still fundamentally a teen, but when he becomes Shazam, he is an adult.  Incidentally, he never embraces that name here.  An ongoing joke is trying to come up with a suitable moniker.  Zachary Levi is absolutely winning when Billy transforms into the musclebound champion.  He perfectly conveys that naive enthusiasm even as a grown adult.  His “golly gee wilikers” expressions convey pure innocence.  He’s a do-gooder that kids can look up to.  His friendship with Freddy Freeman (Jack Dylan Grazer), one of the foster kids he goes to live with, is a sheer delight.  The two of them have a lot of fun figuring out what superpowers he has.  Grazer is an actor to watch.  He memorably portrayed the youthful hypochondriac, Eddie in 2017’s It.  Here he stands out as well with his wide-eyed charisma.  His curiosity is contagious.  The chemistry he has with both actors Angel and Levi is captivating.

Of course there’s a villain.  He’s Dr. Thaddeus Sivana, ably played by the dependable Mark Strong.  This adventure actually begins with his story.  We learn how the poor treatment he had received at the hands of his older brother and father led to his dark desires.  He too was summoned by the Wizard Shazam as a child but was not chosen.  A bunch of CGI gargoyle monsters that each represent the 7 deadly sins assist him in his sinister ambitions.  They might frighten very young toddlers.  There’s a moment where Dr. Sivana pushes his equally corrupt brother out of a skyscraper.  If you can manage the cartoon level violence of Wile E. Coyote and the Road Runner cartoons, you can handle this.  Although I completely understood why Dr. Sivana turned evil, I didn’t particularly care.  His saga is less compelling.  It occupies a lot more time in the narrative than I cared to indulge.

Ultimately Shazam! emphasizes the happiness in comic books.  This celebrates the feeling of wish fulfillment.  Billy’s childlike wonder in savoring his newfound abilities is so palpable.  We appreciate his euphoria.  Writer Henry Gayden (Earth to Echo) and horror director David F. Sandberg (Lights Out, Annabelle: Creation) also emphasize the importance of family.  After being separated from his mother, Billy is sent to live with a foster home that includes other children.  Based on this account, I suspect these individuals will become more important in the inevitable sequel.  Besides Freddy, there’s college-bound Mary (Grace Fulton), gamer Eugene (Ian Chen), shy Pedro (Jovan Armand), and youngest Darla (Faithe Herman).  The close camaraderie that develops proves that a family isn’t necessarily about blood relations.  It’s surprisingly uplifting.  Even when Shazam! gets bogged down in less interesting plot machinations, it’s the heart that shines through.

03-23-19

Captain Marvel

Posted in Action, Adventure, Science Fiction, Superhero with tags on March 10, 2019 by Mark Hobin

captain_marvel_ver2STARS3It’s hard to believe, but after 20 films in the Marvel Cinematic Universe (MCU), Captain Marvel is the first to star a female lead.  I still don’t understand why we didn’t get a Black Widow movie back in 2010 when that character was introduced in Iron Man 2.  The DC Extended Universe beat Marvel to the punch by two years with Wonder Woman, a critical and box office hit in the summer of 2017.  Much has been made of Captain Marvel‘s trailblazing status.  I mean it was released on International Women’s Day.  The drama is so retro.  Ok so yes, the feature is set in 1995 but it actually feels like it was made back then.

Captain Marvel is a prequel to the entire MCU.  The adventure concerns an officer in the United States Air Force named Carol Danvers.  This is the saga of how she became Captain Marvel through a series of events, Yup it’s another origin story.  The problem is she has amnesia. We know who she is.  Unfortunately, she doesn’t, so she wanders through a large part of the film on an “emotional journey” with her mind in a funky haze.  That makes her personality kind of nil.  She interacts with a youthful looking Samuel L. Jackson as Nick Fury minus the eyepatch.  For once the de-aging technology looks pretty amazing.  Jackson gets to see out of both eyes and he has a nice repartee with Brie Larson.  He helps her unravel the mystery of her past.  Also of note is Ben Mendelsohn who plays a shapeshifting Skrull villain named Talos.  As of late, he’s been playing underwritten parts that could simply be labeled as “old evil white guy” (Rogue One, Ready Player One).  Here he gets a part with depth worthy of his talents.  He rises to the challenge.  Talos is not all that he seems and he’s a highlight in a movie in desperate need of them.

The best scenes of Captain Marvel take place on Planet C-53.  That’s Earth to you newbies. Before we can get there, the production is saddled with the worst 20-minute intro ever to grace an MCU film.  It all takes place in space.  Carol Danvers, who thinks her name is Vers, reports to commander Yon-Rogg (Jude Law) who is a Kree.  She believes herself to be one as well.  She ends up on Earth which is the site for a galactic conflict between these two alien populations, the Skrulls and the Krees.  Directors Anna Boden and Ryan Fleck are a filmmaking duo known for indies (Half Nelson, It’s Kind of a Funny Story).  It’s the quieter moments where Captain Marvel shines.  Carol meets her longtime friend from the U.S. Air Force, Maria Rambeau (Lashana Lynch).  The two women have a conversation about something other than a man.  Bechtel test, check.

I hate to invoke a cliché like “been there done that” but it’s too fitting to reject.  The overall sensibility of the presentation is conventionality.  As you’d predict for a film set in the 90s, there are nods to the trappings of the era.  Blockbuster Video, Radio Shack, Blackberry cell phones, CD ROMs that take forever to load are all visual gags.  The 90s infused soundtrack means we can listen to tunes like No Doubt’s “Just A Girl” while she engages in combat or hear Nirvana’s “Come As You Are” as she enters Mar-Vell’s (Annette Bening ) quarters.  Brief musical snippets pop up here and there.  However, their presence is far less memorable than the way Guardians utilized songs from the 1960s and 1970s.  The problems go deeper than the timeworn habit of invoking familiar references to elicit laughs.  Captain Marvel is encumbered with a narrative that is surprisingly old hat. Expectations in 2019 demand a plot with more innovation than the formulaic story beats presented here.

Captain Marvel was a highly anticipated production. The ending of 2018’s Avengers: Infinity War teased the introduction of this character.  She is clearly going to be an important part in next month’s Avengers: Endgame. I still believe this is an acceptable amuse-bouche for the upcoming main course.  The world has been waiting with bated breath.  Sadly this is not the significant episode we imagined.  We waited over a decade for this.  Had this film come out back in 2008 when the MCU began, the simple novelty of a female-led superhero movie would have been enough.  A decade later and things have changed.  Now we also need the thrills to be extraordinary too.  Instead, they’re rather ordinary.  For the first time, Marvel is struggling to keep up with the spirit of the times.

03-07-19

How to Train Your Dragon: The Hidden World

Posted in Action, Adventure, Animation, Family, Fantasy on February 26, 2019 by Mark Hobin

how_to_train_your_dragon_the_hidden_worldSTARS4There’s something so gratifying about a saga with an emotional finish.  DreamWorks Animation may not hold the influence of Disney or Pixar, but they’ve given us some pretty beloved animated franchises including Shrek, Madagascar, and Kung Fu Panda.  This fantasy series, inspired by Cressida Cowell’s books, is among DreamWorks’ very best.  It all started back in 2010 with the first production.  The sequel arrived in 2014.  Now we have The Hidden World, the third (and allegedly final) entry in the trilogy.  All three of these movies have been directed by Canadian animator, Dean DeBlois (Lilo & Stich).  Executive producer Chris Sanders was a co-director on the first.  DeBlois has really shepherded this adventure about a callow youth and his maturation into adulthood.

This is the personal evolution of Hiccup Horrendous Haddock III (Jay Baruchel) or just Hiccup to his friends.  The series has comprised a very affecting character arc.  His ability to buddy up with a supposedly dangerous dragon, teaches his fellow citizens from Berk that these creatures are not the enemy.   In fact, they can be allies.  Hiccup’s friendship with his pet Toothless, a mysterious dark breed called a Night Fury, has developed into a deeply moving relationship that has changed his worldview.  Hiccup has gone from a gangly Viking teen afraid to kill dragons to a gangly adult that confidently befriends them.  It may be your classic “from zero to hero” transformation, but gosh darn it, I completely bought into this young man’s odyssey.  He was 15 years old in the first picture with a major jump to age 20 in the second.  That episode ended with Hiccup taking over as Chieftain of the town of Berk and Toothless becoming the Alpha Dragon.  Only one year has passed when The Hidden World begins. Hiccup has been struggling in his new role.  He and his friends continue to rescue the misunderstood beasts.  He leads a community where dragons now outnumber the people.  They coexist in perfect harmony.  Toothless gets a love interest in the form of a white female known as the Light Fury.  Little do they know that she is being used as bait by a ruthless hunter named Grimmel the Grisly (F. Murray Abraham) who still firmly believes dragons must be exterminated.

How to Train Your Dragon has always presented an impressive spectacle along with John Powell’s atmospheric score.  Like a painting, the use of shadow, texture, light, elevates the visual tableau.  Head of layout is cinematographer Gil Zimmerman with the legendary Roger Deakins consulting on the imagery.  The chronicle is filled with breathtaking images of dragons taking flight.  The best passages have no dialogue whatsoever.  Come for the dragons.  Luxuriate in the gorgeous surroundings.  The narrative manages to expand the scope of their world when evil Grimmel forces the Berkians to emigrate to a place called Caldera — the “hidden world” of the film’s title.  A memorable dance where Toothless courts his lady dragon is an absolute highlight.  The mood is fairly serious, although there’s room for humor.  The tenacious Ruffnut (Kristen Wiig) annoying her captors is a delight.  The brash Snotlout (Jonah Hill) trying to flirt with Hiccup’s mother Valka (Cate Blanchett) is chuckle-worthy.  The chemistry between Hiccup and Astrid (America Ferrera), his betrothed fiancée, isn’t particularly captivating, but that’s a minor quibble.  This is a story about growing up.  It’s about humans, sure, but it’s also about dragons and it’s that bond between the two that make this trilogy so touching.  The ending is a satisfying – though bittersweet, – conclusion to a poignant trilogy.

02-21-19

Alita: Battle Angel

Posted in Action, Adventure, Romance, Science Fiction with tags on February 17, 2019 by Mark Hobin

alita_battle_angel_ver2STARS3.5Alita: Battle Angel is an immersive sci-fi fantasy that plunges the viewer into an imaginary world.  I really enjoyed this production, but no amount of complicated exposition can disguise the fact that it’s essentially a cyberpunk update of 1975’s Rollerball.  It certainly doesn’t start out that way.  It’s the future (naturally) – 2563 to be exact and a cyberphysician (Christoph Waltz) who repairs people with android parts discovers the discarded remains of a female robot in a junkyard.  He takes the head, which houses a still active brain, back to his laboratory and rebuilds her.  He names her Alita, after his deceased daughter.  She is of youthful age and this only cements the fatherly attachment he forms to her well being.

Alita: Battle Angel is based on Yukito Kishiro’s manga series Gunnm. The titular cyborg is portrayed by Rosa Salazar.  The actress is in her thirties but she is made to look like a teenager here.  Her appearance is actually a mix of CGI and human performance.  With her somewhat vacant uncharacteristically wide eyes, she resembles a Margaret Keane painting.  She’s got a spark to her personality though.  Her burgeoning attraction to Hugo (Keean Johnson) is more captivating than what you’d expect out of the obligatory love interest role he fulfills.   Hugo also functions as her introduction to this gladiator-style game called Motorball which is a mishmash of football, basketball, and roller derby.  Turns out Alita has quite the talent for the game.

This is fundamentally a martial arts/sci-fi B-movie but it’s given vibrant life with an A-list cast.  Christoph Waltz is the fatherly Geppetto, er uh I mean Dr. Dyson Ido, a cybernetics mastermind.  The seemingly ageless Jennifer Connelly is his ex-wife Chiren, who now works for a nefarious businessman named Vector played by Mahershala Ali.  Fashion-wise he makes a very strong case for a Blade reboot.  Vector hires malevolent cyborgs for the Motorball matches in an attempt to kill Alita for reasons I didn’t completely understand.  His identity is somewhat ill-defined.  He’s definitely a villain and that’s apparently what they do in a dystopian society.  CGI is liberally used to re-imagine scenery and in many cases, the actors as well.  Many figures in the movie are a mix of both organic and fabricated elements.  Ed Skrein, Jackie Earle Haley, Jorge Lendeborg Jr., Jeff Fahey, Edward Norton, Michelle Rodriguez, and Jai Courtney all appear.  Some more recognizably human than others.

The screenplay by James Cameron (Avatar) and Laeta Kalogridis (Shutter Island) is fairly standard issue.  When good people do bad things – that’s the level of innovation.  A few characters have this moment.  At times, the narrative morphs in needlessly convoluted ways that are uninteresting.  The crux of the plot is about playing a futuristic sport.  The lively action consistently returns to Motorball time and again, even ending at the arena.  There’s nothing wrong with that.  There’s artistic value in simplicity.  Alita manages to recall both Frankenstein and Pinocchio by way of creating life from a once lifeless body.  This is a story for children.  Director Robert Rodriguez was responsible for Spy Kids and this should charm the same audience.  However, the writers still felt the need to throw in one, and only one, prominent use of the F-word.  The visuals are fun as you’d expect when James Cameron is the producer.  The classic battle of good vs. evil is presented under a pretty veneer of special effects and charismatic actors.   There’s a pure joy here and with a little judicious editing, this could’ve been quite spectacular.  As it stands, it’s fitfully entertaining.

02-14-19

The Lego Movie 2: The Second Part

Posted in Action, Adventure, Animation, Comedy on February 9, 2019 by Mark Hobin

lego_movie_two_the_second_part_ver8STARS3If ever there was a shortcut to a “fast” film review, it would be one question, Did you enjoy 2014’s The Lego Movie?  If so, then you should appreciate The Lego Movie 2: The Second Part.  This one was also written by Phil Lord and Christopher Miller, although directing chores are now in the hands of Mike Mitchell (Trolls).  It’s another adventure that centers on Emmet (Chris Pratt) and Lucy/Wyldstyle (Elizabeth Banks) who must defend their beloved city.  Mysterious invaders have turned Bricksburg into a post-apocalyptic wasteland.  Batman (Will Arnett), Princess Unikitty (Alison Brie) Benny the Spaceman (Charlie Day) and MetalBeard (Nick Offerman) have all returned in this outing.  They, in addition to Lucy, are taken prisoner by a masked general named Sweet Mayhem (Stephanie Beatriz).  Not a traditional Lego, but rather an intergalactic mini-doll who reports to the enigmatic Queen Watevra Wa-Nabi (Tiffany Haddish).  Phonetically her name sounds like “Whatever-I-Want-To-Be” and that makes sense because she’s an alien queen of constantly shifting shapes.  Still always the plucky spirit, it’s up to Emmet to rescue his friends.

The colorful production is a big loud noisy clutter of sound and images.  There are battles and explosions, along with dinosaurs and spaceships.   The underlying explanation for its nonsensical nature is to mimic the imaginative stories that children make up with their toys.  The first picture was manic too, but there was at least some coherence to the story.   Here, action and dialogue merge in a virtual collage of pandemonium.  I must admit I longed for subtitles on more than one occasion to make sense of the chaos.   This has been done before so granted, the concept doesn’t feel as fresh as its predecessor.  They’ve somehow managed to produce two spinoffs (Batman, Ninjago) in the interim as well – so that’s 4 LEGO movies in 5 years. Obviously, the big reveal at the end of episode one can’t be the same wondrous surprise again.  However clever pop cultural allusions are there amidst all the manic energy.   I did laugh.   Bruce Willis briefly pops up in an amusing cameo.  Comedian Tiffany Haddish is a creative selection to portray the main villain.  Her raspy voice lends an inspired sass to her character.  This is a semi-musical of sorts and she gets to talk-sing her way through two ditties: “Not Evil” and “Gotham City Guys” – both comical musical confections.  So too is “Catchy Song” which features the refrain “This song’s gonna get stuck inside your head” and it probably will.  The narrative is a clever allegory for sibling rivalry.  The obligatory moral, which is so often awkwardly inserted in these kid flicks, feel refreshingly sincere.  Cooperation and getting along never goes out of style.

02-07-19

Spider-Man: Into the Spider-Verse

Posted in Action, Adventure, Animation, Superhero on January 9, 2019 by Mark Hobin

spiderman_into_the_spiderverse_ver2STARS3.5How much Spider-Man do you need in your life? Sequels, reboots, so many origin stories – This is the 7th feature film to star the Marvel superhero since 2002 and the first animated movie in the franchise. That’s roughly a new release every 27 months. This chapter has certainly put the other entries in perspective. The cognoscenti extolled this feature as the best Spider-Man ever, some even going so far as to call it the best superhero picture of all-time. Those are some pretty lofty declarations. It’s an enjoyable production to be sure. Just based on innovation alone, this production justifies yet another iteration. At this point, those Amazing Spider-Man movies with Andrew Garfield from 2012 and 2014 are only worth watching if you’re a die-hard completist.

Spider-Man: Into the Spider-Verse plays with tradition. I wasn’t up on my comic book history. Those well versed in such lore will be at a distinct advantage. If that’s you, go ahead and skip the rest of this paragraph. In fact, go ahead and skip the whole review. This movie was made with you in mind and I can recommend it to you wholeheartedly. Ok now for you casuals and non-superhero fans,  apparently the setting is a shared multiverse called the “Spider-Verse”, which has alternate worlds. This is the first to feature Miles Morales (Shameik Moore), an Afro-Latino teenager from Brooklyn. He was a re-invention of the character in 2011 by writers Brian Michael Bendis and artist Sara Pichelli. Miles admires Spider-Man /Peter Parker (Chris Pine), the classic guy with whom we are familiar. In this realm, Peter Parker is blonde, fit and seemingly perfect. Miles is bitten by a radioactive spider in the very same way and also develops the same powerful abilities.

That’s merely the beginning. Maniacal crime lord, Wilson Fisk AKA the Kingpin (Liev Schreiber) and his top scientist Liv Octavius (Kathryn Hahn), the head of Alchemax, are the baddies. They’ve built a particle accelerator to access parallel universes. Fisk wants to reconnect with his wife and son who died in a car accident. His use of this thing allows various forms of Spider-Man to come into contact with Miles and interact. There’s Peter B. Parker (Jake Johnson), a more disheveled, brown-haired Spider-Man that sort of acts as his mentor. He’s from another dimension.  There’s teenaged Gwen Stacy, a Spider-Woman (Hailee Steinfeld), a brooding reporter from the Great Depression called Spider-Man Noir (Nicolas Cage), an anthropomorphic pig parody called Spider-Ham AKA Peter Porker (John Mulaney), and Japanese-American high school student Peni Parker (Kimiko Glenn) who pilots a robot called SP//dr. Does this sound confusing? Believe me, it’s even more dizzying as you’re watching it. Each one of these versions gets a chance to tell their tale of how they became a “spider-man”. The production boasts three directors (Bob Persichetti, Peter Ramsey, Rodney Rothman) and five producers including Phil Lord and Christopher Miller, the team behind The Lego Movie. They don’t adhere to the past rules of the live-action films. It’s not based in reality. It’s ridiculously bonkers. I suppose that’s part of its charm.

Spider-Verse sets up some emotional stakes. This Spider-Man is still another origin story about a guy coming to terms with his superpowers. In those broad terms, this doesn’t distinguish itself. It’s another hero’s journey.  However, Spider-Verse does a great job at introducing people we care about. We understand Miles. He’s the teenaged son of Jefferson Davis, a black cop (Brian Tyree Henry) and Rio Morales, a Puerto Rican nurse (Luna Lauren Velez). Despite the different surnames, they are married. His uncle Aaron Davis (Mahershala Ali ) is a supportive presence who encourages his nephew to express his artistic side. Brothers Jefferson and Aaron have drifted apart, however. At one point Dad pleads with his son not to drift away like his brother did. The conversation occurs while Miles is in his room on the other side of a closed door. It’s very poignant.

Spider-Verse is a built upon the DNA of comic books. I’ve explained how the story utilizes that aesthetic but it also infects the trippy graphics as well. The stunning visual design is what captivated me the most. The computer animation is distinctive. Its bold colors and images almost bleed through the lines. Not constantly, but the effect is noticeable at times. Initially, I thought I had accidentally walked into a 3D showing without the glasses to render the proper effect.  It was an intentional choice. The technique recalls the Ben-Day Dots printing process of old, pulpy magazines on cheap paper.

The visuals are gorgeous. The computer rendering gives the faces a photo-realism. It’s incredibly expressive. Their faces emote. Yet it’s still filtered through the style of a comic book. It’s a nice balance. Thought bubbles occasionally pop up. When someone activates his Spider-Sense it’s conveyed through squiggly lines around their head. Then the hyperkinetic action sequences kick in. It can get a bit insane. The interconnected characters from other dimensions start to glitch and become unstable. This random twitching seems to increase when they’re fighting.  At times this mixes with the action on screen and it can be a lot to process for the uninitiated.  “What is happening?!” I thought to myself on more than one occasion. Yet it’s always a wonder to behold. “How much Spider-Man do you need in your life?” I ask.  Spider-Verse proves that when creativity and innovation are fully engaged, there’s always room for one more.

12-28-18

Mary Poppins Returns

Posted in Adventure, Comedy, Drama, Music, Musical with tags on December 27, 2018 by Mark Hobin

mary_poppins_returns_ver2STARS3.5Mary Poppins Returns answers the question: Is it still possible for a movie of today to promote sweetness and joy with unadulterated sincerity?  The response is a resounding yes.  This is an enterprise without guile or sarcasm.  It simply exists as a bit of wholesome entertainment, exactly as the 1964 version did.  54 years may separate these two films, but you’d never know it from this production.  The time is 1935 Depression-era London.  Jane (Emily Mortimer ) and Michael Banks (Ben Whishaw), the children from the original, are now adults.  Michael is a widower with three young children of his own: John (Nathanael Saleh) Annabel (Pixie Davies) and adorable star-in-the-making Georgie (Joel Dawson).  Since his wife’s death, Michael has fallen behind on the mortgage payments.  He has been informed by the president of Fidelity Fiduciary Bank (Colin Firth) that he has until Friday to pay off the entire loan, or he will lose the house. Jane and Michael remember their father had given them shares in the bank which would provide enough money to repay the debt.  The certificate would be the proof.  It has disappeared.  If only they knew where it was.

Mary Poppins Returns utilizes the blueprint of the first feature to fashion its tale.  The barely-there story is eerily similar, although plot is not really the point.  The drama basically concerns a missing piece of paper.  Its whereabouts are a nonentity for most of the picture.   The adventure highlights musical interludes.  This is a musical enchantment of wit and charm.  As the title has promised, Mary Poppins is back.  She’s exactly the same person and she hasn’t aged a day.  In Emily Blunt’s capable hands she is a walking, talking facsimile of Julie Andrews’ creation.  Not a unique achievement mind you, but a grand impression that trades on glorious nostalgia.  Lin-Manuel Miranda is Mary’s friend Jack.  He doesn’t work as a chimney sweep as portrayed by Dick Van Dyke in the earlier incarnation but as a lamplighter.  Miranda is delightful and his cockney accent is thankfully more subtle.

Mary Poppins Returns isn’t a sequel so much as a remake.  A magnificent remix of the 1964 version that mimics its every song, character, story beat, and style.  Instead of helping the kids tidy their nursery (“A Spoonful of Sugar”) Mary encourages them to take a bath (“Can You Imagine That?”).  Rather than jumping into a painting (“Jolly Holiday”), Mary, Jack, and the kids enter a ceramic bowl (“The Royal Doulton Music Hall”).  Meeting cousin Topsy (Meryl Streep) and her “Turning Turtle” song is like bumping into Uncle Albert (Ed Wynn) when he bellows “I Love To Laugh”.  Jack croons “Trip A Little Light Fantastic” with the other lamplighters and it harkens back to the chimney sweeps’ “Step In Time” number.  My side by side comparisons may sound like a carp but the production numbers are so beautifully realized that I embraced the happiness.   They succeed by exploiting the euphoria of wonder and color.  The very idea that a movie in 2018 would reproduce the very same aesthetic as a picture from the 1960s is a fairly risky venture.  I was transported to an earlier era when movies were different.  If imitation is the sincerest form of flattery then Mary Poppins Returns has just paid the original film the most awesome compliment imaginable.

12-19-18