All posts by Hg

Avengers: Endgame (redux)

[5 stars]

There are two different ways to approach Endgame. My first viewing, in IMAX 3D, was without knowledge, loaded with years of anticipation, and awaiting the resolution from Infinity War. I even fed the beast (both times) but rewatching the previous movies to capture every small thread. Yes, I was a geek… and no I was not disappointed. As the culmination of all the films and storylines, it is an emotional powerhouse and fully satisfying, while leaving openings for a way forward. In short, it is near perfect for its purpose (and $2 billion in world-wide earnings after two weekends in release speaks volumes as to how it is connecting with audiences).

Then there is the question of just how good is it as a movie. The answer isn’t as straight-forward. My second viewing was in standard 2D and it allowed for a bit of distance as the wow-factor was dialed back. It is a tightly constructed three hours. Episodic, but juggling all the threads to bring us to the finale. The character journeys are complex and, mostly, well executed (with some minor clunking moments as it finds its feet at the top and at the end). Avengers movies always had the challenge of meshing the many styles of the character stories to create a harmonious tune. Part of the fun, of course, is seeing characters with wildly different approaches to the world clash in action and in humor.  Pulling off that kind of scope and story without losing your audience is truly a credit to the directors’ and writers’ craft. During the three+ hours, I saw maybe eight people go out for the bathroom out of two packed theaters. Scientific? No, but certainly indicative!

But the movie, as I recognized the first time around, doesn’t stand on its own. There is almost no movie in the full cycle that you could drop and not lose meaning from this concluding chapter. Endgame is exactly that, a final payoff, a gift, to the loyalists and interested. It is the last book in a series, the series finale of a beloved show. No matter how well constructed, it isn’t a great movie on its own. I won’t even get into the details of the plot (which will be divisive for decades to come) as therein lies madness. I will grant the writers, yet again, the tip of my hat for at least not making any of the moments easy for the characters, even if they went to one of the cheapest solutions in the writers’ handbook. And even if it will cause all manner of issues for the MCU down the road.

I am sure I will rewatch Endgame many times over the years…though I’m also sure it will always be as part of a marathon of some sort. And that’s fine. I’ve done the same with Buffy, Angel, Babylon 5, Lord of the Rings, even some of the Treks. But the hyperbole of Best Picture I’ve started to hear, given Black Panther’s run last year, is somewhat misguided and isn’t really looking with clear eyes. There is nothing wrong with being honestly and completely entertaining, nor with paying off a bucket of storylines with aplomb. Endgame is exactly what it needed to be. The first viewing of it is powerful (and do make one of your viewings in IMAX…it was filmed that way and it is completely worth the ticket). Rewatching is just, simply, fun seeing all the pieces getting laid out and put together…with all the humor and action we’ve learned to expect over 11 years.

And, also honestly as many have been whispering for fear of reprisal, don’t look at it too hard. Let the adventure and ideas sweep you away. Squint through the silliness. Close your mind to the potential paradoxes. Near as I can figure, they haven’t shattered anything we are sure we knew, though they may have explained some of what we thought we knew. But I’m purposefully not trying to dissect it as it works so well on an endocrine level that I just don’t want to care. At least not yet.

John Wick 3: Parabellum

[2.5 stars]

It is a sad irony that this sequel is going to make more than the others in the series, despite being the weakest entry. Parabellum is a hollow shell that has a few good moments, but generally just a lot of disconnected fights and very little to recommend it.

The fights, the unmitigated and unadorned violence of Wick, had a sick kind of glee in the first two films. They felt, well, justified or at least unavoidable. You could revel in them and not feel too guilty. In this installment they feel choreographed. None of the characters are people and none seem to feel any risk. Returning director Chad Stahelski (John Wick, John Wick 2) even heightens this aspect with a ballet theme that even comes back in the credits…it is all choreography. But it leaves the fights flat; you can almost see them counting at times. It had little of the organic mayhem of the first two films, which got to absurd levels, but in more believable ways.

The brief, shining moments of this movie are really Halle Berry’s (Kingsman: The Golden Circle). Her sequence has a story and fights you can invest in. Until she joined the story, about a half hour in or so, I was really checking out of the movie. And after she exits it, even with the addition of Mark Dacascos, it never really comes back together. Dacascos gets to let loose, but not really act (they tried, it didn’t work).

The first two films, while thin on story had a through line. This third is simply about survival and greed. People getting punished for obscure reasons and people simply killing to kill. I get that it’s partially the rules of the world Derek Kolstad created, but that doesn’t make it interesting without some emotion attached. And Wick just has no real emotion. In fact, his one emotional moment makes utterly no sense at all and is contradictory to the man we’ve gotten to know.

It doesn’t help that Keanu Reeves (47 Ronin) is completely outclassed in acting by everyone around him. It is almost painful to watch him speak Russian to Anjelica Huston (Isle of Dogs), who has a flawless accent. Or try to match the chops or gravitas of Jerome Flynn (Loving Vincent), Lance Reddick (Bosch), Laurence Fishburne (Ant-Man and the Wasp), or Ian McShane (Hellboy) as well.  The wooden Keanu worked fine in the first two films because there was a seething ocean of emotion underneath it. This time, his only discernible motivation is about making it to the next, more inventive fight. And the fights are inventive. But that isn’t enough to hang two hours on.

Short version: if you must see this, see it, but it isn’t as good as either of the first films. And worse, it doesn’t wrap it up, it simply delays the ending of Wick’s story yet another film. I’m not sure I’m going back after this one. There just isn’t anywhere interesting to go.

I Love You Both

[3 stars]

Twins have always been fertile ground for stories, whether modern tales of living, horror, or, in this case, sort of romance. Part of what helps set this very indie film apart is that it was written, directed, and stars the twins in question: Kristin and Doug Archibald.

The slow, naturalisticly paced tale of co-dependence is at times a riot and, at times, a bit painful. It’s fairly solid for a first film, but it certainly suffers for pacing even as it manages to land some of its points.

A catalyst to the mix is Lucas Neff (Raising Hope). His arrival causes, let’s just say, quiet complications. That aspect, however, never dominates the story the Archibald’s wanted to tell. That is both a compliment and a failing of the story. Frankly, Neff’s character and interference into the small world of the twins is actually the most fun and interesting part of the story; it also includes the most believable scenes in the movie. The awakening of the twins to a new plateau in their lives, while highly personal to them, is less impactful for the audience. It isn’t that the story needed to change, so much as the balance needed to adjust just a bit so that the ending felt clearer.

All of that said, the movie is entertaining and enjoyable. It shows talent and wonderfully wry sense of humor. Though the comedy is a little more broad that I like at times, it never lingered there so long as to make me run away. If you want a slightly skewed story with a bit of humor and romance, this is a reasonable choice for an evening.

 

The Lego Movie 2: The Second Part

[3 stars]

To quote the movie: What evs.

The first Lego movie had the element of surprise and uniqueness going for it. The last 20 minutes of the film, especially, helped set it apart. But that aspect now revealed, left writers Lord and Miller (Spider-Man: Into the Spider-Verse) with a challenge that the humor and approach just couldn’t manage to overcome when revisiting the world. The first movie was funny, but relied on those final moments to make it something special.

This literal continuation of the tale, starting from the final moments of the first, just isn’t nearly as clever or interesting. It is too forced and not nearly as funny because it is obvious. Director Mike Mitchell (Trolls) just couldn’t find something new, though it has its moments.

One of those moments is the end credits, which are both visually impressive and, at least for the first minute or so, a wonderfully self-conscious plea to watch them. But the rest of the movie was fine for kids, obvious for adults, and more or less a retread of the first. You’ll have to decide if there’s enough there for you to see that again…for me, I’d have been fine if I’d never gotten around to this somewhat empty sequel.

“Skin in the Game” hits shelves!

My story, “Skin in the Game” appears in the newly released Alternative Truths III: Endgame, the final volume in the best-selling Alternative Truths series from B Cubed Press. Edited by Bob Brown and Jess Faraday. Skin in the Game explores what might happen if our leaders were held a bit more responsible for their decisions, right or wrong, in very permanent ways.

From the publisher:
Endgame features 30 of today’s best writers and political thinkers taking a look forward at possible outcomes of our political decisions.

This collection has visions of a better world as well. In Paula Hammond’s “Fortunate Son,” we explore what kind of man Donald Trump might have become had he answered his country’s call and served alongside his fellow Americans in the Vietnam War.

Most of all Endgame will make you think, with thought-provoking essays by the likes of David Gerrold and Adam-Troy Castro as they seek to share their understanding of how this happened and what do will we do.

A significant portion of the proceeds of this book are donated to the ACLU of Washington to honor and support their unending quest for the freedom of the American people to express themselves.

The book is available from Amazon.com on Kindle Unlimited as well as in Kindle Edition or Print Book.

A quick word about Kindle Unlimited…the authors get paid as long as you “read” at least 10% of the book (more or less). So read a story or two and help authors earn as well as supporting the ACLU!

Pokémon Detective Pikachu

[3.5 stars]

After so many failed adaptations of games and anime of late, this movie manages to acquit itself well. First and foremost it is because of the script. Tick writers/producers Dan Hernandez and Benji Samit treated the main story with honesty and focused on creating a believable emotional journey. Director (and co-writer) Rob Letterman’s (Goosebumps) handling of the property was adept as well, at least with the main characters and storyline. The side characters and stories are less credible, but not so much as to ruin the movie.

Ryan Reynolds (Deadpool 2) and Justice Smith (Jurassic World: Fallen Kingdom) build on the core foundation as an unlikely pair of detectives and offered some real promise for the movie. I say promise because as much as the movie surprises in its quality and maturity, it falls back on short-cuts in the resolution, making it much more of a kids film than one that could have been something much more enduring. That doesn’t mean it isn’t fun, it most certainly is, it just isn’t what it could have been.

There are a number of smaller roles as well… but they are all fairly flat; without depth. Among them, Bill Nighy (The Bookshop), Kathryn Newton (Three Billboards Outside Ebbing, Missouri), and Suki Waterhouse (Assassination Nation) get to contribute the most. Waterhouse, in particular does a lot with very little.

Ultimately, this is a nice distraction, but not the Deadpool for kids vibe that trailers promised, nor the unique vision that might have made it a classic. You can still have a fun 90+ minutes with it…especially if you’ve spent a lot of time with Pokémon. The fact that I haven’t and yet still enjoyed the story is only another indication of the quality of the tale.

Stargate Origins: Catherine

[2 stars]

Stargate was a fun and long-running show. Even its spin-offs managed to be entertaining, if not long-lasting. They never quite found the chemistry of the first show again, try as they might. So, when it ended, there was a sense of relief (much like when Enterprise finally died).

But studios are loathe to give up properties they think they can milk, and so Origins was born as a way to sell one of the first digital streaming services. This movie is a compilation of the that one-season attempt of 10-ish minute episodes. It is…well, not very good.

The story picks up a well known storyline from the original series and movie, and shoe-horns in a tale that, by the skin of their teeth and with obvious tricks, manages not to entirely blow up canon. But the acting is cardboard at best. The story is forced and retreads a lot of different aspects of the shows that came before. It is far from satisfying on its own, and leaves little sense of how they could build on the story. Especially true given how many of the holes have already been filled through our time-travelling and flashback buddies over the years in the previous series.

What is clear is that the brains and abilities that provided over a decade and three series of shows were nowhere to be seen. The look is similar and the background established, but the talent is a gaping void. In other words, the only reason to torture yourself with this movie is a sense of complete-ism. Expect to grit your teeth a lot and to feel you haven’t learned much of anything new or, for that matter, of value to the original series.

Stargate Origins: Catherine

Serenity

[3 stars]

It is impossible to really talk about this film without ruining the experience. So suffice to say it isn’t what you think it is, but neither does it really manage to achieve its goals. Writer/director Steven Knight (The Girl in the Spider’s Web, Locke) definitely likes to explore odd niches and create tension. And though he is trying to be too clever in this movie, he smartly focused on character, rather than the deeper mystery, to sell the story.

You know something is off very early on in the story; a sense of David Lynch definitely in play. But the story is played straight and with a persistent reality that is tinged with a sense of distortion for the viewer. Without that distortion, that hint of something other, I would have turned off the movie in the first 10 minutes, to be honest. But there was something there, mostly in the form of Jeremy Strong (Molly’s Game), that kept me curious enough to go forward.

Matthew McConaughey (The Dark Tower), Anne Hathaway (Ocean’s 8), and Jason Clarke (First Man) make an interesting triangle, though none of them is particularly sympathetic or believable. In part, that is the story and the style. Even Diane Lane (Paris Can Wait) and Djimon Hounsou (Captain Marvel), for all their sincerity, never really rise above or stand out. How Knight got McConaughey and Hathaway on board, let alone convinced McConaughey into all the gratuitous sex and nudity, I’m not sure, but it is certainly a credit to his powers of persuasion.

Generally, this is more of a curio of a movie than a great bit of noir or suspense, or whatever it is. Much like Locke, it is a concept wrapped in a script and delivered nicely by the cast. It isn’t great, but neither is it bad. You just have to be in the mood for an odd ride, and willing to approach it with an open mind.

Arctic

[3 stars]

It’s a fair question to ask: Do I really need to see another man vs nature survival film? In this case, yes, and I say that as not a particularly large fan of the genre. But director Joe Penna (and co-writer with Ryan Morrison) delivered this well-researched first feature with the typical dangers but also some nice subtleties. In some ways it’s reminiscent of All is Lost, but on ice.

Mads Mikkelsen (At Eternity’s Gate) spends most of this movie simply looking at things and allowing emotions and thoughts to pass across his face. Whole stories, and a number of smaller mysteries, are revealed by simply watching him. Performances like this one are when you can see real talent, both in front of and behind the camera. Stringing together a story from silence and action alone simply isn’t easy.

Mikkelsen isn’t entirely alone through the film. Maria Thelma Smáradóttir keeps the choices and results nicely unsure. There isn’t much of a performance from her, but there isn’t intended to be; we get her story through Mikkelsen.

In addition to the performances and the direction, there is the incredible landscape. Watching this film, you are sure to feel just a bit colder than your room temperature, and more than a little awed by the vistas. As intimate as the story is, you are never under any illusion about the size and intensity of Mikkelsen’s nemesis. The result overall is a gripping tale of perseverance and ability, with plenty of room for individual interpretation.

Destroyer

[3 stars]

Nicole Kidman (Aquaman) delivers a devastatingly broken-but-not-down detective, evoking more Charlize Theron than the characters we’ve come to expect from her. She is ugly, both mentally and physically; an anti-hero extraordinaire. Intense and gripping, but with the smallest bit of sympathy to keep us on her side.

Kidman navigates the world, past and present, with the help of a great supporting cast. Toby Kebbell (The Female Brain), Sebastian Stan (I, Tonya, Avengers), and Bradley Whitford (The Darkest Minds) chief among them. And then there was the otherwise unrecognizable Tatiana Maslany (Orphan Black). If it weren’t for the credits, I wouldn’t even have spotted her, and it wasn’t for lack of screen time.

Better known for her television work, director Karyn Kusama (Girlfight) is no stranger to female driven tales. In this case, however, she tries just a little too hard to maintain the atmosphere. The music is heavy-handed and the pacing just a tad strained at moments. But she does manage to create a dark, dark tale… a daylight noir in the harsh LA sun that drives forward relentlessly as flashbacks fill in the history. Oft-time writing collaborators Phil Hay and Matt Manfredi (R.I.P.D.) gave Kusuma a well constructed script to work with, but it is Kidman’s and Kusuma’s molding and delivery of that tale that makes it work.

Make time for this one when you’re in a mood for a bit of violence and mystery. The performances make it worth it alone, but the story is, itself, a good ride.