It isn’t a bad film, and it is entertaining, but it’s just, well, confused. It’s neither a kid’s film nor an adult’s. It doesn’t even run that ephemeral line between the two, appealing to both audiences by cleverly balancing adult nods and silly humor. Chris Butler (ParaNorman) couldn’t quite find the tone in his script or direction to pull it all together.
However, it does eventually get to the point in the last quarter of the movie. If only the rest had had the punch of those final confrontations and sequences. But it doesn’t. Despite some impressive animation in scenes, the overall movie feels a little less polished than what Laika has put out before. The animation is a tad less smooth and the feeling a little less magical than I’d have expected from them. It will keep younger kids chuckling, though some will be beyond them and some may be a bit too frightening.
Imagine Close Encounters of the Third Kind, 2001: A Space Odyssey, and Nightflyers all melded into one. In many ways, this is what Nighflyers wanted to be, but missed on so many levels. But Another Life is much more space opera than it is science fiction. Science is, at best, a convenient idea to be used or changed as needed (yes, even worse than Star Trek because it feels more like science fiction). Knowing that going in, despite the trappings of the show, will keep you from getting agitated later (assuming you care about such things).
Katee Sackhoff (2036: Origin Unknown) delivers a complex and strong female leader. Admittedly, the script has her doing some stupid things at times, but her emotional core is solid. The rest of the shipboard cast, with two exceptions, do well too. Samuel Anderson (Doctor Who, DCI Banks) navigates a difficult road to sentience…your mileage may vary on the results, but it is still a complicated performance. Likewise Blu Hunt, A.J. Rivera, Alex Ozerov (Cardinal), and JayR Tinaco created shipboard life that is at once interesting and, in some ways, ridiculous. But that is more a problem of the Space Opera approach than it is the actors.
Unfortunately, there were also some weaker, or at least uneven performances as well. Top among those were Jake Abel (Love & Mercy) and Jessica Camacho (The Flash). Neither had a subtle bone in their body and, in the case of Abel especially, no presence whatsoever. Back on Earth, Selma Blair (Anger Management), who I normally enjoy, was just as imprecise and unreal in her pivotal role, which was a shame.
Creator Aaron Martin has a diverse writing background on shows from Degrassi: The Next Generation, to Being Erica, and SyFy romp Killjoys. He isn’t afraid to push limits or relationships and it shows. This series takes a very matter-of-fact approach to the broad spectrum of sexuality that only Sense8 has really challenged in the genre so far. This isn’t the driver for the action, but it certainly adds some nice aspects to the characters and story.
The story also attempts, rather ham-handedly to be honest, to raise the challenge of understanding an alien mind. How much human psychology can you assign to actions and questions an alien raises? How closely will AI evolve to be like or dislike its creators?
I can’t say I ever was sure of the title: Another Life. It has interesting resonance throughout the story, changing as it goes. By the end of this first series I was still unsure of the intention, but had flipped through various options. Perhaps that was the point, but it never felt reflected in the characters.
This show is also a great example of being better streaming than it would have been on broadcast. The story is relentless, ending episodes on intriguing points or cliffhangers and starting off, often, with new situations. In other words, it pulls you along nicely for a binge. If, however, it had been released on a 1-a-week schedule, it would never have hooked in a audience because of that rhythm.
For some interesting distraction, this is a fun series. I’m hoping that it not only gets a second round, but that they learn from this first and take the scripts up a notch. It wouldn’t take much to take it to a higher level and really build out a franchise.
Watching the animus between Dwayne Johnson’s (Fighting With My Family) Hobbs and Jason Statham’s (The Meg) Shaw through the Fast & Furious franchise has always been entertaining, but it also got a bit tiring. It was just so forced and so over-the-top. This latest installment to the franchise gives the characters space to breathe. Sure the one-liners and fights barely stop between the two, but the story actually builds a relationship between them that allows the jokes and slams to continue, but now in a more believable way. “Believable” is, of course, a relative term in the world they’ve created, but compared to other stories in the franchise, this one felt more complete amidst the insane fights and stunts.
Part of the reason is that it is hyperfocused on only two of the characters we follow. And, added to that mix for tension, they found a great female lead to join them in Vanessa Kirby (Mission: Impossible: Fallout) and a great villain in Idris Elba (Luther). There are also several surprise cameos to help tether the story to the main franchise.
Honestly, this was exactly what I needed at this point in my summer. It is a great popcorn film with just enough story and character to allow me to enjoy it without having to forgive it. I wish more of the F&F films had as much meat on them, but they’ve become thin excuses for huge stunts, bad jokes, and little else. Whether this latest becomes a bridge for the plot there, which appears a possibility, or perhaps elevates the stories a bit more remains to be seen. For that matter, whether these characters return to the franchise proper or not is still not known, but it was great to see them on their own adventure.
As you can imagine, yes, you should see this on the big screen if you have any interest at all. David Leitch (Deadpool 2) continues to improve his directing skills without losing his stunt edge. And Chris Morgan (The Fate of the Furious) who has helped turn the F&F franchise from pure car show to something more with his scripts is exploring his characters more. We’re still talking just serious summer fun, but that’s fine. And, should you go, watch through to the end of the credits. There are several front-loaded scenes and one at the end of the roll.
If you are a 13-yr old boy, in fact or at heart, this is the movie for you. That isn’t to say that older folk or women won’t enjoy it. It’s a fun romp for its target audience, with moments for the rest of us, but it is not an adult, let alone a full family, film. And, sadly, that puts a lot of the humor and choices more at a remove for a lot of the audience rather than allowing them to be a part of the fun.
Jack Dylan Grazer (It) is the real breakout in the story…and he does it as the side-kick rather than in the title role co-held by Asher Angel and Zachary Levi (The Marvelous Mrs. Maisel). That the side-kick dominates the story tells you a lot about the overall quality.
The real drawback to the story is the script. Henry Gayden did a much better job of threading the needle with Earth to Echo than he did here. You’d have thought that with director David F. Sandberg (Annabelle: Creation), who’s background is horror, we’d have gotten something with a bit more meat on its bones. Or, at least, something less fluffy. Even Mark Strong (Kingsman: The Golden Circle) glowering his best glower is little more than cartoonish. It fits the feel of the movie, but feels like it missed some serious opportunities.
I admit that I actively missed Shazam! during its big screen run. Not a single trailer convinced me it would be more than a teenage boy’s fantasy. After finally sitting down through the 2.25 hour franchise launch, I feel vindicated in my assumptions.
All that said, with a bowl of popcorn and a silly attitude (and lowered expectations) go for it. I certainly laughed and had some fun, but in the age of Marvel don’t we deserve something better?
The Hot Zone This is an old story given new, and surprisingly terrifying, life given we know the outcome and that Preston’s book is well over 20 years old. It is a little uneven in acting, though the issue is more casting than performance. While Julianna Margulies (The Upside) is solid as army research doctor, James D’Arcy (Survivor) just didn’t work for me on multiple levels from his accent to his whiny nature. But that aside, the story is surprisingly gripping and the warning not a little unsettling.
The real question with this one was: How do you film the impossible book? Well, up till the end, apparently really well. This six-part look at the absurdity of war and humanity generally is funny (till it’s not) and gripping through till its final moments (when it isn’t). On screen, the reason for its success is unequivocally Christopher Abbott (First Man) in the main role of Yossarian/Yo-Yo. Without him, it all falls apart. Around him are a cadre of characters that are, basically, absurdist creations that remain all too connected to truth. On its own, this version of Heller’s classic has a point to make. But if you’ve read the book, you might find the finale more than a little frustrating, especially after having been teased along so expertly for the rest of the journey.
MARVEL ACROSS THE GENERATIONS Marvel is everywhere and, it seems, represented on almost every major channel or streaming option. Hulu and Netflix have some of the most interesting offerings. And, between them, they reach out to a range of ages.
Jessica Jones (series 3) Jessica Jones is, by far, the most adult of the range. Since its inception, Jones has been one of the most interesting characters. As a flawed, powerful anti-hero, she was instantly engaging, even when those around her weren’t. This finale to the series is worthy of her journey, even if it was somewhat cut short.
Cloak and Dagger (series 1 & 2) This teen-oriented, but delightfully dark story of two teens tied together by happenstance is lots of fun and often shocking for the places it’s willing to go. It is much more fantasy than science fiction, leaning heavily on New Orleans hoo doo. But the show maintains its consistency and drags you along into its weird and wonderful world. It isn’t perfect, often dipping heavily into clichè, but Olivia Holt (Same Kind of Different as Me), Aubrey Joseph, and Emma Lahana (Haven) get to have a heck of journey over the first two seasons…and a lot of fun, sweat, and tears getting there.
Runaways (series 2) Of all the Marvel shows, I was actually most interested in this one, till I got to see it. Mostly it had my attention because of the various writers of the comics over the years. But the result is something aimed to the tween audience (or younger) and rarely with any credibility. There is enough of a mystery to keep me semi-interested, but I grind my teeth way too often while trying. The writing is weak, the plotting forced, the characters willfully ignorant or just plain stupid, and the purposes just downright confusing at times. Ultimately I fell away halfway through the second season, though I may pick it up again to see how they resolve it all.
After Avengers: Endgame, we needed tale to help wrap up the fallout of the decades-long saga. In the past Ant-Man’s filled that role as a lighter coda to more intense events. But for the official end of Phase 3, we have the sequel to the relaunch of Spider-Man.
From the moment it opens with its first musical salvo, you begin to understand just how much the MCU is worth…and then the tone is quickly set as heavily tongue-in-cheek. Tom Holland (Spider-Man: Homecoming) returns as the affable, geeky, and not a little gawky teen. This story is, or should be, about him growing up, not to mention getting his feet back under him after losing his second (third?) father-figure and returning from the “blip.” (We won’t touch on the convenience that all the characters we knew around him from the previous story all blipped as well.)
What we get, instead, is a summer romp with a slightly dark edge. It has great moments, but doesn’t really pull together as a great movie, but I’ll get to that. Zendaya (Smallfoot), Marisa Tomei (Happy Accidents), and Jon Favreau (Solo: A Star Wars Story) are all back in the primary pivotal roles in Peter Parker’s life, not to mention as his private army of Deus Ex Machina.
Helping it along, Jacob Batalon and Angourie Rice (The Beguiled) return as comic relief along with Toni Revolori (Dope). The filmmakers still don’t know quite what to do with Revolori other than to use him as a convenient punching bag or plot point, as needed, but he gives it his all.
The biggest new addition to the story is Jake Gyllenhaal (Velvet Buzzsaw). Gyllenhaal is a solid fit for half the film…and then his performance goes a little wrong. And this is where the movie truly begins to falter, for all its clever plotting and ideas.
But to put this all in perspective, you have to remember that this isn’t really a Marvel outing; it’s a Sony/Marvel arrangement. And Sony, as feared when the contracts were struck, has started to take more control of the stories (at least that is my sense of it all). With the previous success of Homecoming and Venom, they feel they’ve got a handle on how to rebuild the franchise. They don’t.
Even though Jon Watts returned as director for this amusingly imperfect romp, and writing duo Chris McKenna and Erik Sommers, fresh off Ant-Man and the Wasp and Jumanji, returned to write it, it felt rushed to screen and without an anchor to the 23 films around it except in the thinnest and most obvious of ways. It isn’t another Iron Man 2, but it also isn’t quite worthy of the Marvel logo. Ultimately, they didn’t quite know how to build on their world and into the Marvel universe this time even with the help of Samuel L. Jackson (Captain Marvel) and Cobie Smulders (Jack Reacher: Never Go Back). It is a little too easy, a little too surfacey, a little too devoid of consequences. Basically, it has no real heart, only a facsimile of one. As a coda, it is allowed to be more of an after-dinner treat, but there were serious themes that needed addressing. Of course, there also isn’t an explicit Phase 4 for them to plug into, which limited their opportunities for a lift from the greater net of the MCU.
The technical aspects of the film were also a little off from previous Marvel offerings. The IMAX was good, but the 3D was underwhelming and unnecessary, barely used to any impact. Even the special effects were, at times, pretty weak. Basically, after Endgame, I’d have expected more.
Do be warned, stay through the end of the credits. There are two tags to this story and both are essential. So don’t walk out before it is all done, however tempted you may be during the 14 minute roll. It gives us a hint of what’s to come, but I can’t say they were as encouraging as that first tag at the end of Iron Man for bringing us along into a new future. All it appears we have to look forward to is a loosely associated set of sequels and prequels with no overriding intelligence holding it together. That doesn’t mean there won’t be bright moments ahead, but it may be a long while before anyone tries to replicate the scope of the MCU Phases 1-3.
Imagine Lucy crossed with Mission Impossible with a bit of Red Sparrow and you’ve got a sense of what Anna is like. It is a fun romp with some great fights and good twists…all with a darkly Russian demeanor and French sensibility. In other words, a Luc Besson film. This isn’t a classic, but it is certainly good summer entertainment.
Sasha Luss (Valerian and the City of a Thousand Planets) in the title role is suitably inscrutable, if not entirely accessible. And she moves well, helping us believe she could be a trained professional, even if her brawn isn’t obvious.
This is nothing more than fun entertainment that is loaded with dark humor, great fight choreography, and twisty plotting tropes that become their own brand of humor. Go for the popcorn and stay for the ride. It may not be the best the summer has to offer, but it is much more satisfying and fun than most of the middling sequels that have been on offer so far.
First you have to ask yourself: Did we really need another installment in this universe? We didn’t. The original trilogy, while never great writing, relied heavily on character over plot to make it work. And, more importantly, it wrapped up nicely. OK, moving on because they did make it…
This latest offering is entertaining, but feels more like a knock-off than a solid relaunch, despite some really good comic work by the Avengers duo Chris Hemsworth (Bad Times at the El Royale) and Tessa Thompson (Creed II). In fact, even with the addition of Emma Thompson (Lear), Liam Neeson (The Ballad of Buster Scruggs), Kumail Nanjiani (The Big Sick), Rebecca Ferguson (The Kid Who Would Be King), and Rafe Spall (A Brilliant Young Mind) there is nothing really new or surprising here. That’s saying something with that kind of cast pile. And, again despite Thompson’s work, there is nothing like the characters that Smith and Jones created in the original material to draw us in both emotionally and plot-wise. I will admit that Larry and Laurent Bourgeois (aka Les Twins), were done quite well, however. That high point was thanks to a combination of the actors with some excellent CG to make them both fascinating and menacing.
But the mediocre results aren’t just down to writing. There is also a major flaw in the structure of the movie…and I suspect it came down to a decision by director F. Gary Gray (The Fate of the Furious) trying to find a way to kick the story into gear immediately rather than ease into it. It was a mistake. The opening starts 3 years in the past, then jumps 20 years in the past, and then comes to the present. The time shifts are not only mind bending to track but they also make it difficult to figure out what character is intended as the focus. It’s supposed to be Thompson, but the opening diminishes that. It could have been fixed by interleaving the two important plot points, but presented as two chunks from frame-open, it was a bad mistake.
That said, for some popcorn distraction this isn’t bad it just isn’t great. Compared to a lot of the sequels this summer, it’s actually a cut above. But I kinda wish they had just let the property die and done something new instead. Or at least found a new story to tell. If you like the universe, do catch this at some point. Sure it’s more of the same, but it will provide good distraction. It’s also certainly f/x heavy and will play better on the big screen if you have the time and desire. But if you’re not chomping to see it or don’t have the time, later on disc will probably do.
How often do you get a second bite at the apple? Even with all the time-travel in the X-Men universe, I never thought we’d get a chance to see Dark Phoenix after the horrible rendition of it in X-Men: The Last Stand. I mean, it was done, they’re not going to go back and pick it up again, right? Better to leave it buried and forgotten.
Well, nothing is ever really dead and gone in the MCU (or apparently Star Wars either). But why do you give this last of the pre-merger Marvel films to a basically untried director, Simon Kinberg? He may have a lot of producing and writing credits, including the previous two First Class films, but there was a lot to make up for after Apocalypse that no amount of Logan (or even Deadpool) was ever going to wash away.
So what we’ve been offered, as a wrap up to this cycle of X-Men, is a great idea with a talented cast, and some of the worst direction I’ve seen in a major in years. When Jennifer Lawrence (Red Sparrow), James McAvoy (Glass) and Michael Fassbender (The Snowman) can all come off as disingenuous, or worse: wooden, the director has failed them. (At least Lawrence managed to deliver the best line in the movie.) Even returning and proven up-and-comers Tye Sheridan (Ready Player One), Alexandra Shipp (Spinning Man), Evan Peters (Pose), and Kodi Smit-McPhee (A Birder’s Guide to Everything) felt disconnected from their previously portrayed versions of these younger X-Men. Sheridan, in particular, just had no leadership qualities whatsoever, and no chemistry with Lawrence.
Only Jessica Chastain (Woman Walks Ahead) and Scott Shepherd (Bridge of Spies), who were integral but not amongst the major characters, gave us any kind of performance. Neither was a brilliant performance, but at least they felt real. Sophie Turner (Game of Thrones), in the title character, was somewhere between the ineptitudes of her younger colleagues and these established two. In better directorial hands, she may have actually, fully delivered.
The story of the Dark Phoenix is legend, and Kinberg’s script had some really good ideas and structure…even some good dialogue. But the final delivery and handling of the material was amateurish, at best. The result isn’t quite as bad as Last Stand, which killed the franchise for years, but the damage is done. Should the X-Men be folded back into the Marvel Universe now that they’re all under the same banner again, they’ll have to wait for the disappointing taste of this movie to fade before they try again.
Ultimately, if you like this storyline and these characters, you do have to see this final installment (for now). It isn’t unwatchable, but it is lacking in the humor and emotion of the previous movies that made them work so well. It feels like they filmed a dress rehearsal rather than a full performance, with some characters just hitting their marks and saying their lines rather than acting. This all comes back to Kinberg who directed the takes and selected the edits. He just wasn’t ready for this kind of challenge, no matter how familiar he was with the story and involved with the earlier movies. I wish I could be more enthusiastic…I waited a long time only to be disappointed again. I’m sure I’m not alone in that sentiment.
It isn’t the movie, it’s the nostalgia that creates the joy in this latest Godzilla sequel…and the huge spectacle doesn’t hurt. The very fact that the production design keeps the CGI monsters very close to the original men-in-rubber-suits look is one of the biggest indicators of just how hard they lean into that sensibility. And, frankly, that’s OK. It strikes all the right chords on that level, but with an updated look and feel.
Returning to continue their story are Kyle Chandler (First Man) and Vera Farmiga (The Front Runner) and they’re joined by Millie Bobby Brown (Stranger Things) as their grown daughter. Wait, you don’t remember them from the first movie? There’s a reason for that, they weren’t there. However, the flick does a good job of convincing you they were. I have to give them credit on that point alone. However, it is only Sally Hawkins (The Shape of Water), David Strathairn (November Criminals), and Ken Watanabe (Bel Canto) returning to connect the flicks. Additionally new to the mix, and to varying degrees of low-end success, are Charles Dance, Bradley Whitford (Destroyer), and Thomas Middleditch (Replicas). Honestly, none of them are at all believable.
Writer/director Michael Dougherty has a mixed set of results in his past and this movie is no exception. From Trick ‘r Treat to Krampus to X-Men: Apocalypse he often has good ideas and partial execution. In the case of this Godzilla installment, there is some real attempt to make the science work by him and collaborator Zach Shields; at least as much as it can. It is still a lot of hand-wavy nonsense, but the veneer does help. And there is an over-arching plot that is being set to tie together the past movie with this and those to come.
In some ways, the driving eco-terrorism plot the writers concoct is true to the roots of Godzilla, but comes across in a sort of uncomfortable way. While the original movies were about what was wrong in the world and what needed to change, this is much more negative on the side of those who see the truth and want to fix it all. But that isn’t the reason we all show up anyway. We’re there for the big monster fights and crazy situations. All make an appearance. This is also mainly just a bridging movie to get us to Godzilla vs. Kong.
I never expected much of this film… and, in fact, I got more than I anticipated. Is it great? No. But it is sufficient to the purpose of entertainment and it is a BIG screen movie. So grab some popcorn and settle in for the silly and the mayhem. As long as you like the genre, you’ll like the movie. If you don’t, well, it’d be a waste of your time. It doesn’t rise above its roots in any way that will reach beyond its core audience.
Art, writing, life explained… or at least commented upon…