Tag Archives: 2stars

The Mummy (2017)

[2.5 stars]

This movie was clearly in trouble from the first few moments with the silly voice-over and set up. It then went on to try and recapture the 1999  sense of humor, but misses completely. The relationship between Tom Cruise (Eyes Wide Shut) and Annabelle Wallis (King Arthur) isn’t compelling and Jake Johnson (Jurassic World) doesn’t come across as either a soldier nor suitable side-kick for Cruise.

The original 1932 Mummy is kitschy, but also a wonderful classic. The 1999 remake is filled with action and humor. There have been many spin-off and sequels based on this Universal monster over the 80+ years of its life on screen. So if you’re going to do it yet again, especially to launch a new monster-universe franchise, you’d think the studio would spend some time on the script. I’m not sure how they went wrong, but having six writers involved couldn’t have helped no matter how successful most of them have been on their own in the past.

I have to admit, the ideas and intent were interesting, at least on aspects of the mummy part. But the script and story are simply put: crap. And I won’t even touch the Russel Crowe (The Nice Guys) Dr. Jekyll role, who apparently would be a bridging component between the planned movies. But let’s talk about some of the issues (and only some and a tad spoilery, but nothing that really matters since you’ll know it all going in):

  • Why, when you have an ultimate evil well imprisoned would you have a way to break them out of that prison already set up and ready to go
  • Crash victims are already in the morgue for identification while wreckage is still being discovered and burning
  • Consecrated warriors are taken over by “evil” without a struggle or even a nod to the power of the faith the movie tries to make into reality
  • And let’s talk about the Westernization of Egyptian myth. Set is neither evil nor the devil. He is the ruler of wild lands, the deserts, foreign lands, and the storm, and protects the Boat of Ra during the night journey when it is threatened by the serpent monster of chaos, Apep. (Thanks, Matt, for the detail and correction.) And he isn’t a monster, as stated in the script. To paraphrase one of the great moments in Buffy: he’s a god.
  • Then there was all the distracting nods to other horror films like An American Werewolf in London and Night of the Living Dead (pick a version)
  • The decisions around how to solve the main problem of the tale are a stretch at best and stupidly risky as worst. For the love of a god, just break the offending object of power and be done with it!

But it wasn’t just script choices, and there were so many more, the direction of the characters was often weak and ill conceived.  Annabelle Wallis is completely non-credible as an archaeologist. Sure, she has her secrets and such, but her actions and reactions are all in service to the story to come rather than realistic reactions in the moment of the action. That is on the director Kurtzman more than her, but it was very frustrating and weakened her character.

Generally, this movie was a weak mess that has some entertainment value, but a whole lot of meh (to quote some friends). I leave it entirely up to you if you want to watch it. I won’t be putting it on again, if that is any help in your decision making.

The Mummy

 

 

Oh, Hello

[2 stars]

When you are the target audience for a bit of satirical comedy and it leaves you nonplussed, it isn’t a great sign.  Oh, Hello is an ironic poison pen letter to New York theatre. Or, if not poison pen, certainly with more than a little bit of ire and frustration. And I do say this as their target audience, based on the subject matter (NYC living and the theater/entertainment world).

Honestly, I just found it mean-spirited and relatively uninspired in its message. With the exception of a couple cameos, it wasn’t even all that funny. Nick Kroll (Sing) and John Mulaney (Documentary Now!) are only marginally decent at playing older men, not that they are intended to be realistic. But the script is just, well, boring. It takes a half hour for the setup to complete so that the jokes can start paying off. But they don’t continue. There are side stories and sophomoric silliness and absurdities and a ton of inside jokes that would leave most people scratching their heads.

I’m sure there is an audience for this; it isn’t entirely unenjoyable. As part of my Netflix subscription it was favorably priced for its value, but I am glad I didn’t spend Broadway prices (or anything in addition) to see it.

It Comes at Night

[2 stars]

You have to give this movie credit for being what it wants to be: an intensely personal look at the dissolution of society after an unidentified catastrophe. Basically it asks, “What price, survival?” We’ve seen a lot of these in recent times (a subject I won’t go into here) but this is one of the weaker executions. Both Girl With All the Gifts and Into the Forest manage something more compelling and with better commentary.

The issue, however, isn’t with the acting. Joel Edgerton (Loving), Carmen Ejogo (Alien: Covenant), Kelvin Harrison Jr. (Enders Game) give life to the main family. Christopher Abbot (Martha Marcy May Marlene) and Riley Keough (The Discovery), provide another perspective and a bit of suspense and tension. Sadly, however, no answers. In all cases the families feel real, given the situation.

The weakness in this tale is the story itself. Trey Edward Shults follows up his critical hit Krisha with this latest foray into familial horror. Told primarily from the point of view of a teenage boy, we get a lot of suggestion, but little real resolution. And the ending is both obvious and pointless, and a tad out of left field. Initially the story has many elements of reality and dreams as Travis gets more and more sleep-deprived, whether due to sickness or stress we wait and see. The construct is an interesting aspect to the family’s predicament. However, it never pays off and we’re left wondering about far too much as the path that got us to the end just sort of peters out.

As a bit of tension and nihilist pondering, It Comes at Night succeeds. The film making itself is quite good. As a movie, however, at least for me, it felt unfulfilled and pointless.

It Comes at Night

Mindgamers

[2 stars]

I have to admit, thanks to the inclusion of Sam Neill (Hunt for the Wilderpeople) in this cast, not to mention the design of Enoch, I couldn’t get Event Horizon out of my head. There are aspects that make the two somewhat brethren, though they are movies with very very different intentions. Mindgamers is much more sf/horror while Event Horizon was really just horror with sf trappings.

Admittedly, though Neill is at the core of this story, the movie is driven by Tom Payne (Luck) and his group of hapless geeks. That group is completed with some competent and committed actors: Dominique Tipper (Girl with All the Gifts), Antonia Campbell-Hughes (Split), Oliver Stark (Into the Badlands), Turlough Convery (Poldark). It isn’t really entirely their fault that the script is oblique and over-written.

Working against or with them (depending on the scene and your interpretation) is Melia Kreiling (Last Tycoon). She brings a cool creepiness to her character, though very little depth. 

Director Andrew Goth and writer Joanne Reay  are frequent collaborators. You can sense the simpatico from script and vision to screen. The trip, for there is no better way to describe the result, is fluid and done without apology and with little explanation. It is clear that reality is something that isn’t defined crisply from very near the beginning. I actually applaud the guts of that approach, but the result wasn’t particularly great. A Cure for Wellness, for all its faults, tackled the psychological part of that much more effectively.

Basically, no, I can’t recommend this flick. Despite its amusing launch in theaters (a la William Castle) offering a mind-linked experience, the story just isn’t there for all the visual and choreography cleverness. Their locations also became a distraction for me as they were more interesting than the movie and and some were recognizable from other films (in particular, Spectral). So, my recommendation is either watch this highly altered or simply pass it by. Someone will do the theme better justice at some point.

MindGamers

Sylvia Scarlett

[2 stars] Way back in 1935 Katharine Hepburn and Cary Grant (An Affair to Remember) were to meet for the first time on screen. The results were not what you’d expect given their better remembered history. In fact, there is no romance between the two.

The object of Hepburn’s attention is not Grant but rather Brian Aherne. She and Grant are really more intended as comedy duo along the lines of Abbot and Costello or William Powell and Myrna Loy. But the movie really doesn’t work very well. Even Edmund Gwenn, who plays Hepburn’s father, is wasted in this film as he flails about and attains no sympathy from us, starting with the first scene. 

So, why watch this film at all? Well, it has three interesting aspects to it. Primarily, Hepburn is dressed as a boy for a good part of the film. It is intended to lead to hijinx and hilarity of mistaken intentions and confused sexuality (all with a laugh, of course). It didn’t work then. It works a little better now as gender roles and societal norms have relaxed. A little better. Hepburn is, mostly, a strong character in this story. But there are no guts to the script and barely a good joke, though Hepburn does a game job of jumping back and forth in her makeup and movement. And with Mel Berns make-up, Hepburn almost passes, looking like a young David Bowie in her drag.

The second bit of trivia for this film is Grant. It was, essentially, his breakout. Not with the film itself, but it was the first time his trademark personality on screen was exhibited and noticed. It led to his subsequent stardom.

The final interesting aspect of this film, especially given this summer’s misfires at the box office, was that Sylvia Scarlett was a massive bomb (losing about 350,000 or over 6M in 2017 dollars) when it released. It almost cost Hepburn her career. Three years later she would return triumphantly, and with Grant again, in Bringing Up Baby (followed in quick succession by Holiday, Philadelphia Story), and then Woman of the Year.

You don’t often get to see what didn’t work from years past. For good reason they tend to fade and be forgotten. In this case, the star power kept it alive until it found an audience, however tenuously. You’d never expect that George Cukor, who would go on to direct My Fair Lady, Philadelphia Story, and Adam’s Rib, just to name a few, was at the helm of this damaged ship. But he did see the spark in the pairing of Grant and Hepburn and got to use it later on.

Sylvia Scarlett is not a great film, even in retrospect. But it is a fascinating piece of film history, with some moments to recommend it. I have to admit, I had to skip a small chunk of the film near the beginning because it was just so uncomfortably bad. But curiosity had me finish it. I also wonder if, in title and nod to theme, they weren’t playing on the previous year’s Marlene Dietrich success: The Scarlet Empress, but I don’t think anyone is left to ask that one.

 

 

Free Fire

[2 stars] So, if Monty Python and Quentin Tarantino had a co-production to recreate the Black Knight of The Holy Grail as a heist gone wrong, you’d get Free Fire. This is an almost ceaselessly vulgar and violent confrontation at (of course) a gun sale gone wrong. Whether that is a good thing for you or not, is going to be a matter of mood and taste.

Director and co-writer Ben Wheatley reteamed with his High-Rise writer, Amy Jump, to bring this blood-fest to screen. The humor is dark and just as often missed the mark as hit it. On the other hand, the sound effects and engineering are really quite amazing. The biggest directing mistake Wheatley made was never giving us an overhead shot of the participants making their way around the killing field. It would have helped a little with the geography of the fight if folks were more easily located.

At the extreme end of the characters are Sharlto Copley (Chappie), Sam Riley (Pride and Prejudice and Zombies). Neither plays a believable character, but they certainly do so with abandon. It is the combination of both of them that is the excuse for the mayhem that follows.

As basic tough guys Cillian Murphy (Peaky Blinders), Jack Reynor (Sing Street), Noah Taylor (Deep Water), Babou Ceesay (Rogue One: A Star Wars Story), and Michael Smiley (Luther) fill out the gangs. Each feels a bit like stock characters, but none are overly empty of interest.

But the two that really stand out as characters for me were Armie Hammer (The Man from U.N.C.L.E.) and Brie Larson (Kong: Skull Island). Each clearly has another life somewhere and all manner of things going on under the surface that we never get to understand, but which make their performances interesting rather than just loud.

Generally speaking, this isn’t a film for the weak of stomach or with sensitive hearing (language or gunfire). It, frankly, isn’t a very good film either, but it certainly will have its audience. I did laugh, on occasion, and winced a great deal through moments…even cheered once or twice quietly inside at the demise of a character or two. But there is little story and little to recommend. It is a vignette drawn out in loving detail for 90 minutes of lead filled hell. If that’s for you, then go for it, but there are plenty of better bullet strewn extravaganzas that actually have characters and plots you can latch onto.

Free Fire

Identicals

[2 stars] I don’t mind weird, but I need a little bit of conclusion with my weird to make it pay off. This really didn’t have that.

Simon Pummell’s first fiction feature has the makings of something intriguing and the trappings of a solid, hard science fiction tale, but lacks answers as it spins out the story. It certainly was visually interesting, though his accompanying script was either cleverly minimal or purposely obtuse. The overall result was…head-scratching.

The film is driven by three main actors, of which Nora-Jane Noone (Brooklyn) is the only one who turns in any kind of performance. It isn’t a brilliant performance, but it has levels and change to it. The two main men, Nick Blood (Bletchley Circle, Agents of SHIELD) and Lachlan Nieboer (Charlie Countryman) are wooden at best and never particularly sympathetic. On the other hand, Tony Way (Edge of Tomorrow) turns in a bit performance that lights up the screen briefly.

Ultimately, this story is either hard sf or purely an allegory about inner struggles. It could be both in better hands, but neither manages to come together. Honestly, save yourself the time unless you really like experimental film that leaves you hanging. Mind you, I don’t think this was intended as experimental. I think Pumell over-cut or under-shot to make his point and got left with a movie without meaning.

Identicals

Alien Arrival (aka Arrowhead)

There is an interesting story somewhere in this script (and probably on the cutting room floor), but it doesn’t really come together on screen. The largely unknown cast is led by Dan Mor as a brooding rebel with mixed and muddled motivations. Pretty to look at, he doesn’t create a character we can invest in or root for because we never understand him or what he wants and needs to do.

Writer/director Jesse O’Brien really attempts to tackle the difficulty of bringing hard science fiction to the screen…with a healthy dose of science fantasy on many points. I applaud him for not treating the audience like idiots, and for some interesting moments and storytelling. But, he needed a few more “connect the dots” revelations to help us put together the story he intended to tell. What we end up with is a nihilistic opening chapter in a larger tale about some kind of galactic war that never quite makes any sense. 

I did watch the whole film, because there was just enough to keep teasing me along that there would be answers. Frankly, I’d skip this. But if you are a real fan of Australian science fiction or want to sample a new director and see what he may be capable of down the road, it isn’t entirely unwatchable, just not particularly satisfying.

Alien Arrival

Authors Anonymous

It isn’t that there aren’t some good moments in this Chris Guest wannabe about a writing group, but it is too uneven and unsatisfying to outright recommend. That said, if you are in a writing group, you will probably find a lot that is familiar.

Delivering the comedy is a host of recognizable faces. Kaley Cuoco (Why Him?), Chris Klein (Wilfred), Teri Polo (The Hole), Dylan Walsh (Unforgettable), Tricia Helfer (Lucifer), Meagen Foy (La La Land), among them. And, in one of his last performances, Dennis Farina provides his trademark bruised, tough guy.

Director Ellie Kanner is better known for her casting prowess than she is her directing. I can’t honestly say that either aspect shows itself well in this movie. While the individual roles are cast well, the chemistry of the group is off. You don’t really believe these individuals would associate with one another for a long time. That is as much on first-time writer David Congalton as it is on Kanner. The understanding of the current state of publishing just isn’t there. This feels like it was written more than ten years ago, though it was only completed in 2013.

Part of my problem with this flick the use of improvisation for dialogue. The movie bounces between mockumentary-style interviews and long, fly-on-the-wall moments. As I’ve mentioned before, I often find this mixed approach forced and unsatisfying. Authors was no exception.

It isn’t an unwatchable film, but it just doesn’t really connect for me. Even with the two codas during the credits, I’m left feeling a general wondering at why I spent 90 minutes getting to that point. You may find the humor and situation more engaging than I did, but I can’t recommend it.

Authors Anonymous

Sleepless

Unlikable people doing unlikable things in stupid ways doesn’t add up to a good movie. We don’t even get an anti-hero to latch onto. Jamie Foxx (The Amazing Spider-Man 2) and Michelle Monaghan (Pixels) are simply just bad at their jobs, whether or not they are also bad/dirty cops.

To balance that, as inept bad guys we get Dermot Mulroney (August: Osage County) and Scoot McNairy (Batman v Superman: Dawn of Justice), neither of which seems to deserve the empires they lead.  The only truly likable character in the entire film is Gabrielle Union, but she also pulls some stupid moves. Octavius J. Johnson (Ray Donovan), is mostly just a hot potato used to drive the action; his portrayal of the son has little depth and generates little sympathy.

To be fair, all these choices and lacks are the fault of writer Andrea Berloff (Straight Outta Compton) and director Baran bo Odar (Who Am I). The script is ill-conceived and poorly researched while the acting is relentlessly dark with few positive hooks for us to want to hold onto. Even an anti-hero needs to pull our sympathies in some way if we are to commit to them.

The cast was unable to rise above a bad foundation of this film. The idea that it could have a sequel (and boy do they set it up) was simply the bitter icing on the unpalatable cake at the very end. Basically, skip this one.

Sleepless