Archive for the Adventure Category

A Shaun the Sheep Movie: Farmageddon

Posted in Adventure, Animation, Comedy, Family, Science Fiction with tags on March 28, 2020 by Mark Hobin

shaun_the_sheep_movie_farmageddon_ver3STARS3.5Aardman Animations is one of those hallowed traditions in the grand cinema of the UK that includes Michael Caine, Maggie Smith, kitchen sink realism, James Bond, Monty Python, and Agatha Christie adaptations.  A Shaun the Sheep Movie: Farmageddon was released to UK theaters on October 18th, 2019.  In the U.S. Netflix bought the distribution rights and released it to the streaming platform on Valentine’s Day the following February.  This is ostensibly a sequel to the Shaun the Sheep Movie from 2015 but honestly, if you haven’t seen that, it wouldn’t matter.  No prior knowledge is necessary.  This captivating tale stands on its own.

This amalgamation of sci-fi and comedy is such sweet, funny, innocent fun.  A reliable narrative holds few surprises.   If you’ve seen other releases from Aardman Animations, then you know exactly what you’re getting — a lighthearted, stop-motion animated, romp.  They came out of the gate with the huge boffo worldwide success of Chicken Run in 2000.  Since then each subsequent release has earned a little less than the one before.  Yet the quality of their output has always remained high and meaningful nonetheless.

This account concerns what happens when a UFO landing occurs near Mossy Bottom Farm.  Shaun (Justin Fletcher ) immediately gets involved to help an impish alien named Lu-La (Amalia Vitale), from the planet To-Pa, get back home.  I feel like I already lost a few readers.  Yes, it’s silly.  “Farmageddon” is actually the name of the alien-based theme park that Farmer John (Chris Morrell) creates to exploit the situation to make money.  His dependable and sensible sheepdog Bitzer (John Sparkes) is thankfully back as well.

The adherence to no-dialogue still holds.  Communication relies merely on grunts and shrugs, not intelligible conversation.  Instead, the story is advanced through pantomime and visual cues to propel the plot.  It’s all about the sight gag.  Legendary silent-movie star Buster Keaton built an entire career in the 1920s on the comedic style and this production ably honors that tradition in a contemporary era.  There’s a toe-tapping soundtrack too.  The Chemical Brothers and Kylie Minogue (with English indie rock band, The Vaccines) make appearances that underscore delightful vignettes.

Farmageddon is worth your time, but it isn’t for all tastes.  The chronicle depends on a certain oft kilter sensibility that not all viewers will possess.   Perhaps children may comprehend this more than adults as they admirably have the right mindset for a carefree and nonsensical storyline.  I guess I’m a child at heart because I adored this film.  The slender suggestion of a screenplay is essentially an excuse for manic sequences.  There’s an inherent purity in such simple ambition.  Now, who can’t appreciate that in these troubled times?  Shaun the Sheep is a welcome break from our current reality.

03-19-20

Onward

Posted in Adventure, Animation, Comedy, Family with tags on March 10, 2020 by Mark Hobin

onward_ver11STARS3.5When I hear the name Pixar I think of some of the best animated films ever made.  Few will deny the entertainment value of Toy Story, Finding Nemo, The Incredibles, Up or Inside Out for example.  So the announcement of a new release from that subsidiary of Walt Disney Studios will always be something that I greet with joyous anticipation.  I’ll admit they’re not all classics.  The Cars trilogy, Monsters University, and Brave would land near the bottom in my estimation.  Nevertheless, I have never given a Pixar movie a negative review.  That hasn’t changed with this effort.

Onward is about two brothers who happen to be elves.  They’re the Lightfoot brothers.  Younger teenaged Ian is a dead ringer for Alfredo Linguini in Ratatouille.  Remember how Disney recycled the character design of Baloo the Bear in The Jungle Book (1967) for Little John in Disney’s Robin Hood (1973) or how about Penny in The Rescuers (1977) from Mowgli in The Jungle Book?   I’m ok with it.  Imitation is the sincerest form of flattery.  Ian is articulated by Tom Holland who is fresh from another voice starring appearance in the feature-length cartoon Spies in Disguise from Blue Sky Studios.  Barley (Chris Pratt) is Ian’s stocky older teenaged brother who acts as a mentor.  He’s also partial to fantasy role-playing games.  Together they set out on an epic quest to find a jewel that will allow them to see their long-deceased father.

Ok, so I was worried. Onward didn’t grab me right away.  For the first 20-30 minutes or so I wasn’t feeling this movie.  It simply felt like a present-day sitcom superficially dressed up with fantastical elements.  The individuals may look like magical figures but they act like contemporary people.  There’s a centaur, a cyclops, pixies, elves, and other assorted creatures.  The animation is bright and colorful but it’s hard not to feel like the fanciful critters are frivolously employed to obscure a very pedestrian plot.  Then they go on a road trip and they meet a manticore who owns a restaurant and she’s vocalized by Octavia Spencer.  There’s a joy to the animation and the voice acting with her character that kind of jump-starts this drama.  From then on it gets better.  There a lot of jokes obtained from this fictional world.  Let me tell you, there’s is a depth to the creativity of this world-building that definitely raises the bar.

Pixar is famous for being able to extract emotion. Onward didn’t make me cry.  Although it certainly tries.  Most of the adventure is fine but it’s in the resolution where I was converted into a fan.  During the climax, the chronicle smartly recalls previous events that occurred throughout the saga.  Those episodes didn’t seem so important at the time but the story connects the dots and recontextualizes them.  This touching through-line elevates the denouement into an emotionally resonant finale.   It’s a savvy manipulation.  Director Dan Scanlon – who also helmed Monsters University – wrote the film with Jason Headley and Keith Bunin.  They essentially redeem the entire narrative within the final 15 minutes.  It reconsiders everything that we have seen before.  Onward isn’t anywhere near as affecting or innovative as the studio’s best work but it is pleasant enough.  It just goes to prove that even a minor Pixar release is still pretty enjoyable.

Sonic the Hedgehog

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

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

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

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

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

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

02-13-20

Birds of Prey

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

birds_of_prey_ver6

 

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

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

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

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

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

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

02-06-20

Star Wars: The Rise of Skywalker

Posted in Action, Adventure, Fantasy, Science Fiction with tags on December 22, 2019 by Mark Hobin

star_wars_the_rise_of_skywalker_ver4STARS3.5Star Wars: The Rise of Skywalker might have set a record for the number of spontaneous bursts of applause I’ve ever experienced during a theatrical screening.  I stopped counting when it reached double digits.  It was an absolute love fest.  My reaction was less enthusiastic but I can appreciate why the crowd embraced this so gleefully.  The chronicle is heavy on scenes and displays that are specifically designed to appeal to longtime fans of the Star Wars franchise — especially admirers of the first set (and best) of three films often referred to as the classic trilogy.  Director J.J. Abrams is a master at giving people exactly what they want.  That is both boon and bane to the grand narrative arc of the three most recent Star Wars episodes.

J.J. Abrams was faced with an epic task.  First, he had to close out the sequel trilogy which he began with The Force Awakens in 2015, but also cap off the entire “Skywalker Saga” of nine movies.  He only partially succeeds as the three chapters linked do not fit together as a cohesive whole.  I enjoyed Rian Johnson’s subversive take in the 2nd movie because he brought innovation and unexpected change to the franchise.  However, it was not meant to be. From a story standpoint, it now feels like Abrams directed The Force Awakens with an idea of where he wanted the adventure to go.  Then the series was hijacked by filmmaker Rian Johnson in The Last Jedi who introduced plot elements and personalities only to have Abrams either ignore them or explain them away with The Rise of Skywalker as a course-correcting measure.  This is true with the character of Rose Tico (Kelly Marie Tran), a mechanic of the resistance that was a huge part of The Last Jedi but now only registers as a gloried cameo typing away at a computer here.  Be warned there will be other adjustments made in the name of retroactive continuity.  What I’m about to say isn’t a spoiler because it’s revealed in the opening crawl.  Somehow a resurrected emperor Palpatine returns (Ian McDiarmid) as the Big Bad. Meanwhile, Snoke (Andy Serkis) has been rendered as a nonentity.

J.J. Abrams’ vision of Star Wars is more focused on the meticulous crafting of visual style at the expense of logical developments. That’s not to say that The Rise of Skywalker isn’t enjoyable.  It’s hugely entertaining.  The audience in my theater were laughing, crying, cheering.  That audience experienced something akin to a religious experience.  There are lots of encounters with fantastic creatures and random humans.  Babu Frik is the baby Yoda of this movie.  Don’t underestimate this little guy’s power to charm the viewer.  Babu Frik reprograms droids and speaks in an incomprehensible but adorable alien language that had my theater enraptured.  There’s a cone-headed droid named D-O that behaves like a rehabilitated puppy.  Porgs, Ewoks, Jawas, droids all pop up intermittently to satisfy your fan lust for more cute critters.  Abrams is adept at manipulating the Star Wars aesthetic in a way that honors the past while fashioning a tale with new personalities.

There’s a dizzying array of human roles too.  Numerous individuals pop up, deliver one line and then frustratingly disappear.  Abrams prioritizes the wants and needs of the fans over plot, characterization and thematic consistency.  Rose Tico has been sidelined.  Yet the writers have added other actors that appear to fulfill the same role but then obfuscate the advancement of a singular narrative.  Jannah (Naomi Ackie) is an ally of the Resistance who is paired up with Finn.  She also has a conversation with Lando Calrissian (Billy Dee Williams) that’s calculated to tease some sort of relationship.  Oscar Isaac is back as Poe and he hangs out with an old friend named Zorii Bliss played by Keri Russell.  You’d never know it was the actress, however, because she wears a helmet.  You only see her eyes in one scene.  The inclusion of Jannah and Zorii seems rather pointless.  Nevertheless, the cast is filled with beings that all look and sound the part.  The villains continue to be cast like actors from the Royal Shakespeare Company.  Richard E. Grant’s General Pryde in the First Order looks like a genetic descendant of Peter Cushing’s Grand Moff Tarkin.

Yes, this movie relies on the groundwork that was established long ago.  This entry will lack an emotional impact for the uninitiated.  It feels a bit like a greatest hits reel where everything but the kitchen sink is thrown in.  At one point Rey amusingly utters a declaration that followers will recognize as a variation of “These aren’t the droids you’re looking for”.  My theater was erupting in applause at moments that I didn’t even grasp.  The gang walks into a droid shop and there’s an old guy with a white beard shaking his head.  Everyone started clapping.  It was only after the film was over and I consulted the internet that I found out who that was.  Abrams even finds a way to include original cast members including (but not limited to) Carrie Fisher, Mark Hamill, and Billy Dee Williams.  Fisher passed on in 2016 and so her scenes have been cobbled together from outtakes and pre-recorded dialogue.  Her declarations have a vagueness about them but it’s nice to see her.  Another character reappears as just a figment of someone’s memory.

The Rise of Skywalker ultimately delivers the satisfying end to — what I like to call — the nonology.  The chronicle is well-paced but at 2 hours and 22 minutes, it’s overpacked with too much stuff.  It’s messy and incoherent.  However, the central trio continues to be a charismatic bunch.  Poe (Oscar Isaac) and Finn (John Boyega) bicker like two brothers.  They still have a nice dynamic.  The main hero, Jedi Knight Rey (Daisy Ridley) gets the lion’s share of the drama.  The idea of “The Force” as an all-powerful almost Godlike solution to difficult problems is further promoted.  Rey now has abilities so advanced that she can control a spaceship flying overhead simply by outstretching her hand while she is safely on the ground.  Apparently, the force can even be manipulated in the same way that Jesus helped Lazarus.

Rey is a captivating heroine and her interaction with Kylo Ren (Adam Driver) is the sentimental core.  It shouldn’t be a surprise that there’s a lightsaber duel between the two of them.  The fact it’s set against a backdrop of stormy ocean waves that rise and crash all around them truly elevate the action.  It ends with a surprising act.  Abrams fills his account with sensational set pieces that delight the viewer.  Also ** news flash ** there will be a massive air battle between the Rebels and the Empire.  Abrams celebrates cinematic history by courting nostalgia but then amps up the spectacle.  And what’s wrong with that?  It’s his ties to the same ideas that fascinated George Lucas where The Rise of Skywalker fitfully entertains as an end to the Star Wars saga.

12-19-19

Jumanji: The Next Level

Posted in Action, Adventure, Comedy, Family with tags on December 15, 2019 by Mark Hobin

jumanji_the_next_level_ver3STARS2.5I didn’t expect much from Jumanji: Welcome to the Jungle in 2017.  I was pleasantly surprised. The feature was a fun adventure about four kids in the real world that inhabited the bodies of visually disparate avatars in a video game.  The joke was how their personalities were matched up.  For example, the shy nerdy boy (Alex Wolff) became a strong confident explorer (Dwayne Johnson) and a pretty but ditzy, self-centered girl (Madison Iseman) was reborn as a pudgy male archeologist (Jack Black).  The concept was both innovative and funny.  It wasn’t great art but it succeeded because it was entertaining.

Audiences loved the first film and positive word of mouth propelled a healthy run in theaters. It grossed over $962 million worldwide so it was only a matter of time before we got this inevitable sequel.  Once again Jumanji: The Next Level essentially relies on the very same gag with a slight twist.  The difference this time is that each protagonist is now inhabiting a different body in the simulated fantasy.  So Dwayne Johnson, Kevin Hart, Jack Black, and Karen Gillan are all back but with the added “novelty” to act in a different manner.

The proceedings are essentially a tired rehash of the previous film, but there are bright spots.  The script also attempts to inject new life by adding 2 old people.  The scribes have introduced two characters in the real world.  Danny De Vito portrays Spencer’s grandfather Eddie and Danny Glover pops up as Eddie’s estranged friend.  They are both sucked into the video game adventure.  Their temperaments are good for a few laughs.  Also, breakout star and current “It Girl” Awkwafina plays an additional avatar within the video game.  Awkwafina stands out.  She’s a legitimately good actress so she’s effective at manifesting distinctive identities.  Kevin Hart downplays his more intense charisma by talking much slower which is rather amusing in itself.

However, the story is a complete snooze.  Actor Rory McCann impersonates this “Game of Thrones” style warlord named Jurgen the Brutal.  He’s stolen a necklace called the Falcon’s Heart and the gang must get it back and expose it to the sun so they may end the drought that has infected the land and yada yada yada.

A fresh idea can no longer captivate when it’s simply repeated with more clutter.  This narrative is undone by a screenplay that is content to check the boxes of a formula to safely produce another hit in the same vein.  Writers Jake Kasdan (who also returns as director), Jeff Pinkner and Scott Rosenberg barely tweak the formula to produce this generic hit.  The first half of the movie relies more on the characters so it genially coasts on the talents of its cast but in the 2nd half, the chronicle dwells far too long on a convoluted story.  I just didn’t give a care.  The final 30 minutes is a difficult sit.  The saga runs over two hours when it should’ve been a brisk 90 minutes.  So ultimately Jumanji: The Next Level turns out to be a level down from its predecessor.

12-12-19

Frozen 2

Posted in Adventure, Animation, Comedy, Family, Fantasy, Musical with tags on November 25, 2019 by Mark Hobin

frozen_two_ver8STARS3.5Truth be told, I enjoyed Frozen just fine in 2013, but I didn’t think it was the be all and end all of animated cinema.  I was in the minority because somehow it ended up making $1.2 billion worldwide and winning the Oscar for Best Animated Feature.  I was rooting for Despicable Me 2 that year incidentally and yes I’m 100% serious.  Now we have Frozen 2, a sequel to the Disney megahit.  Coming on the heels of Ralph Breaks the Internet, I suspect that Disney is in the early stages of producing many followups to their successful properties.  Pixar has been doing this for years.  I could be snarky and say you could almost throw anything up there on the screen and it would be a hit but the filmmakers didn’t play it safe.  They have put in considerable work to deepen the drama with a complicated backstory.  I appreciate the attempt, but it’s an effort that feels unnecessary.

Before we get to the adventure, however, let’s starts with the basics.  It’s not hard to see how Frozen 2 checks off the ingredients in a recipe: bring back familiar personalities we know, introduce new characters which can be marketed as great toys, pre-package girl power messaging and highlight a musical with original show tunes.  Not a problem.  I was prepared for that.  Elsa (Idina Menzel) and Anna (Kristen Bell) return.   A magic water horse called the Nokk, a cute salamander named Bruni and a family of giant rock monsters are newly added merchandising opportunities.  It also grants us an entire soundtrack of new songs by Robert Lopez and Kristen Anderson-Lopez.  There seems to be some debate, but I contend that “Show Yourself” is the one designed to mimic “Let it Go” musically and visually in the film.  “Into the Unknown” is the ballad they’re pushing as the hit though.  The best ditty, however, is not when the soundtrack is trying to rewrite the melodies from the previous chapter.   It happens when our expectations are subverted.  Kristoff’s (Jonathan Groff) 80s influenced “Lost in the Woods” is the greatest power pop ballad that REO Speedwagon never sang.

More isn’t always better.  The story presented here proves that.  Sometimes more is just more.  The chronicle is a needlessly convoluted fantasy with more subplots.  It offers answers for questions you never thought to ask but are going to receive anyway.  Some people will adore that level of mythology.  Are you one of those people?  You have to ask yourself this question: What do you require of a cartoon?  If simplicity and clarity are what you crave, you are likely to be a bit perplexed by the elaborate exposition.  However, if you prefer more legends and fabrications, then your curiosity will be satiated.  You’re going to get a lot of expounding.  For example, the narrative will produce explanations as to why Elsa has magical abilities, and what happened to her and Anna’s parents.  I didn’t need that level of detail, but thanks for the info…I guess.  Still, it’s enjoyable enough.  The production is beautifully animated and features some nice music.  It’s a formula but it’s a formula that works.  Frozen 2 did $127 million in the U.S. during its opening weekend so be ready to take your children to a movie they will beg you to see.  That is if you haven’t seen it already.

11-21-19

Zombieland: Double Tap

Posted in Adventure, Comedy, Horror with tags on October 21, 2019 by Mark Hobin

zombieland_double_tap_ver2STARS3.5So forgive the pun, but I am a DEAD-icated fan of the 2009 original film.  With that said, I didn’t need a sequel 10 years later but here we are.  I’m happy to report it’s a funny and well-paced tale.  Director Ruben Fleischer (Venom) returns along with the same screenwriters Rhett Reese and Paul Wernick (Deadpool).  Writer Dave Callaham is a new addition.  The script doesn’t overcomplicate things.  Zombies are still on the loose and our four protagonists are back to fight them.  Tallahassee (Woody Harrelson), Columbus (Jesse Eisenberg), Little Rock (Abigail Breslin) and Wichita (Emma Stone) all go by the cities where they’re from.  Those aren’t their actual names.  Getting too attached to people in this society is not encouraged.  Death by zombies is a serious reality.

Zombieland 2 Double Tap is an entertaining road movie about a family of sorts.  Little Rock isn’t a child anymore.  An adolescent often needs to rebel against a father figure.    She leaves the nest, so to speak, and meets up with a hippie/stoner/pacifist named Berkeley (Avan Jogia).  The others go out on the road in search of her.  That’s when the adventure starts to get interesting.  Along the way, they meet a blonde airhead named Madison.  Actress Zoey Deutch (Everybody Wants Some!!) is the MVP of this production.   How Madison has managed to survive in this post-apocalyptic wasteland is nothing short of a miracle.  Deutch is absolutely hilarious.  She steals every scene in which she appears.  No small feat given the caliber of talent assembled here.  These 4 stars have 8 Oscar nominations between them.  Emma Stone (La La Land) has actually won.

Our heroes have truly perfected their zombie-killing methods.  Over the years, walking corpses have evolved.   They’ve divided these monsters into different types by giving them humorous code names.  Brief vignettes detail the “zombie kills of the year” and each interlude is good for a few chuckles.  Columbus’ strict rules for survival frequently pop up like huge letters that take up space in the physical world to emphasize their importance.  In fact, a double-tap shooting technique is the most effective way to kill the undead.  However, I’ve also got a cinematic rule of my own.  Projectile vomiting is never okay.  This movie unfortunately breaks that rule.

Like its predecessor, Zombieland: Double Tap is a comedy first and a horror movie….well it really isn’t very scary at all.  Although it is incredibly violent.  Zombies are shot within point-blank range over and over.  The nonstop slaughter feels like a first-person-shooter video game in a comedic vein.  That flippant attitude pervades the adventure.  The playfulness helps to both lighten the mood as well as make the entire endeavor feel like a frivolous exercise.  These friends live at the White House, go to Graceland in one segment, meet their doppelgangers in another.  It’s all so very random – a series of gags that have been assembled together to make a feature.  Yet the dialogue-heavy screenplay has a lot of bright banter that truly elevates this clever zombie satire.  The conflict amongst this amiable extended family is far more engaging than any of the altercations with faceless ghouls.   As a compelling story the narrative is lacking, but as an afternoon diversion to make you laugh the production is quite successful.  Yes, this sequel is completely unnecessary but that doesn’t mean it’s not an enjoyable comedy.   I laughed out loud…a lot.

10-17-19

Maleficent: Mistress of Evil

Posted in Adventure, Family, Fantasy with tags on October 20, 2019 by Mark Hobin

maleficent_mistress_of_evil_ver6STARS2.5First off, let’s clarify one point right away.  Maleficent the “Mistress of Evil” is NOT a villain.  This is a sequel to the 2014 live-action feature which was a revisionist take on Disney’s Sleeping Beauty.  Maleficent wasn’t bad in that film either, just misunderstood.  Here she’s actually bordering on virtuous because there’s another character that becomes the main antagonist.

You may recall that Maleficent (Angelina Jolie) is Princess Aurora’s fairy godmother.  Aurora (Elle Fanning) Queen of the Moors wants to marry Prince Phillip (Harris Dickinson).   Their vacant personalities are dull.  Perhaps it shouldn’t matter since this young couple in love isn’t the focus, but I felt no sympathy for them.  In fact, I couldn’t relate to any living thing in this film.  That includes all of the whimsical assemblages of flora and fauna that are aggressively thrust into the audience’s face.  Problems arise during an awkward family dinner.  Aurora’s parents are King John and Queen Ingrith played by Robert Lindsay and Michelle Pfeiffer.  They invite their prospective in-law Maleficent over to dinner to ostensibly welcome her into the family.  However, the Queen has ulterior motives and starts an argument with Maleficent that turns really ugly.

Angelina Jolie brings true movie star charisma to the role.  It’s nice to see her acting again.  Jolie has only appeared in one picture since the last installment — the box office bomb By the Sea in 2015.  She’s at her best when she’s desperately trying to make nice with the royals and failing miserably.  The costumes (Maleficent got an Oscar nomination for this) are spectacular and the production design is luxurious.  However, the sheer amount of CGI in this concoction is almost too much for the human eye to comprehend.  The technology rendering various elves, nymphs, sylphs, sprites, and pixies infects every frame.

I lost track of how many artificially rendered side characters exist in this world.  The three pixies played by Imelda Staunton, Juno Temple, and Lesley Manville are an abomination.  Their manifestation hasn’t changed from the 2014 entry.  These fairies don’t resemble anything even remotely organic.  Their shrunken faces, squeezed into diminutive bodies are merely graphical displays.  The nadir is when one of them utters the colloquial expression: “I see what you did there.”   A chattering Sonic the hedgehog-like critter named Pinto speaks in a cutesy high pitched language that I can only describe as Ewok.   There’s a mushroom fairy named Button that gets captured by an evil goblin scientist with big ears named Lickspittle (Warwick Davis).   He resembles Yoda.  There are also tree creatures that evoke Groot from Guardians of the Galaxy (or the Ents in Lord of the Rings – take your pick).  On-screen, it’s just a visual assault of random stuff.

The story is a bloated mishmash that superficially draws more from Game of Thrones or Lord of the Rings than the animated classic from 1959 on which this was inspired.  Only shapeshifter Diaval, Maleficent’s right-hand man, is able to register some presence.  You’d think a confrontation between Michelle Pfeiffer (bedecked in pearls) and Angelina Jolie (at her vampiest) would be a captivating showdown.  Nope! Maleficent: Mistress of Evil bungles even that.  A lot of the blame can be placed at the doorstep of screenwriter Linda Woolverton who wrote a better screenplay for Maleficent (2014). The script is simply awful. Though the multimedia artists are definitely working against her.  The movie is more concerned with digitally enhanced special effects than actual drama.  There’s no emotional weight to their interactions.  I was numb watching this tale play out.  Back in 2007, Michelle Pfeiffer appeared in a Matthew Vaughn directed fantasy called Stardust.  That award-winning delight is infinitely superior to this dreck.  If this review can have a positive effect, it will inspire someone to go watch a good film.

10-17-19

Abominable

Posted in Adventure, Animation, Comedy, Family with tags on October 2, 2019 by Mark Hobin

abominable_ver4STARS3This site is called “Fast” Film Reviews so I’ll get right to the point.  I’m giving Abominable a marginal pass because it’s vivid entertainment that will undoubtedly charm 8 years olds and under who haven’t been corrupted by as many movies as I.  My mind, however, went to a lot of other flicks while watching this tried and true tale.   It suffers by comparison.  The adventure is about a Yeti.  It begins in Shanghai, China.  One day a girl discovers a cute roly-poly creature with a loving disposition on her rooftop.  He has escaped from his holding cell in a laboratory at the sinister Burnish Industries.  The two bond and she names him Everest.  She vows to bring him back to that highest mountain on earth where he lives.  The problem is that they’re pursued by authorities who want to apprehend him.  With her basketball-loving friend Peng (Albert Tsai) and his selfie-obsessed cousin Jin (Tenzing Norgay Trainor), the four individuals undertake an epic journey.

Despite the setting, the experience succumbs to an Americanized milieu.  This is a joint effort by DreamWorks Animation and Pearl Studio.  With the exception of her diminutive grandmother Nai Nai (Tsai Chin), the entire cast sounds as if they were assembled from a Hollywood casting call of local talent.  The central character is a teenaged girl named Yi.  Given the flat tonal quality of her voice, she recalls Miley Cyrus (Bolt) to this untrained ear.  I checked the credits and saw it was in fact actress Chloe Bennet (Marvel’s Agents of S.H.I.E.L.D.).  Yi plays the violin which allows for a few expressive pieces that genuinely enhance the soundtrack.  However, hearing London based Coldplay’s song “Fix You” takes you right out of that atmosphere.  A pop ditty entitled “Beautiful Life” by Brooklyn born Bebe Rexha doesn’t add to the mood either.  English Eddie Izzard and American Sarah Paulson voice the antagonists.   Ok so the visual backgrounds are culled from Far East locations but there’s nothing about this production that would have substantially changed if it had been set in a large American city like New York.  In a year where The Farewell truly presented Chinese culture with depth and nuance, you’re going to have to do better than simply having your characters eat a few pork buns.  Abominable was also released with a far more evocative Mandarin-language translation for Chinese-speaking moviegoers.  Personally, I would’ve appreciated that version, with English subtitles of course.

Abominable meets the acceptable standard of children’s entertainment.  It’s pleasant enough. The visuals are indeed colorful and the saving grace of this picture.  A highlight occurs when huge blueberries rain down a hill toward our protagonists in a tsunami.  Vast sweeping fields of canola flowers are appropriately stunning.  Shanghai is a glowing neon metropolis, the Gobi desert is pretty and the giant mountainside Buddha in Leshan is an impressively rendered landmark.  The principal critter is a smartly designed plump ball of fur.  He doesn’t resemble an abominable snowman but as a stuffed animal to be manufactured and produced for the masses, he’s adorable.  The animation is adventurous.  The screenplay by writer-director Jill Culton is not.

The “girl makes an unlikely friend” chronicle is stridently average.  Substitute Everest for an alien or pet or dragon and you have the blueprint of countless (better) tales that have come before.  Additionally, the pacing is unbearably slow.  There is surprisingly very little humor to break up the monotony.  A full third of the drama must elapse before they even begin their journey, which is the main thrust of the narrative.  The final installment of the How to Train Your Dragon trilogy came out just 7 months ago.  That far superior release was also from DreamWorks, so the company is actually offering pale imitations of their own movies now.  This story is rote and unoriginal.  The noteworthy thing about Abominable is that it’s is the 7th movie from Universal to top the box office weekend in the U.S. this year (8 if you include Downton Abbey).  The studio has the most #1 films in 2019.  At a time where Disney’s dominance over the market is unprecedented, I love to root for the underdog.  Kudos to Universal for still being a competitor.  I just wish it could do so with a less conventional product.

10-01-19