Godzilla: King of the Monsters

Posted in Action, Adventure, Fantasy with tags on June 1, 2019 by Mark Hobin

godzilla_king_of_the_monsters_ver9STARS2Godzilla: King of the Monsters is the third episode in Legendary Entertainment’s MonsterVerse, a cinematic series co-produced and distributed by Warner Bros.  I’m not sure how many audience members are savvy to the fact that this is actually part three.  It really doesn’t make any difference to understanding the plot anyway.  There is none.  At least not one that requires background information.  Monsters attack.  That’s all you need to know.  This is technically a direct sequel to Godzilla (2014) but it immediately follows Kong: Skull Island (2017).  I was a fan of both entries so I walked into it with great anticipation.  I walked out having experienced one of the biggest disappointments of 2019.

I realize looking for intellectual sense is futile.  Godzilla flicks aren’t known for their conversation, and as expected, the screenplay by director Michael Dougherty and Zach Shields is completely idiotic.  Why these Kaiju or “strange creatures” get released from their dormant slumber is explained through the motivations of Vera Farmiga’s paleobiologist.  Dr. Emma Russell has got to be one of the most bewildering personalities in a 2019 production.  A screenplay shouldn’t even bother to offer clarification if the motive is so implausible.  Emma sympathizes with an eco-terrorist named Jonah Alan (Charles Dance).  Emma wants the enormous beasts to destroy civilization so that they can restore the natural order.  She’s like like Thanos in Avengers: Endgame.  Her declarations sound like the ravings of a lunatic.  Yet she’s presented as an ostensibly sympathetic level headed individual.  Sorry, even Vera Farmiga’s considerable acting chops can’t sell this half baked character.

The script feels the need to offer detailed exposition in a movie that doesn’t call for it.  The rest of the cast of famous performers is simply here to recite horrible dialogue to further a routine plot.  There is a lot of insipid explanation.  Emma’s ex-husband is the sensible Dr. Mark Russell, played by Kyle Chandler.  They have a daughter named Madison, Stranger Things‘ Millie Bobby Brown.  International stars Ken Watanabe and Zhang Ziyi play scientists.  They should fire their agents.  After a gathering of experts has Dr. Emma Russell leaving the room, Dr. Ilene Chen (Zhang Ziyi) blurts “What a b—!”  Cue audience laughter.  This is what passes for wit.  The exclamation “Oh sh–!” is uttered a couple times to express a surprise.  Simply saying nothing would have been better.

I don’t demand great acting or writing in a Godzilla flick but I do expect awe-inspiring creature battles that are enjoyable to watch.  Godzilla: King of the Monsters even fails in providing these rudimentary pleasures.  Most of the action takes place at night so all the computer-generated imagery is obscured by darkness.  One sequence actually takes place during a blizzard in Antarctica.  When something does occur during the day, there’s so much smoke and debris in the air that the activity looks muddy and dull.  There are parts so devoid of color it looks like a black and white film, or rather gray and dark gray.  Say what you will about the ridiculous special effects in the 1954 Godzilla movie that started it all.  At least it was clear and you could see what was happening.

2014’s Godzilla wasn’t Shakespeare but it was breathtaking to watch.  The admittedly bland cast of human characters was highlighted by beautifully shot sequences of citywide destruction.  Some complained there wasn’t enough action.  Yet director Gareth Edwards understood that just the sight of a colossal winged beast taking off into the night sky could create a feeling of wonder and awe that was exciting.  He took his time laying the groundwork for a climax that felt like a spectacular release when the awesome creature ultimately destroyed San Francisco.  Sadly he didn’t return to shoot this picture.  Michael Dougherty (Trick ‘r Treat, Krampus) apparently equates incomprehensible mayhem with excitement.  We see various creatures throughout the picture.  Only in the final 30 minutes do we get the actual showdown we were promised in the trailer.  Mothra is the queen to Godzilla’s king who face off against the three-headed Ghidorah (a.k.a. Monster Zero) and Rodan.  We get a lot more monsters but a less visually impressive spectacle.  If only we could see the giant lizard king more clearly.  The new Godzilla movie has a reptile dysfunction.

05-30-19

Booksmart

Posted in Comedy with tags on May 29, 2019 by Mark Hobin

booksmartSTARS4Every era has its classic coming of age tale.  Rebel Without a Cause, Blackboard Jungle, The 400 Blows, American Graffiti, Fast Times at Ridgemont High, The Breakfast Club, Dazed and Confused, Clueless, Superbad, The Perks of Being a Wallflower.  There are so many others.  Generation Z is maturing into adolescence.  They are currently getting the movies that define their age.  We will have to wait to see what will stand the test of time.  Last year’s Eighth Grade is a good candidate.  It was my favorite film of 2018.  I’m thinking Booksmart has a good chance of making the grade.

Booksmart centers on class president Molly, a driven, scholarly-minded teenager played by Beanie Feldstein.  She wears a blazer paired with a turtleneck to school.  Her best friend is Amy (Kaitlyn Dever).  They’re both academic overachievers who have stayed out of trouble for their entire scholastic career so that they could get into the finest colleges.  Molly is heading to Yale.  Amy to Columbia.  Then one fateful day, Molly’s world comes crashing down around her when she comes to a distressing realization.  Her lackadaisical peers have been accepted to Ivy League schools as well.  Even the blissfully unaware stoner (Eduardo Franco) has been recruited to code for Google.  Molly’s discipline, good behavior, and focus were apparently for nothing she reasons.  Enraged at having missed out on high school fun, these former “goody-two-shoes” make a vow to condense 4 years of social life into one full uninterrupted night of partying.  In this way, they can “make up” for 4 years of good behavior.  Incidentally, this revelation is gleaned from a conversation overheard in the school’s unisex bathroom.  This is so a movie of our times.

I usually don’t compare pictures in a review.  However, this “one crazy night” in the life of two misfits on the cusp of graduation was the same foundation behind Superbad.  Both also share a casting director, Allison Jones.  Star Beanie Feldstein is the sister of Jonah Hill who starred in that production.  These R-rated shenanigans measure up favorably to that classic.  They’d make a perfect double feature.  So comparisons are quite apt. Booksmart is actress Olivia Wilde’s directorial debut.  She’s known for playing Quorra in Tron: Legacy, and “Thirteen” on the medical-drama TV series House (2007–2012).  She’s also engaged (since 2013) to former SNL member Jason Sudakis.  Sudeikis plays a goofy principal with no moral authority.  He moonlights as a rideshare driver.  Which brings me to my next point.

Booksmart is another movie that treats adults like clueless idiots and teens as the hip people who all want to aspire to be.  Amy’s mom (Lisa Kudrow) and dad (Will Forte) have crafted a celebratory dinner of entrees with themes for her graduation.  Their indulgence is presented as quaint.  One of their teachers (Jessica Williams), who seems sensible at first, shows a complete lack of discretion at a party with a student.   I must admit, as I get older this “naive adult” gets more and more annoying.  However, I’m pretty cognizant of my hypocrisy.  I can appreciate the skewed perspective of the American adolescent because (shocker) I too was one once.  My teens years played out during the mid-1980s era of John Hughes films where that character was an archetype, so I can relate.  Booksmart captures the zeitgeist of that perspective in a way that is highly entertaining.

There’s a vibrant energy to Booksmart that infuses every scene.  Like so many films of this ilk, it’s highlighted by a charismatic ensemble of up and comers.  I suspect some will have success in the future.  Time will tell.  Molly and Amy are witty goofballs.  Their central friendship is sweet and uplifting.  Molly is the more confident of the two.  There’s an intensity to her character that is particularly amusing.  She has a crush on über-popular class vice-president, Nick (Mason Gooding).  Amy pines for a skater girl named Ryan (Victoria Ruesga).  Like their schoolmates, they all seem to live in the rarefied air of a posh suburb in Los Angeles.  They own cars and live in houses (not apartments).  Some exude ostentatious wealth.  We still have the cool kids, jocks, nerds, mean girls, drama geeks, etc.  What’s changed is the egalitarianism of this high school.  I didn’t see one bully.  They may not all be best friends, but no one is persecuted for being different.  Ah, movies!

What ultimately sends Booksmart into the stratosphere is the engaging chemistry of the supporting cast who populate the school.  These classmates include Noah Galvin as George who plays a flamboyant, and that’s putting it mildly, theater geek hosting a murder mystery soiree.  There’s also Skyler Gisondo as Jared, a dorky rich kid who remains conspicuously uncool.  He tries to buy the friendship of his peers by throwing the 1st of three parties the girls crash.  It’s on a yacht with a gambling casino and tuxedoed waiters serving hors d’oeuvres.  The complimentary gift bags include an iPad.  He’s invited everyone, but no one shows up.  That’s a lot for the audience to swallow.  I don’t care if you’re my mortal enemy.  I’m most definitely checking “will attend” on THAT invitation.  Lastly, there’s Jared’s friend Gigi played by Billie Lourd. She is Carrie Fisher’s real-life daughter.  Lourd’s ability to keep popping up at every party is hilarious.  She’s absolutely a scene stealer.  One might argue that the “message” for these girls to indulge every instinct does get questionable by the end and projectile vomiting is never OK.  Overall it’s raunchy but not mean-spirited.  The egalitarian nature of this fantasy is warm and appealing.  The charisma of this cast is palpable and there are many laughs along the way.

05-24-19

Aladdin

Posted in Action, Adventure, Comedy, Family, Fantasy with tags on May 27, 2019 by Mark Hobin

aladdin_ver2STARS4It’s hard not to look upon these live-action remakes of Disney classics with a bit of cynicism.  Let’s face it.  Familiarity is safe.  Reselling old stories by “updating” them with CGI takes less creativity than having to create something unique.  Some might call them a cash grab.  Truth is.  Most have been wildly lucrative.  Alice in Wonderland (2010), The Jungle Book (2016) and Beauty and the Beast (2017) being the most notable examples.  That success just feeds into the disapproval.  The box office is certainly there.  However, a cash grab implies something hastily assembled of poor quality.  This definitely does not fall into that category.

Aladdin is a big, extravagant production with musical numbers.  Additionally, costumes and set design are top-notch.  Beauty and the Beast was nominated for both categories back in 2018.  I’d argue that this film is even more deserving of those awards.  There’s a cave of wonders, a flying carpet, and a magical genie.  The source material is not easy to adapt.  There’s a joyous feeling that takes all of those miraculous elements and recreates them in a physical form.  Yes, the imitation feels familiar and less innovative than something fully different.  Yet the manifestation is so spectacular.  It feels like an homage that honors the original.  Aladdin has already been recreated as a musical which had its Broadway debut in 2014.  The idea of adapting this cartoon with human actors is nothing new.  The successful show was nominated for five Tony Awards.  Actor James Monroe Iglehart actually won for playing the Genie.

Of course, it was Robin Williams’ vocal performance that elevated his iconic portrayal in the 1992 animated version.  That’s the role that everyone remembers and actor Will Smith is tasked to fill his very large shoes here.  Just as Emma Watson’s marquee name assisted Beauty and the Beast so too does the Fresh Prince fulfill that part here.  He’s a personality, admittedly, not an impressive vocalist.  Thing is, the veteran actor is wonderful in his own unique way.  His achievement is admirable.  Unfortunately, director Guy Ritchie (Sherlock Holmes) has made the decision to have his character vacillate between two extremes.  When Smith gets to be himself and simply exude his natural charisma he’s the most appealing he’s been in years. In fact, he even gets a love interest with Jasmine’s lady-in-waiting Dalia (Nasim Pedrad).  However, when he’s reduced to a blue CGI creation, it’s jarring.  He’s not pleasing in that configuration.

The two leads are more exceptional.  Mena Massoud (Aladdin) and Naomi Scott (Princess Jasmine) are charming.  I’m not going to unnecessarily detail a tale that is nearly three decades old, but in a nutshell: Aladdin is a “street rat” trying to survive in the bustling city of Agrabah when he runs into Princess Jasmine.  She’s disguised as a commoner like him to understand the conditions of the working class.  The two meet and a connection is made.  The screenplay increases the importance of Jasmine.  She’s got political aspirations to rule her father’s kingdom.  She also gets a new song “Speechless” which is heard twice.  It’s not better than the original songs, but since those can’t be nominated again, it gives the producers the ability to submit it for Oscar consideration.  Jasmine is just as important as the titular hero, but not to his detriment.  She brings a commanding presence.  Massoud is warm and engaging as Aladdin.  The two could have easily come across as bland pretty people.  They are surprisingly great together.  The focus is on what makes them tick not sexiness.  Both bared a lot more skin in the cartoon.  Aladdin is covered up.  His shirtless vest is gone.  Jasmine’s father is the Sultan (Navid Negahban) who rules over the city.  He’s advised by a deceptive sorcerer named Jafar (Marwan Kenzari).  Both are merely a plot means to an end but not a deal breaker in this interpretation.

My 3 wishes for Aladdin were that (1) it would star captivating leads that had chemistry together (2) feature a lively genie that made me laugh and (3) highlight bright splashy production numbers.  I’ve detailed how it delivered the first two.  I’m happy to say my hopes were fulfilled on the third as well.  In particular, the “Prince Ali” number is a fully realized processional accompanied by some fantastic (if not geographically correct) Bollywood-style dancing.  “A Whole New World” and “Friend Like Me” are enchanting too.  This isn’t a replacement of your beloved original.  It’s a remix of sorts.  By adhering mainly to the classic story with only minor tweaks, Disney’s reimagining delivers the goods.  True, it may not be a whole new world.  That’s actually a good thing.  See the execrable Dumbo (2019) if you need proof.  Say what you will about these live-action remakes.  Aladdin is among the very best.

5-23-19

The White Crow

Posted in Biography, Drama with tags on May 20, 2019 by Mark Hobin

white_crow_ver2STARS3The White Crow could be about anything.  The cryptic title is explained in the very first frame.  It’s a Russian term for someone “unusual, extraordinary, not like others, an outsider.”  I suppose I should realize by now that color + bird = ballet movie.  Black Swan and Red Sparrow also wove the same discipline into its storyline.

The White Crow concentrates on famed dancer Rudolf Nureyev (Oleg Ivenko)  during his young adulthood.  Most acknowledge him as the greatest male ballet artist of his generation.  He was also the first major Soviet artist to defect to the West during the Cold War.  This contemplative film leisurely advances towards a captivating conclusion.  The account depicts his humble birth on a moving train in 1938, becoming a sensation with the Kirov Ballet (now known as the Mariinsky) in the late 1950s and the rising acclaim surrounding his early career.

These episodes aren’t depicted in order but rather shifting back and forth. I’ve often felt that haphazard embellishments are utilized when a director doesn’t have enough faith in his tale to tell it in a normal fashion. As if chronological order is too conventional. However, the drama’s clarity is obfuscated by this narrative device as I was often unclear whether certain events occurred earlier or later.  Rudolf Nureyev was a man with a fascinating story.  To wit, most of the focus is on a fateful 6 week trip to Paris with the Kirov Ballet in 1961.  The developments of his life would certainly make an interesting production without the stylistic devices employed here.

Written by two-time Oscar nominee David Hare (The Hours, The Reader) and directed by also twice Oscar-nominated actor Ralph Fiennes, this biopic has prestige oozing from every cinematic pore.  Hare was inspired by Julie Kavanagh’s book: Rudolf Nureyev: The Life.  Nureyev was a temperamental man and director Ralph Fiennes doesn’t attempt to make his subject likable.   Fiennes also appears in a small role as Alexander Pushkin, Nureyev’s teacher and mentor in Leningrad.  The cast also benefits from the presence of Adèle Exarchopoulos (Blue Is the Warmest Color), who portrays Clara Saint, a 21-year old French woman who ends up playing a key element in Nureyev’s personal revolt.

Rudolf Nureyev’s mercurial character is highlighted by first-time actor, Oleg Ivenko, a real-life Ukrainian ballet dancer.  There are brief snippets showcasing his prowess but little in the way of performances.  I wanted to see more of that talent and less brooding.  Ivenko does a good job at conveying his rebellious mood, however.  Nureyev is not a warm person but that’s not required to enjoy this movie.  The saga ultimately builds to a memorable scene with a mesmerizing climax.  While Nureyev’s ballet troupe was to continue on to London, he was being summoned back to Moscow.  The real reason is unclear but his arrogant disdain for company regulations certainly played a part.  The request was enough to send him into hysterics.  The defection is a seemingly impulsive decision that makes perfect sense.  If only it didn’t take so long to get there.  At 127 minutes, the film’s distended length doesn’t do its subject any favors.  Some thoughtful editing would improve the drama immeasurably.  Chop 20 minutes out and just get to the “pointe”.

05-16-19

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

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

The Curse of La Llorona

Posted in Horror, Mystery, Thriller with tags on April 23, 2019 by Mark Hobin

curse_of_la_llorona_ver2STARS2.5In Mexican folklore, La Llorona (Marisol Ramirez) is the legend of a “weeping woman” who drowned her children in a blind rage.  The act was to take revenge on her philandering husband, but once she realized what she had done, the river had already carried them away.  After her death, she was prevented from entering the kingdom of heaven until she found them.  Thus, she continues to wander the night looking for children whom she mistakes for her own.

The Curse of La Llorona is the sixth installment in producer James Wan’s horror franchise that began with the breakout success of The Conjuring in 2013 and includes Annabelle (2014) and The Nun (2018).  The fable dates back to 1673 and it’s nicely reenacted as an eerie intro that sets the stage for the proper story here.  The production is a period piece that mainly takes place 300 years later in 1973.  This allows for Father Perez (Tony Amendola) who appeared in the 1967 set Annabelle to briefly pop up, so there’s the connective tissue to the rest of the series.

Recently widowed Anna Tate-Garcia (Linda Cardellini) becomes familiar with the myth when investigating a case of possible child abuse.  She is a social worker questioning the mother (Patricia Velasquez) of two sons.  Soon Anna’s own kids Chris (Roman Christou) and Samantha (Jaynee-Lynne Kinchen) are being terrorized.  She appeals to a former priest named Rafael Olvera (Raymond Cruz) for help.  This isn’t great art.  It’s a lot of scares loosely strung together by a generic tale dressed up in period detail.  Even though this is primitive stuff, there is some enjoyment in experiencing one shock after another.  Car windows roll down by themselves, transparent umbrellas reveal shadowy figures when lowered then disappear when raised.  Later, Rafael spreads seeds from a special tree across the doorway to prevent La Llorona from entering their home.  The scene where that barrier of protection is compromised is exceptionally intense.

The Curse of La Llorona is a very efficient horror movie.  Evaluating the way it’s constructed is kind of like looking for the nutritional value in cotton candy or analyzing the plot of a roller coaster.  This is a pure yet simple entertainment.  You’ll laugh at how openly guileless the production is in eliciting frights.  In a scant 93 minutes, director Michael Chaves piles on more jump scares per minute than any film I can remember.  That is a backhanded compliment.  The technique of creating surprises with an abrupt image accompanied by a loud sound is perhaps the laziest way to frighten the viewer.  Nevertheless, there’s a certain satisfaction in getting the very basic requirement of what you paid for.  Unfortunately, that’s all you get.

04-18-19

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

Pet Sematary

Posted in Horror, Mystery, Thriller with tags on April 8, 2019 by Mark Hobin

pet_sematary_ver3STARS3.5It’s been 30 years.  Pet Cemetery was ripe for a remake.  Oh pardon me, that’s S-E-M-A-T-A-R-Y.  Although a hit in the spring of 1989, the original isn’t held in particularly high regard.  Additionally, author Stephen King has never been hotter.  His novel It was reworked for a second time as two theatrical features in 2017 and 2019.  Even accounting for inflation, Part 1 became the biggest box office success of a Stephen King property ever.  This critic wasn’t a fan actually.  I’d have to go back to 1408 to find something based on the author’s work I enjoyed so I wasn’t highly anticipating this.  I’m happy to say that this is the best Stephen King adaptation in over a decade.

The best horror movies establish an evocative mood.  There’s something really eerie about a burial ground.  A graveyard for animals is even creepier still.  Now add the fact that I’m not a cat person.  Just the set-up of Pet Sematary is inherently scary.  Dr. Louis Creed (Jason Clarke) has relocated his family from Boston to rural Maine.  His wife Rachel (Amy Seimetz) and their youngsters, daughter Ellie (Jeté Laurence), and son Gage (Hugo & Lucas Lavoie) are getting used to their new surroundings.  Their home deep in the woods affords them peace and quiet.  The acres that now make up their backyard also includes a pet cemetery used by the locals.  While out walking one day, Rachel and Ellie come upon a funeral procession of children in frightening animal masks.  One malevolently beats on a toy drum.  The spectacle is even more menacing than it sounds.  When Ellie tries to climb beyond a tangled mass of fallen trees and brush, she is stopped from going any further by the Creeds’ well-meaning new neighbor, Jud Crandall (John Lithgow).  We’re immediately curious about what lays past the deadfall.  The unsettling unknown is often scarier than the actual reveal.

The chronicle relies on an emotional core.  The screenplay doesn’t treat grief as some throwaway concern, but an emotion with which one must come to terms.  We learn early on that mother Rachel was traumatized by the passing of her sister Zelda (Alyssa Brooke Levine).  Death has always been a hard subject for her to talk about.  When the family cat Church is hit by a truck, she decides to hide this detail from the kids and simply say the cat ran away.  Louis and Jud go to bury Church in the established shrine.  However, Jud shares a bit of information with Louis that will change their lives forever.  Pet Sematary is a horror reflection that contemplates bereavement.  Perhaps these harsh realities of life are better to accept than to reject.

This is a simple drama unencumbered by extraneous details.  Matt Greenberg (1408) has slightly changed the story from one of Stephen King’s shorter novels.  This may anger some King purists.  I don’t worship the text so it’s didn’t faze me.  Screenwriter Jeff Buhler (The Prodigy) has adapted the source for directors Kevin Kölsch and Dennis Widmyer (Starry Eyes) who take a refreshingly spartan approach to the proceedings.  This is a bare-bones study with effective scares and a chilling atmosphere.  As we’ve recently seen in Hereditary and Us, a performance can greatly enhance a production.  11-year-old actress Jeté Laurence gives a nuanced portrayal.  Ellie Creed is a complex role worthy of an actor twice her age.  Unfortunately, the developments succumb to blood and guts violence in the final act.  I’m not a fan of viscera.  Then again it probably wouldn’t be Stephen King if it didn’t include some.  Thankfully this tale depends more on emotions than gore.  The sophisticated craft is markedly better than the silliness of the 1989 version.  Christopher Young’s ominous score adds to the disturbing milieu.  The ambiance is a mounting wall of impending dread.  I “dug” this Pet Sematary.

04-04-19

Dumbo

Posted in Family, Fantasy with tags on April 1, 2019 by Mark Hobin

dumbo_ver2STARS1.5It takes a special kind of talent to twist an uplifting story and turn it into a depressing slog.  The animated Dumbo (1941) is widely considered one of Disney’s 10 greatest animated films by published critics who make it their business to rank such things.  That’s not my opinion it’s simply a fact.  How director Tim Burton was able to take a heartfelt animated treasure and pervert it into this soulless shell of a disgrace is almost incomprehensible.  For the purposes of this review, however, I’m going to try.

Tim Burton actually worked for Walt Disney as an apprentice animator beginning in1980.  By 1984 he directed a short while there called Frankenweenie.  He was summarily fired by the studio shortly thereafter.  Could this be some sort of pent up anger finally being released decades later?  He’s worked with the studio several times since. That 2010 Alice in Wonderland adaptation isn’t great either but at least it had a modicum of reverence for the source material.  What Burton has accomplished here is the desecration of a classic.  The original was about how an outsider comes to terms with what makes him different and then capitalizing on that supposed weakness.  Dumbo’s big ears became a strength allowing him to triumph over adversity winning the hearts of all those around him.  This aberration of a film marginally runs on the fumes of that idea, but it’s really about something else entirely,

The animated Dumbo (1941) clocked in at a mere 64 minutes.  That’s roughly an hour folks.  Burton’s Dumbo is near twice that length.  Dumbo isn’t told from the perspective of the animals.  None of the critters talk in this version.  Dumbo is a saga about people.  The financial woes of a struggling circus appear to worsen when a newborn baby elephant is born with oversized ears.  Widowed and one-armed horse trainer Holt Farrier (Colin Farrell) is hired by circus owner Max Medici (Danny DeVito).  He’s got two dead-behind -the-eyes children.  Milly (Nico Parker) and Joe (Finley Hobbins) channel all the excitement of a damp dishrag in their performances.  They discover early on that Dumbo can fly.  The cute little guy takes off so frequently for audiences at Medici’s circus that it feels like no big deal.  This catches the attention of V.A. Vandevere (Michael Keaton) an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life amusement park, Dreamland.  The carnival feels like a veiled attack on Disneyland.  Talk about biting the hand that feeds you.  Vandevere and aerial artist Colette Marchant (Eva Green) make the odd pachyderm a star in his circus.  Unfortunately, life under his big top is not all that it seems.

Before I completely tear this sacrilege apart, I want to give Dumbo its due.  The production looks impressive.  Most noticeably, the photo-realistic digital CGI representation of the main character looks convincing.  The set design by Rick Heinrichs and costumes by Colleen Atwood convey a magical fantasy that’s beyond compare.  Visually my eyes were satisfied by the painstaking details.  Additionally having real-life announcer Michael Buffer portray a ringmaster that bellows “LET’S GET READY FOR DUMBOOO!” was a nice touch.  However, I’d have to go back to The Wiz (1978) to find a stunning work of art based on a joyous original that was so inherently empty.  Like that 70s musical adaptation, a lot of obvious care and craft has gone into creating something that looks beautiful.  Yet peel back the meticulous facade and it’s devoid of substance. Dumbo sucked the life out of me.

Despite its distended length, Burton eviscerates everything that made the prototype so great.  Granted I didn’t expect the crows to make an appearance.  Although reclaiming and redeeming those characters would have displayed the kind of confidence I admire in an auteur.  Once upon a time, Tim Burton was that guy.  The witty wordplay from the crows’ song “When I See an Elephant Fly” is still half-heartedly incorporated into the script.  It’s the wittiest dialogue said in the entire film.  But remember the part where Dumbo’s mother spanks an unruly child?  Or where she rocks Dumbo to sleep in her trunk like a baby?  Or Timothy Q. Mouse, Dumbo’s streetwise but supportive confidant?  Or the whimsical elephants on parade number when Dumbo gets drunk?  How about the climactic surprise of a circus crowd that first gasped to see an elephant take flight?  Eliminated, corrupted and mishandled.  All of it.  Point blank and period.  The screenplay by Ehren Kruger (Ghost in the Shell) subverts joy and exploits suffering.  Dumbo is one of the grimmest tales meant for children that I’ve ever seen

03-28-19