Archive for 2019

Doctor Sleep

Posted in Drama, Fantasy, Horror, Thriller with tags on November 14, 2019 by Mark Hobin

doctor_sleep_ver2STARS3Doctor Sleep vacillates between trying to please two factions.  Some audiences will come for the adaptation of Stephen King’s 2013 novel which the author wrote as a sequel to his 1977 bestseller The Shining.  Then there are the fans of Stanley Kubrick’s 1980 movie that arguably has an even more devoted following.  King himself was famously not a fan of Kubrick’s vision.  The now-classic was a gorgeous evocation of horror that relied on visual imagery, not on detailed explanations.  Conversely, Mike Flanagan (Ouija: Origin of Evil, Gerald’s Game) has directed an account that offers a lot of exposition for people hungry for answers.  This chronicle is more plot-driven with lots of folklore to deepen your understanding of what “shining” is.  Doctor Sleep tries to schizophrenically appease both camps.

The story concerns Danny Torrance, now Dan, (Ewan McGregor), best remembered as the little clairvoyant son of his mad father, Jack.  He has become an alcoholic, desperate to forget the events at the Overlook hotel.  He comforts the terminally ill while working at a hospice where the patients give him the nickname “Doctor Sleep”.  He meets another psychic, a teenage girl named Abra (Kyliegh Curran) and they band together to fight a malevolent clan called the True Knot.  The group is killing children with special powers and feeding off the steam that they emit.  It’s just as gruesome as it sounds and there’s one death in particular (Jacob Tremblay) that is extremely hard to watch.  I suspect the methodical depiction of what befalls him could be a deal-breaker for some people.  A couple of other individuals with close relationships will be introduced and then summarily killed off as well.  The tale has an uncomfortable disregard for the lives of characters whose deaths should mean more than just another offhand development.

This presentation is largely missing the stately grandeur of its precursor.  So in that respect, it will not appease the die-hards of Stanley Kubrick’s atmospheric reworking.  However, I can wholeheartedly recommend it to people who thought Kubrick’s version should’ve adhered closer to King’s original text.  If you crave exposition and plot, this is the production for you.  It’s a convoluted follow-up that attempts to give lots of unnecessary details about Dan’s extrasensory “shining” power.  The bulk of the narrative isn’t a continuation of the events from the first film but rather a saga about what Dan encounters after he grew up.   The focus is on his interactions with the True Knot, the aforementioned nomadic group of evil visionaries.  In that sense, Doctor Sleep becomes a superhero origin story of nefarious mutants with psychic powers and goofy names.  There’s Crow Daddy (Zahn McClarnon), Grandpa Flick (Carel Struycken) and Snakebite Andi (Emily Alyn Lind), among others.

Doctor Sleep is a mixed bag.  It ultimately can’t escape the shadow of the 1980 film.  “This also exists very much in the same cinematic universe that Kubrick established in his adaptation of The Shining,” director Mike Flanagan has said.  He leans heavily on imagery from Stanley Kubrick’s interpretation in several key scenes, particularly in the third act.  This might have been more thrilling if Steven Spielberg hadn’t already exploited the same iconography in 2018 with Ready Player One.  There are roughly 30 minutes of developments that include sets that tastefully recreate the Overlook Hotel.  Additionally, lookalike actors are cast playing the parts of Dan’s younger self (Roger Dale Floyd), his parents Wendy (Alex Essoe) and Jack (Henry Thomas) and Dick Hallorann (Carl Lumbly) the cook.  When this appropriates the visuals of its predecessor, it can be distracting.  Also, at 2 and a half hours it’s far too long.  Nevertheless, this movie has some good points.  Chief among them is Rebecca Ferguson who is great as the central villain Rose the Hat.  True to her moniker, she wears a top hat and exudes this Stevie Nicks vibe of beautiful witchery.  She clearly enjoys the fun of being the baddie and its a compelling performance.  When Doctor Sleep isn’t overly wrapped up in mythology and explanation and simply focuses on the performances of the main characters, it can be fitfully entertaining.

11-07-19

Jojo Rabbit

Posted in Comedy, Drama, War with tags on November 11, 2019 by Mark Hobin

jojo_rabbit_ver2STARS4.5You wouldn’t think a comedy about a pro-Nazi boy that looks upon Adolph Hitler as a hero would be one of the most heartwarming movies of the year, but Jojo Rabbit has proven otherwise.  The inspiration for the adaptation is based upon the 2008 novel Caging Skies by Christine Leunens.  Charlie Chaplin found humor in the Third Reich with The Great Dictator and Mel Brooks did the same with The Producers.  Now writer/director Taika Waititi just may have joined their ranks with equally successful results.  I loved this film and I’m happy to say it’s one of the very best of 2019.

Jojo Rabbit is the saga of a 10-year-old German boy named Johannes Betzler.  People call him “Jojo”.  He lives in Nazi Germany during WW2 and he idolizes Adolf Hitler.  So much so that he has created an imaginary friend in him to whom he often speaks.  It’s a childlike interpretation that doesn’t fully comprehend the true nature of the dictator.  Coming to terms with that realization is the underlying basis of this drama.  It’s a comedy so the character of the Führer, played by the director, Taika Waititi, is a sillier, less serious version of him.  The filmmaker himself identifies as a Polynesian Jew so therein lies the subversive nature of this casting.

Jojo Rabbit is an affectionate account of a little boy who wants to be a part of something bigger than himself.  He attends a Hitler youth club that offers boys the validating camaraderie of a scout troop.  Meanwhile, the girls are taught the value of domestic servitude.  One day Jojo is tested on his commitment by his superior who commands him to kill a rabbit.  His inability to execute this task earns him his nickname.  Then after a grenade mishap, he is unable to continue to serve in the group.  Obviously, a child who idolizes Adolf Hitler would normally be a difficult personality to engage an audience’s sympathies.  Part of what sells the movie is the elemental compassion of young actor Roman Griffin Davis as the titular star.  He gives a brilliant performance that manages to make the character seem lovable and yet misguided.

The drama is highlighted by a stellar supporting cast.  First and foremost I must cite juvenile actor Archie Yates, the breakout star who plays Yorki, Jojo’s best friend. He’s an adorable scene stealer. Throughout the story, Jojo keeps a diary of his thoughts and we become aware of these reflections in a key scene when Jojo is confronted by an intimidating Gestapo agent played by Stephen Merchant (HBO’s Extras).  Merchant has never been more terrifying.  Jojo’s fanaticism is not shared by his single mother.  Rosie is lovingly portrayed by Scarlett Johansson in a small but important role.  She must keep her anti-Nazi feelings under wraps for fear of reprisal.  Sam Rockwell is also memorable as the Hitler Youth leader Captain “K” Klenzendorf who trains boys to hunt and throw grenades.  One day Jojo meets Elsa (Thomasin McKenzie), a Jewish teen.  Their developing relationship is captivating.

Truth be told, I was already predisposed to love this picture.  I am a fan of director Taika Waititi.  His off-kilter but thoughtful sensibilities agree with my own.   Waititi has demonstrated a whimsical flair for humor with a filmography composed of fastidiously produced productions that are obsessively meticulous with visual details.  These include What We Do in the Shadows and Hunt for the Wilderpeople.  Taika Waititi’s painstaking aesthetic is often compared to the work of Wes Anderson.  Moonrise Kingdom is clearly an influence here because the Hitler youth rally here bears a striking similarity to the Khaki Scout summer camp.  However, Taika Waititi is an accomplished filmmaker in his own right. He has been creating pictures like this since the very beginning with his debut feature Eagle vs Shark in 2007.  Waititi has a point of view uniquely his own.  His handling of this material deftly combines real genuine heartbreak with lighthearted glee in a film about Nazis. This is one of the most beautifully realized stories of the year.

People have labeled this as satire but that really isn’t correct.  It certainly is a farce about deadly serious things.  It’s clearly anti-Nazi and anti-hate but the filmmaker’s angle is much more open and straightforward without the latent snark and sarcasm that satire requires.  The movie actually succeeds because of that sincerity.  Jojo Rabbit is a tale about humanity that manages to be an affecting, funny, dramatic and poignant depiction.  I was completely overcome with emotion at one point.  The moment occurs when Jojo is tying someone’s shoes.  When you see the drama you’ll understand why that image is so heartbreaking.  I’ve enjoyed every single production that Taika Waititi has directed but this is possibly his greatest work.

11-01-19

Terminator: Dark Fate

Posted in Action, Science Fiction, Thriller with tags on November 2, 2019 by Mark Hobin

terminator_dark_fate_ver3STARS3The story in a nutshell: a malevolent Terminator is sent from the future to terminate a woman from the present. It is believed she will be the mother of a resistance leader in the war against the machines.  The resistance also sends somebody back to fight that Terminator.

There are 2 ways to watch this production.  With your arms folded as you realize the plot is nearly a carbon copy of the original film or with relief that the story in a Terminator movie is actually more concerned with extracting humanity and emotion from a simplified screenplay than special effects.  Deadpool director Tim Miller is at the helm and he mostly keeps things moving.  Although the screenplay by David Goyer, Justin Rhodes, and Billy Ray does sag in the middle.  What could have been a brisk efficient 98-minute actioner is stretched to an interminable 128 minutes.  The action sequences are indeed good.  I just didn’t need so many.

Terminator: Dark Fate is the 6th entry in this series.  Oscar-winning filmmaker James Cameron (Titanic) and Gale Anne Hurd created the franchise back in 1984 with The Terminator.  Then came Terminator 2: Judgment Day in 1991.  I don’t know about you, but as far as I’m concerned, some time passed and then we got this installment in 2019.  I’m ignoring 3 other sequels and James Cameron has wisely decided to do the same.  He’s gotten involved in the franchise for the first time since T2 and has relegated entries 3 through 5 as part of some alternate universe.  Also reuniting after 28 years are Arnold Schwarzenegger as T-800 and Linda Hamilton as Sarah Connor.

Let’s not underestimate the sheer joy of rejoining these two on-screen.  OK, so the producers have decided to introduce a whole new cast as well.  I won’t discount the contributions of characters Grace (Mackenzie Davis) the modified human-cyborg sent to protect Dani (Natalia Reyes) from evil Terminator Rev-9 (Gabriel Luna).  Incidentally, the advanced Rev-9 can separate the skin from its body and act as two units at once.  I guess that’s what passes for innovation in this screenplay.  It was a little confusing at first because I don’t recall an explanation in the movie as to why he was doing this.  It just sort of happens.

The new additions to the cast are serviceable, but the real spotlight belongs to seeing Linda Hamilton again and to a lesser extent, Arnold Schwarzenegger.  Yes, their relationship arc admittedly copies what happens in T2 but that was nearly 3 decades ago.   I think enough time has passed that you can now choose to label their interaction as an homage.   Linda Hamilton is especially good.  She adopts this world-weary “seen it all before” persona.   She’s so grizzled and tough that the portrayal almost borders on parody.   I enjoyed her much in the same way it was nice having Jaime Lee Curtis return in the Halloween movie from 2018.  That follow-up also chose to ignore a collection of inferior sequels too so it’s very similar in spirit to this film.  Still, did we really need a sixth chapter in the Terminator franchise?  Simply put, no.  However, this is the best entry since T2 so there’s that.  It could’ve been a lot worse.

10-31-19

Parasite

Posted in Comedy, Drama, Foreign, Thriller with tags on October 28, 2019 by Mark Hobin

parasite_ver2STARS4Over the past decade, the top prize at the Cannes Film Festival hasn’t exactly set the U.S. box office on fire.  You have to go back to 2011 just to find a Palme d’Or winner that made over $10 million (The Tree of Life).  That low bar will most certainly be crushed this year by a South Korean entry that is arguably the festival’s most accessible winner since Pulp Fiction.  Internationally Parasite has become a box office sensation and it’s likely to become a U.S. success also.

The Kims are a South Korean family of four consisting of Dad Ki-taek ( Song Kang-ho ) mom Chung-sook (Jang Hye-jin) son Ki-woo (Choi Woo-shik who was also in Okja) and daughter Ki-jung (Park So-dam).  They’re very poor.  They live in a small dark underground apartment where stink bugs dwell and a local drunk frequently relieves himself within full view of their tiny window.  They have a tiresome job folding pizza boxes and they steal Wi-Fi from their neighbors.  Well, that is until the nearby residents change the password.

Their fortunes begin to change when a school chum of Ki-woo, recommends him as a substitute tutor for the high school daughter of the affluent Park household.  Ki-woo cons his way through the interview with fake teaching papers.  The mother (Cho Yeo-jeong) is impressed and soon he’s charmed Mrs. Park into hiring his sister Ki-jung as an art teacher for their little boy.  That’s merely the beginning.  One by one the rest of the Kim clan begins working for the well-to-do Park family who have no clue that each additional hire is actually related.  It’s a home invasion of sorts but one where the owners are willing — albeit duped — participants.

The first half is an outstanding account of carefully laid plans.  After an hour had passed, I was convinced this was going to be the best movie of the year.  The way the Kim household ever so slowly insinuate themselves into the lives of the Parks is fascinating to watch.  It happens coincidentally at first and then as each new family member is welcomed into the fold, the Kim’s methods become more and more aggressive.  Then the original housekeeper, Moon-gwang (Lee Jung-eun) returns.   From that point on the developments are somewhat less, uh shall we say, systematic.  It’s important to pay attention to the little things the wealthy Parks say and do because they will have a profound effect on the struggling Kims — the father especially.  The sad sack dad Ki-taek is portrayed by actor Song Kang-ho who is a frequent collaborator in this director’s efforts.   He’s excellent in turning in a performance that is a gradually building focus of resentment.

Parasite is a genre-shifting tale from the mind of filmmaker Bong Joon-ho who mainstream audiences may know from The Host and Snowpiercer.  It has comedy, drama, thrills, and gore.  Put simply, it’s a dark comedy about classism.  He has dealt with these themes before.  Inequality amongst different classes was a major theme of the riveting Snowpiercer so it’s clearly a topic the director is particularly fond of.  There’s a reason for this.  In the past 50 years, South Korea has gone from being one of the poorest societies in the world to becoming an advanced industrialized economy.  As a result, the wealth gap there has widened exponentially.  Class warfare proves to be a gripping subject complete with wild tonal shifts and abrupt story changes.  The various plot machinations that occur can feel a bit convoluted.  The way people behave isn’t always rational either.  Still, the events are so unpredictable that they seize our attention.  It’s intriguing to see what occurs next.   No specifics though.  I wouldn’t even think of spoiling them.  I will only assert that the metaphor of upstairs/downstairs class distinctions gets more heavy-handed and therefore less clever.

What else can I say?  I’m optimistic about the Oscar chances.  South Korea has never been nominated in the Foreign Language Film category, let alone for the highest honor, Best Picture.  For the first time, a submission has the potential to compete in both.  This is a production where the joy of where the narrative will go next means I can’t give any more details.  I will offer a random but humorous aside.  At one point the Kims return home. It has been raining non-stop and they come to find their apartment flooded with rain and sewage.  Their bathroom is essentially an open toilet inexplicably mounted on a high ledge with no door to separate it from the rest of the living room.  Parasite features the most disgusting commode I can remember in a movie since Trainspotting.

The Lighthouse

Posted in Drama, Fantasy, Horror with tags on October 26, 2019 by Mark Hobin

lighthouse_ver2STARS3I loved director Robert Eggers’ debut The Witch back in 2015.  His follow-up really doubles down on the lo-fi art house pretensions of his directorial debut.  Not only is it shot in black and white but it also presents a 1.19:1 aspect ratio reducing the screen down to an almost perfect square.  Furthermore, it’s another period piece this time set more than 200 years later in 1850 and it relies on the dialect and colloquialisms of the era.  Eggers co-wrote the script along with his brother Max Eggers.  The screenplay was heavily influenced by the 19th-century writings of author Sarah Orne Jewett.  The thick drawl of the dialogue can get a bit impenetrable to our 21st-century ears.  Lastly, this two-hander stars current indie idol Robert Pattinson (Cosmopolis, Good Time) as well as eccentric indie notable Willem Dafoe (The Florida Project, At Eternity’s Gate).  Each actor often gravitates toward inscrutable fare.  This film is a prime example.  As two bona fide movie stars should, they fully commit to their characters by bringing their A-game.   If nothing else, their performances are intense.  It’s still a challenging watch.

The Lighthouse has been described as psychological horror which is a nice description for a movie that traffics in an unsettling milieu without actually being scary.  On the surface, it’s a story about two co-workers forced to live together in a remote lighthouse on a tiny New England island.  They’re supposed to be there for four weeks until their replacements show up.  Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson) are roommates that don’t get along and their deteriorating relationship is the plot.  Thomas Wake is the old salt in charge and he makes life absolutely miserable for his young protege.  For the most part, the taciturn Winslow does what he is told.  The abusive Wake burdens Winslow with an inordinate amount of chores, forces him to drink, frequently passes gas and spends time with (ahem) himself.  Wake’s repulsive behavior offends Winslow.   Wake seems completely unstable — a taskmaster obsessed with power.  At one point Wake angrily demands that Winslow make the lighthouse “sparkle like a sperm whale’s pecker!”  The line reads as ridiculous as it sounds.  It was then that I realized I was watching a comedy albeit one inspired by the visual style of Sven Nykvist.

The pictorial tableau is crammed with haunting images.  They compel the viewer to remain riveted to the screen.  Indeed the cinematography is the most attractive feature of the spectacle.  Director of photography Jarin Blaschke makes bad things look beautiful. There’s a seductive mermaid (Valeriia Karaman), an impending storm, and claustrophobic quarters tainted by an unendurable stench.  Emptying a chamber pot filled with feces proves especially frustrating on a windy day.  Thank goodness this movie doesn’t utilize the 1960s innovation Smell-O-Vision because the odor would be intolerable.  The sound design is just as important as the visuals as a constantly blaring foghorn adds to the tension.  The spell of this film is to lull the audience into a state of unease and for a while, that’s enough.

The effect of extreme loneliness on the psyche is a theme.  As such, there’s a feeling that much of what we see isn’t real.  Are the consequences of their seclusion a product of their environment or the result of supernatural forces?  There is no definitive answer.  The film is playfully vague which cleverly provides a reason for people to discuss what is real and what is fantasy.  Oh did I mention that a bird steals the show?  Much as the goat Black Phillip in The Witch was an animal of malevolent evil, there’s a seagull here that traumatizes our protagonist.  I could have adored an entire conflict focused around him but alas our feathered friend is but a minor interlude.  The further along we go, the more we realize that the “story” is simply about creating a mood of despair.  Sticking the landing — so to speak — is so difficult in these productions high on atmospherics and low on substance.  That can be disheartening for people who crave a point – a final thought to think about as you leave the theater.  Sadly the narrative is “resolved” in a way that leaves even more doubt than resolution.  Admirers will defend, “it’s about the journey, not the destination.” Fans and detractors alike should happily agree on this point.

10-22-19

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

Official Secrets

Posted in Biography, Drama, Thriller with tags on October 17, 2019 by Mark Hobin

official_secretsSTARS3There have been many: Mark Felt, Daniel Ellsberg, Karen Silkwood, Mark Whitacre, Linda Tripp, Chelsea Manning, Edward Snowden.  You may not know all their names, but what they did had a profound effect.  A whistleblower can change the course of history.  The current presidential administration is now dealing with one.  A C.I.A. officer has alleged Ukraine interference in the American elections.  No doubt that’s the topic of another production in the future.   Needless to say, the subject has never been more timely.

The tale of this film set in 2003 concerns British translator Katharine Gun who worked at the UK’s Government Communications Headquarters.  She comes across an e-mail directing the GCHQ to dig up dirt on members of the U.N. Security Council.  The information to be used as blackmail so as to encourage a positive vote approving the U.S. push for war against Iraq following 9/11.  I wasn’t familiar with her account.  That may have made this chronicle a more exciting experience for me.

Katherine leaks the memo and the drama hinges on whether this whistleblower is a hero or a traitor.  The main character is played by Keira Knightley so you can probably predict how the audience is supposed to feel about this woman.  As the events unfold her life becomes more and more fraught with turmoil.  These political thrillers can be very dry and this one is paced is like a police procedural.  It’s not flashy.  However, I’ve always found Keira to be a compelling actress so her predicament becomes quite interesting.   She brings an urgency to the role that makes the movie feel important.  I was indeed invested in the story of Katharine Gun.

09-24-19

The Addams Family

Posted in Animation, Comedy, Family with tags on October 12, 2019 by Mark Hobin

addams_familySTARS3The characters who first appeared in the pages of The New Yorker, in 1938, wouldn’t be christened “The Addams Family” until the 1964 TV series.  Charles Addams’ comic strip also spawned wildly successful movies in the 1990s.  Given the passage of time, these are probably how most people know these individuals today.  Incidentally, there was a Broadway show back in 2010 as well.  The execution of this current animated film is actually the closest rendering to the cartoonist’s original creation.  It acts as a nice introduction for kids to the ghoulish clan.

Our tale begins in the past with the marriage of Gomez and Morticia voiced by Oscar Isaac Charlize Theron.  Flash forward to the present where they move to New Jersey, in a particularly amusing gag.  There are a few plot threads.  An oppressive neighborhood busybody and reality TV host named Margeaux Needler (Allison Janney) threatens to make the Addams’ life miserable.  More on her later.  Pugsley (Finn Wolfhard) prepares for a coming of age ritual involving swordplay.  Finally, their daughter, Wednesday (Chloë Grace Moretz) is curious about life outside her home and so she enrolls herself in junior high school.  There she befriends a girl named Parker (Elsie Fisher), who happens to be Margaux’s daughter.

The Addams Family isn’t an expensive effort and picky animation fans raised on Pixar and Disney may balk at the modest appearance of the production.  This cost a mere $24 million to make.  Compare that to Toy Story 4 which had a budget of $200 million.  However, this uncluttered simplicity is part of its charm.  Directors Conrad Vernon and Greg Tiernan brought us the raunchy R rated Sausage Party back in 2016.  This bears absolutely no resemblance to that endeavor.  Depending on your point of view that could either be a good thing or a bad thing.  (Personally, I was pleased.)

First the bad news: The Addams Family won’t win any awards.  As a stroy it’s kind of a scattershot affair that keeps hammering the same lesson– it’s OK to be different.  Promoting the virtues of uniformity is Home And Garden (HAG) TV maven Margeaux.  She’s building a planned community known as Assimilation near the Addams’ mansion.  She has this ridiculously large bouffant of blonde hair.  It looks like a gigantic plastic headpiece.  She’s the villain obviously and she’s hilarious.  The moral is heavy-handed but its heart is in the right place.

That’s the good news: As a piece of animated entertainment, it’s a pleasant diversion that stays true to the spirit of Charles Addams’ cartoon strip.  The artwork and his quirky sense of humor are intact.  These folks remain the appealingly oddball personalities that we know and love.  They’re all here: Gomez, Morticia, Uncle Fester (Nick Kroll) Grandmama (Bette Midler), Wednesday, Pugsley, their butler Lurch (Conrad Vernon), Cousin Itt (Snoop Dogg) and Thing, a disembodied hand.  Their eccentricities are on full display and they provide laughs aplenty for children and adults alike.  Monochromatic Wednesday Addams and her school chum Parker (Elsie Fisher) are talking about which Instagram filter to use for their photo and Wednesday dismisses making a choice. “I still appear black and white in all of them.”  It’s these little throwaway comments that made me chuckle.  The Addams Family is a spirited bit of fluff with inspired atmospheric touches.

10-10-19

Joker

Posted in Crime, Drama, Superhero, Thriller with tags on October 5, 2019 by Mark Hobin

joker_ver2STARS3.5There’s a moment in Joker that takes place on a subway where three bro-ey guys in suits are behaving in an obnoxious and contemptible way.  They’re rich white well-dressed types and they’re hitting on a woman who clearly isn’t interested.  Our protagonist Arthur Fleck sits farther away keeping to himself.  He will ultimately become the title character but that happens much later.  The dudes soon set their sights on hapless Arthur.  The scene will end in three deaths but it’s symbolic of something much more fascinating.  You see douchey frat boy figures were once the heroes of a movie called The Hangover back in 2009.  Todd Phillips directed that film as well as this one.  Oh, how times have changed over the past decade.

Joker is an origin story about the villain who first appeared in the debut issue of the DC creation Batman back on April 25, 1940.  However, the atmosphere here goes to conspicuous lengths to separate itself from being a typical comic book feature.  It’s an evocative period piece set in 1981.  There’s a bit of Sidney Lumet (Dog Day Afternoon, Network) and Water Hill (The Warriors) in there.  However, Joker has a lot more in common with a couple of flicks directed by Martin Scorsese: Taxi Driver and The King of Comedy.  Those classics are the blueprint of this movie.  Robert De Niro even appears as a talk show host like the one that Jerry Lewis portrayed.  The subtle distinction between homage and rip-off is really put to the test.  I suppose your judgment will rest with how entertained you are by the final product.  There’s nothing wrong with being influenced by other directors.  I was engrossed and occasionally appalled at various points throughout this drama.  However, my attitude veers closer to admiration than disgust because this is a compelling chronicle.

Joker wallows in an alternative view of New York society called Gotham where depravity and inhumanity are borderline de rigueur.  It is a presentation of how hateful and nasty and empty the world is.  The irony is, the film itself is hollow as well.  The screenplays of Taxi Driver and The King of Comedy were complex.  The political commentary of the script by Todd Phillips and Scott Silver is a superficial examination.  It has absolutely nothing to say about the civilization it presents.  It merely creates a community that is so uncaring and so awful that violence seems like an acceptable response.  The Joker sees himself as a victim and we the audience are supposed to view him in the very same way.  There is no insight.

What Joker has is a bravura performance by Joaquin Phoenix that invites the viewer to sympathize with an individual you never thought you’d side with.  We watch him kicked and beaten and punished and belittled so mercilessly that when he finally rises up and shoots a man point-blank in the face with a gun, it’s a cathartic display toward a callous character.  We almost understand his frustration.  This won the top prize at the Venice Film festival.  The win was surprising but not unexplainable.  This movie is very much a product of our times.  Joker casually exploits hot button topics like bullying and mental illness for his descent into violence.  Oh and be forewarned, this can be extremely brutal.  Two murders, in particular, are exploited for shock value.  However, they’re so over-the-top under the guises of a comic book that the drama kind of gets away with it.

The Joker has been played in theatrical films by Jack Nicholson, Heath Ledger, Jared Leto and now Joaquin Phoenix.  The part is like the Hamlet of our age.  Joaquin Phoenix is indeed great.  He swings for the fences in a scenery-chewing role.  He lost weight and looks physically emaciated.  He bursts into uproarious laughter at inappropriate moments and dances with a showy flair.  It is an act that is going to polarize people because it is an overwrought and risky exhibition.  I dug it quite honestly.  I was captivated throughout.

10-03-19