Archive for 2018

The Death of Stalin

Posted in Comedy, Drama, Fantasy with tags on April 19, 2018 by Mark Hobin

death_of_stalinSTARS4The Death of Stalin is a political satire about the power struggle that occurs after the infamous leader (or more appropriately – dictator) of the Soviet Union suffers a stroke and dies. The aftermath has a major effect, plunging the ruling government into a genuine free-for-all where control is seemingly up for grabs. The production had a most curious journey to the screen. Obviously, the characters are based on actual historical figures. However, the property began as a graphic novel by Fabien Nury and Thierry Robin. The screenplay was then adapted by Armando Iannucci, David Schneider, Ian Martin and Peter Fellows.  The film details the events in October 1953 after the Soviet Union lost its totalitarian leader of three decades. They say truth is stranger than fiction and that’s a terrific starting point for any great comedy.  In fact, the resulting power play that occurs is so ridiculous it could only be true. Be that as it may, the details of the ensuing crisis is infused with a bit of whimsical conjecture.

The depiction is a sensational ensemble piece of people who fight over Joseph Stalin’s (Adrian McLoughlin) vacant seat. There’s Nikita Khrushchev (Steve Buscemi), his advisor vs. Lavrentiy Beria (Simon Russell Beale) the head of the NKVD, the Russian secret police. These two are directly at odds. They try to manipulate a coterie of peripheral characters that include Georgy Malenkov (Jeffrey Tambor), First Deputy Premier, Georgy Zhukov (Jason Isaacs), the most celebrated Soviet military commander of World War II, Vyacheslav Molotov (Michael Palin), originally the Minister of Foreign Affairs, but subsequently placed on his enemies list, and lastly Vasily Stalin (Rupert Friend), the famed communist’s son. Well-informed history buffs will be in absolute heaven. For others, it can be a lot to grasp. I’ll admit there were times I was a little confused as to who is aligned with whom.

The Death of Stalin is such a literate comedy. So packed with intelligence and wit. It’s a veritable smorgasbord of one-liners and quotable dialogue. It can get somewhat impenetrable, but for those with the right mindset, it is a most rewarding experience. Director Armando Iannucci cleverly utilizes real occurrences and then embellishes for the purposes of parody. In the U.S. the director is probably best known for creating Veep, the HBO TV series starring Julia Louis-Dreyfus. It’s full of political satire as well. Right from the start, the circumstances here are completely absurd. A live performance of Mozart’s Piano Concerto No. 23 has just been broadcast over the radio waves. Stalin requests a recording of the concerto. The trouble is, none was made. Comrade Andreyev (Paddy Considine) frantically endeavors to restage the entire concert, including bringing in random people to recreate the commotion of the audience. It’s just as bizarre as it sounds.  Things only get more outlandish from there.

There is something inherently satisfying about taking the exemplars of pure evil and making them buffoons. The film makes a lot of concessions in the name of comedy. For example, no Russian is spoken. The actors don’t even attempt a fake accent. They speak English as they would in their everyday life, cockney diction included!  It’s a bold but welcome choice. Elsewhere the screenplay wisely references the egregious sins of Lavrentiy Beria without unnecessarily dwelling on their legitimate horror. “Shoot her before him, but make sure he sees it,” he commands at one point. The execution ordered with all the calm demeanor of selecting an entree off a dinner menu.  Despite the subject, it remains comical, even when dramatizing the physical demise of Stalin. The exhibition of his body falling to the ground produces a loud thud. Hearing the noise, the two bumbling guards outside his room debate whether they should investigate. Too afraid, they don’t. When they finally realize he is ill, it would make sense to find a doctor. Ironically all the good physicians have either been killed or sent to the gulags. No one wants to treat him for fear of reprisal by the state. I could go on and on and on with more hard to believe examples. The funeral scene is my favorite, but I’ve said enough. I’ve tempted you with the history, now see the way it’s been exploited for laughs. The script shrewdly mixes what literally happened with some creative augmentations for the sake of humor. The amazing thing is the root of these events actually transpired. How it all played out is another story, but that’s where the fun of this chronicle begins.

04-16-18

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A Quiet Place

Posted in Drama, Horror, Thriller with tags on April 8, 2018 by Mark Hobin

quiet_placeSTARS3.5In the climax of a thriller, tension is often extracted when the main character is hiding from a dangerous threat lurking nearby.  It could be another person, an animal, an alien, whatever. You name it. As long as they don’t make noise, they’ll be OK. We hold our breath praying that our hero doesn’t give himself away. The menace looms closer. The protagonist’s heart beats faster. Our hearts beat faster in the audience. The stress can be unbearable. A Quiet Place is extremely clever. The story takes the crucial element of a horror film and makes that apex the entire picture. The anxiety is non-stop for the duration of the production.  It’s extremely compelling.

Things are hushed right from the beginning. A Quiet Place doesn’t waste time with exposition, but we can sort of gather info as things develop. We’re in the very near future. Earth has been taken over by some really scary looking aliens that prey on human beings. As long as people remain silent, they are safe. Make a sound, and individuals run the risk of being discovered. The Abbotts are a family simply trying to stay alive. You’ll find out within the first few minutes how hard that is. There’s Lee (John Krasinski), the father, mother Evelyn (Emily Blunt), and their daughter Regan (Millicent Simmonds). She happens to be deaf, both in the drama and in real life. Regan has two brothers as well: Marcus (Noah Jupe) and Beau (Cade Woodward). Complicating matters is when Evelyn becomes pregnant.   Psst….babies are kind of noisy.

A Quiet Place is an effective horror tale that entertains as it plays. To this fan, actor John Krasinski will forever be Jim Halpert on the NBC sitcom The Office. Clearly a man of many talents, he directed and co-wrote this screenplay with Bryan Woods and Scott Beck. He directed his real-life wife Emily Blunt who plays his fictional wife in the story.  That makes the role easier.  They’ve been married since 2010.  No need to feign onscreen chemistry.  They’ve had plenty of practice.  They’re the couple at the center of a very interesting but uncomplicated idea. For long stretches, there is virtually no sound at all. The tension is unbearably intense at times. The experience will require absolute silence in the theater too.   It will certainly be a most demanding test of a modern audience to not make a peep while watching a horror film. Obviously talking and cell phones are always forbidden but I’d recommend no food or drink as well. Loud popcorn eating and rusting candy wrappers were present at my screening, along with some hilariously exaggerated gasps as well. I could’ve done without the distractions. I’m not usually obsessive about such things, but go see this particular movie in a packed theater and then tell me I was wrong.

A Quiet Place is a sharp thriller made on a shoestring budget for only $17 million. Judging from the grosses this weekend it looks like it will ultimately reap at least 10 times that amount. I especially love when inexpensive productions (that I like) make a huge profit.  It proves you don’t always have to spend a great deal of money to earn a lot of money.  You simply need a good idea.  It doesn’t even have to be totally original either.  Director John Krasinski’s influences are simple and unmistakable. Like 1979’s Alien, these monsters are really big and ugly. Also like that feature, part of the giddy apprehension is how they’re introduced ever so carefully over time.  Just a glimpse of one here, another flash of one there.  These beasts cannot see, but they have extremely sensitive hearing.  The beautifully abhorrent details of the creatures become more and more familiar as the story wears on. “Don’t make a sound” was a gimmick recently used in 2016’s Don’t Breathe. That was good too, but A Quiet Place is more elegant and family friendly.  It’s rated PG-13.  It’s also incredibly exciting. Do go and enjoy it right now. Just please shut your trap when you do.

04-05-18

Ready Player One

Posted in Action, Adventure, Science Fiction with tags on April 1, 2018 by Mark Hobin

ready_player_one_ver2STARS3It has been nearly a decade since Indiana Jones and the Kingdom of the Crystal Skull. That was the last time Steven Spielberg (Raiders of the Lost Ark, Jurassic Park) actually directed the kind of live-action adventure that made him THE highest-grossing director worldwide.  That alone makes Ready Player One something to be excited about. The production is an adaptation of the popular sci-fi novel of the same name by Ernest Cline. His novel was set in a dystopian future 2044 about a teenaged protagonist that simply wants to solve a 3 part quest in a virtual reality video game.

In Columbus, Ohio, Wade Watts (Tye Sheridan) is from “The Stacks.” The name denotes a decaying trailer park where vehicles are stacked on top of one another so more people can live in the same space.  This is apparently because of overpopulation problems and possibly economic ones as well. Existence is a bummer and so to escape, citizens turn to the OASIS, a hyper-realistic 3D virtual reality video game. The game itself is presented as something of a paradise. People enjoy the OASIS. The real world may be a dystopia, but virtual reality is not. Within the OASIS, you can literally be anyone. For reasons I still don’t understand, Wade chooses to look like a frail teen named Parzival. He’s the expression of an unexceptional anime character. Within the game, he frequently interacts with Aech (Lena Waithe), a huge muscular mechanic, as well as the samurai Daito (Win Morisaki) and ninja Sho (Philip Zhao). Never having met any of these people, Wade only knows them from their chosen avatar.  Their physical appearance in the real world is a mystery…initially.

The OASIS was created by James Halliday (Mark Rylance) and Ogden Morrow (Simon Pegg). Eccentric billionaire Halliday is no longer with us.  However before he died, he announced that he had hidden an Easter egg within the OASIS that would be accessible after three keys were found. Collect the keys and his fortune (and control of the OASIS) is yours. Holy shades of Willy Wonka and his chocolate factory! This mission forms the crux of the story. Everyone wants to win. Wade and his friends want to escape the very mire of their existence. The main antagonist is the evil CEO Nolan Sorrento (Ben Mendelsohn) who runs IOI (Innovative Online Industries). Sorrento has rounded up a number of players to find the keys for him. He seeks to take over the OASIS and exploit it to augment his already massive fortune. To be honest, he and Wade ostensibly want the same thing but Sorrento is willing to murder to get what he wants so that’s where the narrative makes it OK to root for Wade and not Sorrento. I’m not sure if Sorrento’s personal style was supposed to recall Assistant Principal Vernon in The Breakfast Club but given the film is all about the pop culture of a certain era, I’ll assume the casting choice was intentional.

It’s a bit ironic that I’ve spent two paragraphs detailing the backstory for a movie in which the plot is so weak. The aforementioned set-up is merely an excuse to present a CGI fest of various challenges. The viewer is invited to stare wide-eyed and slack-jawed as we marvel at the technological curiosity before us. Don’t get me wrong.  This is a visual wonder to behold. Each quest involves obtaining a key. The first may be obtained when our fearless hero must finish a race. We see him drive a replica of the DeLorean from Back to the Future through a Hot Wheels-style course with jumps and loops. It’s seemingly impossible to even finish. King Kong manages to stop him in his tracks. The competition is run more than once. It’s during the revisit where we’re dazzled by some fantastic perspective shots. It’s a dizzying spectacle. It’s here where he meets love interest Art3mis (Olivia Cooke). She laments that her avatar is much more attractive than her real appearance. Then we meet her and she’s actually gorgeous. Oh sure she has a birthmark on her face, but she’s still very pretty. Her despair that he won’t find her beautiful is somewhat annoying.

Screenwriter Ernest Cline co-adapted the screenplay from his own book with Zak Penn. A big part of his novel were pop culture allusions.  Cline has a fondness for very particular things.  The author was born in 1972 and suffice it to say that the closer your birthdate matches his, the more likely you will identify with his points of reference. He occasionally acknowledges more recent things: the spaceship Serenity from the TV show Firefly for example. Though examples from 2000 on are rare. His treasured memories are mostly focused on the late 70s early 80s. His fiction was a love letter to fellow fanboys that obsess over comics (Superman, Batman), music (Saturday Night Fever, Duran Duran) movies (The Adventures of Buckaroo Banzai, The Iron Giant) and video games (cartridges for the Atari 2600) of his childhood.

There’s a hip self-awareness that savvy fans will appreciate. A key element of the Ready Player One novel was specialized geek culture.  However, Steven Spielberg has wisely opened up that narrow focus and cited things that nearly everyone with a casual awareness of mainstream tastes can enjoy.  We’ve seen this done before in the movies. The Cabin in the Woods played with the manipulation of various tropes perhaps even more successfully, but the joy is similar. I won’t spoil the surprise, but the second key concerns an extended walkthrough of a certain movie. This is a departure from what happens in the book but it’s my most favorite setpiece. It practically justifies the entire production.

Ready Player One is a fine film. It’s entertaining enough but it doesn’t have the organic components of Spielberg’s very best work. I get that it’s all about virtual reality and so there’s very little that is tangible about this story. The frenzy keeps the audience at an emotional distance. We observe individuals in action but we never feel like we understand the experience or the intimacy of these people. It’s a technologically manufactured CGI amusement park ride, not an actual narrative motivated by plot and characterization. It’s no masterpiece, but it isn’t a disaster either. I’ll admit the 140-minute runtime can occasionally be exhausting. Yet there should be enough thrills here to satisfy most viewers. I was appeased.

03-29-18

Love, Simon

Posted in Comedy, Drama, Romance with tags on March 20, 2018 by Mark Hobin

love_simon_ver2STARS4Love, Simon has all the hallmarks of a conventional teen romantic comedy. There’s the attractive cast of young adults that form a group of friends, the well-meaning parents (Jennifer Garner and Josh Duhamel) that want to be hip, and the principal (Tony Hale) that unsuccessfully relates with the students. We get setpieces at all the predictable locations: the big house party, the football game, the local diner. There’s the thread of gossip that informs the main plot, the poppy soundtrack, and voiceover from the main character to narrate the story. It’s about a boy coming to terms with love for the first time. On the surface, this would appear to be another typical coming of age tale. The difference is that boy is struggling with feelings for the same sex.

Interestingly, Love, Simon isn’t revolutionary for the subject matter itself. The portrait of a gay youth has been tackled before. Most recently by notable art-house hits Call Me By Your Name and last year’s Moonlight. No, what makes this production so groundbreaking the manner in which this idea is presented. This is a coming-of-age tale reimagined in the style of a John Hughes’ film from the 1980s. I’m talking movies like Sixteen Candles, The Breakfast Club and Pretty in Pink. That easy accessibility is unlike anything that has ever come out before.  No pun intended.  We’ve seen independent art house offerings that can be difficult for the masses to appreciate and then there are the mainstream efforts where that individual is relegated to the role of the sassy best friend. This is the first of its kind to put that teen as the central character and put out by a major Hollywood studio (20th Century Fox).

Our narrative begins rather matter-of-factly when Simon (Nick Robinson) begins to talk about his family. His account is a loving portrayal of a traditional upper-middle-class suburban life. The chronicle is set in motion when an anonymous fellow classmate calling himself “Blue” confesses he is gay on the school’s blog. Intrigued, Simon decides to e-mail “Blue” directly. The two strike up a pen pal relationship via e-mail. This is the 21st century after all. They each reveal bits and pieces about themselves without ever divulging who they are. Simon calls himself Jacques (“Jacques a dit” is French for Simon Says). Over time, their bond deepens and Simon begins to have feelings for him. But who is Blue? This is the central conundrum of the saga.

Despite the familiar trappings, Love Simon is ultimately elevated by a fresh and appealing cast. Nick Robinson (The Kings of Summer, Jurassic World) stars as the titular character. Compassionate and affable, he’s a likable presence. Much of the fun is derived from determining Blue’s true identity using clues in the e-mails. There are a few potential candidates. This all occurs in between hanging out with his classmates who are none the wiser about his secret. His 3 best pals are Leah (Katherine Langford), Abby (Alexandra Shipp ) and Nick (Jorge Lendeborg Jr.). Their interactions with each other are a charming feature of the movie. They have a palpable camaraderie. Conflict arrives when class clown Martin (Logan Miller) inadvertently discovers Simon’s e-mail correspondence.

The object of Simon’s desire does make this profile of growing up distinct. However, that difference alone wouldn’t mean anything without a compelling story. Screenwriters Isaac Aptaker and Elizabeth Berger of TV’s This is Us fame, skillfully adapt the young adult novel Simon vs. the Homo Sapiens Agenda by Becky Albertalli. They capture the general hardships of growing up that are a part of every teen’s journey into adulthood. The awkwardness of adolescence is universal and that is the part that will ring true for all audiences, It’s surprising how natural everything plays out.  Director Greg Berlanti keeps the atmosphere lighthearted and comedic. The screenplay never feels like it has any ulterior motive other than to entertain. It’s merely another well-written teen romantic comedy, but from a slightly different perspective.

03-15-18

A Wrinkle in Time

Posted in Action, Adventure, Family, Fantasy, Science Fiction with tags on March 10, 2018 by Mark Hobin

wrinkle_in_time_ver2STARS2.5Meg Murry (Storm Reid) is a high school girl who takes a journey across time and space to rescue her scientist father. Four years prior Dr. Alex Murry (Chris Pine) discovered a tesseract, or a wrinkle in time, that allowed him to travel through the universe. A malevolent force known as the Black Thing now holds him prisoner on a distant planet. Meg is accompanied by her brother Charles Wallace (Deric McCabe) and (rather pointlessly) by her friend Calvin O’Keefe (Levi Miller). Madeleine L’Engle’s science fantasy novel A Wrinkle in Time is a classic for teens and pre-teens. First published in 1962, it won the Newbury Medal for “the most distinguished contribution to American literature for children.” I read it in junior high and I loved the book. Its blending of science and theology was mysterious, provocative, deep, and yes even inspiring. Unfortunately, it’s proven to be a most difficult publication to adapt.

Right from the beginning, A Wrinkle in Time is hindered by weak character development. The behavior of some of these individuals doesn’t make sense. It’s common for the central hero in an adolescent story to be sad, lonely and socially awkward. Meg Murry is cut from the same cloth. Yet she doesn’t really look like an outcast. We’re presented with a girl who acts shy but with her gorgeous ringlets of cascading hair, she is too beautiful to truly believe she’d be treated as a misfit. The reason why her classmates tease her? Because her father has disappeared. Children are socially unaccepted in high school for the way they dress or act or look, but a missing father? Hmmm, that’s a new one. Once the mean girls’ teasing extends to her younger brother, a line is crossed and she hurls a basketball at the face of one them.  Makes sense.  She is being bullied and lashing out at your oppressors is an understandable reaction.  Apparently, this concept is too hard for her principal (André Holland) to grasp.  He isn’t the least bit sympathetic to her predicament. Neither is her mom (Gugu Mbatha-Raw).

A Wrinkle in Time has deeper problems than just characters with implausible behavior. The production is high on style but low on substance. L’Engle’s source material dealt with the timeworn battle of good vs. evil too, but there was a lot more bubbling under the surface to sink your teeth into. The film maintains an uplifting moral but screenwriters Jennifer Lee and Jeff Stockwell have discarded the book’s allegory for Communism, science, and religion in favor of easily digestible platitudes that young minds can understand. The novel’s complex themes are distilled down to the singular idea that Meg must learn to appreciate her own uniqueness as an individual. That idea is hammered home throughout the feature.  The dogma of the movie is moving in the way that a Hallmark card can make you feel good about yourself. Pop hits on the soundtrack contain lyrics that easily summarize the underlying message: “There’s someone in the world, lovely as you” (Sade), “You can find the magic in an everyday night, night, night (Sia), “I just wanna believe in me” (Demi Lovato). The subtle complexities of the enduring text are largely trounced by a bright, cheery, CGI-laden manifestation that is very much a product of our age.

Author Madeline L’Engle was never exalted by conservative Christians like C.S. Lewis. In fact, some even condemned her for what they felt promoted witchcraft. However, her strong Christian faith did gently infuse her writing. The text’s more thought-provoking theology was influenced by her Episcopalian background. Fans of the book’s admittedly religious pluralism will be disheartened to hear the screenwriters have scuttled the mention of Jesus and Christianity in favor of a more all-encompassing humanism via the teachings of Oprah Winfrey. The “Queen of All Media” looms large, quite literally, in the first half embodying one of three astral travelers that accompany the kids on their journey. As Mrs. Which, she initially towers above them all like a God. I can see why the actress/producer/talk show host/philanthropist was drawn to this part. Replete with blonde hair, rhinestones affixed to her brows, and ever-changing shades of lipstick, she beams down on them with a beatific smile. She constantly espouses mottoes that resolutely affirm how wonderful Meg is. Her didactic affirmations are so incessant they actually grow tiresome. She can’t seem to help Meg find her father but she can remind the child just how truly admirable she is. Oprah is playing Oprah.  Note to those who worship at the altar of the media mogul – I highly recommend this picture.

Interestingly the other two visionaries Mrs. Whatsit and Mrs. Who are not particularly engaging either. Their identities are vague. Mrs. Whatsit — played by Reese Witherspoon — is sort of an upbeat scatterbrain that hurls insults with a smile.  The actress exaggerates her vocal delivery and facial expressions as if she’s doing community theater. At one point she turns into a flying leaf creature and the fabrication of CGI is so poorly executed it’s laughable in this age of technological perfection. Though it did give me a craving for those delicious lettuce wraps at P. F. Chang’s. And no, I don’t get paid to say that. Actress Mindy Kaling plays Mrs. Who, an introverted (!) idealistic sort who recites quotations from the likes of Shakespeare and Rumi and the rap group Outkast. I told you this was a product of our age. She was actually my favorite of the three because she talked the least. The three of them are an ever-shifting display of bulky gowns, and bizarre hairstyles whenever they haphazardly zoom off to somewhere new, which brings me to the adventure’s biggest problem.

There is no narrative flow to the plot. The action is reduced to a series of set pieces loosely strung together in a time-traveling saga. Some of the set pieces work, mainly in the 2nd half when the three supernatural beings leave and the children are left alone to fend for themselves. The action on the evil planet Camazotz is where things finally get interesting. Director Ava DuVernay knows how to frame a shot and her skill behind the camera is evident. Scenes of a suburban world with identical houses with similarly dressed kids all bouncing a ball in unison is a captivating tableau. Conformity is bad. Individuality is good. Got it. A later scene occurs at a crowded beach where people lay about in claustrophobic proximity. It seemingly stretches on forever. The mere image is effective for its utter recognizability to real life. A man with red eyes (Michael Pena) encourages the youngsters to dine on sandwiches, which have never been more appropriately named. The discussion is eerily sinister in just the right way. I wish more of the drama had conversations this engaging.

A better title might be Ava DuVernay’s A Wrinkle in Time. She has put her creative stamp all over this picture. Even before it began we were treated to an intro with a message from the director. In a nutshell, she contends this isn’t a film for critics. It’s a love letter to children, and to watch it as such. Sounds a little defensive, but she has a point. Entertainment, often maligned by intellectuals, can still become classics. Home Alone is a perfect example of just such a work. You can’t encounter any promotion for this release (including this review) without reading that Ava DuVernay is the first black woman to direct a movie with a budget over $100M. She is instrumental in the casting, introducing an ethnically diverse ensemble of characters. Meg is a biracial girl whose father is white and mother is black, with a younger brother who is adopted. The screenplay actually highlights that last detail when Meg expresses anxiety in meeting him for the first time. The three celestial beings were also cast with a nod to their ethnic identity. None of this is intrinsic to the story, these are merely visual cues made for the purpose of representation. Ava DuVernay has emphasized in interviews that these were very deliberate choices.

I think insecure children will identify with Storm Reid as Meg. Her performance is understated and natural. She finds the courage within her fear in a convincing arc. Introducing a black girl as a brainy protagonist that loves science is a unique addition that actually adds nuance to a chronicle that so desperately requires it. However, the production suffers from the plight of the modern blockbuster. A Wrinkle in Time is burdened by poorly defined characters, an overreliance on CGI, well-coiffed youths that look like they stepped out of an LA casting session, and conventional advice.  Indeed the encouragement may be a crucial reminder for impressionable tots. This film was obviously made with them in mind. However cynical children and (most) adults should probably steer clear.

03-08-18

Annihilation

Posted in Adventure, Drama, Fantasy, Science Fiction with tags on March 3, 2018 by Mark Hobin

annihilationSTARS3.5Annihilation is one of those sci-fi features that doesn’t pander to viewers’ thirst for answers. It is a demonstration of narrative ambiguity. Understand that before you begin to watch and you’ll enjoy the developments more. This is the much-anticipated follow-up to Alex Garland’s critically acclaimed, 2015 directorial debut, Ex Machina. Garland is an English novelist (The Beach) turned screenwriter (28 Days Later, Sunshine) turned director. The jack of all trades has seen success in his many efforts. All of which makes the expectations for another sci-fi endeavor like Annihilation even higher. I really liked this film, but I fell short of loving it.

The story concerns Lena (Natalie Portman), a professor of cellular biology. Right from the beginning, she is being cross-examined after having already undergone a government expedition into a scientific phenomenon known as the Shimmer. We know she made it out, but what exactly is the Shimmer? It all began when a meteor crashed into the earth and created a slowly growing otherworldly area. Perceptibly it’s this glistening, sparkling force field that encompasses an area where a lot of unexplained things are occurring. Annihilation is a vividly captivating production that includes fractal designs, gaseous forms, and metallic shapes. There is a biological element to the Shimmer too as its colorful effects are felt upon the flora and fauna within. It involves an amorphous terror we don’t understand. In the U.S. this debuted in theaters where the film’s impressive visual effects and sound design could be appreciated. The spectacle is a major part of the appeal. Internationally the movie went straight to Netflix which deprived those audiences of the full experience.

In flashback, we learn that Lena’s husband Kane (Oscar Isaac) is the only person that has ever actually returned from entering the Shimmer. He was part of a military excursion a year prior. He becomes very ill. On the way to the hospital, he and his wife Lena are ambushed by a government security force and taken into some secret research compound in close proximity to the Shimmer. There she meets Dr. Ventress (Jennifer Jason Leigh), a psychologist. She’s forming another expedition. After Lena’s husband falls into a coma, Lena agrees to accompany Dr. Ventress’ all-female patrol which also includes Josie Radek (Tessa Thompson), a physicist, Anya Thorensen (Gina Rodriguez), a paramedic and Cass Sheppard (Tuva Novotny), a surveyor/geologist

Annihilation is a tale where the less revealed, the better. The developmental incidents utilize the building blocks of other pictures: Alien, The Thing, Contagion. Yet Annihilation is different than those features because the screenplay doesn’t clarify much. As a result, director Alex Garland is quite successful in creating an impending sense of dread without me being able to fully explain why.  This is fine.  It is a movie to savor not to reveal.  This is a well assembled creepy adventure.  However, the chronicle is so narratively vague it’s hard to embrace.  Despite the ambiguity, the plot is easy to understand.  Only in the final act do things get somewhat baffling.  The denouement is perplexing. Lena’s plan to escape will ultimately leave you with more questions than answers. Still, I’ll concede that the desire to overanalyze things can be a weakness in genre films. To its credit, the final outcome remains mysteriously uncertain.

02-26-18

The Cloverfield Paradox

Posted in Action, Adventure, Horror, Mystery, Science Fiction with tags on February 9, 2018 by Mark Hobin

cloverfield_paradoxSTARS2It’s only February, but The Cloverfield Paradox just may go down as the most brilliantly marketed gimmick of 2018. Paramount couldn’t have asked for a better moment to drop their movie. Originally produced under the title God Particle, it was scheduled for an April 2018 release in theaters. Then during Super Bowl LII, a trailer teased that the $40 million budgeted film would actually be presented on Netflix right after the Super Bowl on February 4, 2018. Now retitled The Cloverfield Paradox and marketed as part of the Cloverfield series, the picture was debuted. The reviews were less than enthusiastic. There’s a reason for that. It’s pretty bad and I’m convinced that Paramount knew this would happen.

The studio heads were very smart. The protracted trajectory of a movie normally includes a lengthy build up of anticipation that in this case would have inevitably led to a crushing disappointment.  The studio sidestepped all this and minimized the damage. Instead, the negativity was contained within the surprise unveiling of a unique sci-fi film that many didn’t even know existed. I must admit, I was pretty excited to watch when I saw the trailer during Super Bowl 52. The instant hype created a need in me to see this fresh sci-fi production. I, for the record, enjoyed Cloverfield (2008) as well as it’s spiritual sequel 10 Cloverfield Lane (2016). I happily switched over to Netflix after the game. O dear! I have never watched the drama TV series “This Is Us” but I can safely say I wish I had kept the channel on NBC right after the game. The Cloverfield Paradox is simply awful.

It’s the year 2028 and the Earth is suffering from a global energy crisis. A crew of astronauts is thrust into space in order to help solve the planet’s energy problems. Unfortunately, their efforts may open portals to other dimensions that could have a negative lasting effect on their current existence. Naturally, this is exactly what happens. The charismatic crew (cast) includes Daniel Brühl, Gugu Mbatha-Raw, Chris O’Dowd, John Ortiz, David Oyelowo, Zhang Ziyi, Aksel Hennie and Elizabeth Debicki. They’re more than up to the task of giving this ridiculous script life. The problem is, nothing makes sense. The narrative is a grab bag of assorted sci-fi tropes that recalls Aliens, Interstellar and 2017’s Life. Anyone remember the cockroach scene when they burst out-out of E. G. Marshall in Creepshow? Yeah well, something like that happens in this movie too except it’s with worms this time. Yup, it’s just as gross as it sounds.

The Cloverfield Paradox is a mess. It’s a sequel to the franchise in only the most general sense. Some script tweaking has creatively brought this into the same universe. If you’ve seen the other entries you may see a loose connection, but it certainly isn’t necessary to be familiar with the franchise. This J.J. Abrams produced prequel was directed by the heretofore unknown Julius Onah with a screenplay by Oren Uziel who co-wrote the comedy 22 Jump Street. That’s kind of telling. This unintentionally veers into comedy on several occasions. The production also feels like the umpteenth version of Agatha Christie’s And Then There Were None. Yet this adventure has no direction.

The Cloverifeld Paradox is all over the place. No focus. Just a mish-mash of ideas that occasionally captivates the mind for a moment only to be let down by another concept that subverts the one before it. When an astronaut played by Chris O’Dowd loses his arm in a freak accident, the occurrence is so bizarre we are captivated by the event. Then the arm comes to life, receiving instructions from some alternate reality that forces the viewer to pay attention.  I was enrapt for a while as the limb starts to write notes on its own volition, but the longer this nonsensical account plays out, the sillier it gets, At one point it appears that the planet Earth no longer exists. Then it does. There’s nothing here but a lot of half-baked theories and unresolved plot threads. The Cloverfield Paradox is a jumble of contrivances.  It’s an entertaining medley for only the introductory section of the movie. I was entertained in the beginning, then common sense took over.