When Joe Cornish (Attack the Block) took on the Arthur legend, the hope was for something like Excalibur by way of Time Bandits. And while there are slight nods to both, it is really more just a solid kid’s film with some humor and light action, but none of the dark, satyric edge of his previous effort. This may not have been the film anticipated, but in some ways it is the right movie for the right audience now. And, certainly, it is a better reconception than the other recent Arthur movie.
Louis Ashbourne Serkis (Alice Through the Looking Glass) is nicely earnest in the lead, if a little lacking in levels. And his gang of knights, Dean Chaumoo, Rhianna Dorris, and Tom Taylor (Dark Tower), all turn in similarly appropriate performances for the feel of the tale.
In truth, though, Angus Imrie (Kingdom) and Patrick Stewart (Logan) steal whatever thunder there is to steal. Imrie’s performance is unselfconsciously weird and Stewart gets to play it up as well.
Denise Gough (Colette), as Serkis’s mother is suitably mother-like without being too smarmy. While Rebecca Ferguson (Mission: Impossible: Fallout) never really gets to stretch her wings as the big bad. She spends the entire film in a harsh whisper that is promising and foreboding, but never really comes off as entirely threatening.
But the tale itself is only part of the story here. Sure, there is adventure and action and humor, to a degree. But the message, just like the book it mirrors, is the real point. And in today’s world, perhaps that is more appropriate. I did enjoy myself through the two hour jaunt. It isn’t a simple film, fortunately, taking some pains to have some bits of reality, but neither is it really aimed at adults. So go in for the mindless fun or to share with a tween of your choosing. I think Cornish is capable of much more and much better…especially if let off his leash. The result here smacks of a studio panicking and forcing him to scale back from the very sensibility that probably landed him the job.
I made every effort to go into this remake with an open mind. But, I admit, it wasn’t easy. I happen to love Guillermo Del Toro’s work, whether it is fantastical love stories like Shape of Water, Keiju madness like Pacific Rim, Gothic horror like Crimson Peak, or the comic book, wry insanity of Hellboy. In other words, this reboot had a long row to hoe for me…especially as we never (and will likely never) get the completion of Del Toro’s trilogy of the character. Add to this that Ron Perlman made Hellboy his so completely that David Harbour (Stranger Things) was at a double disadvantage.
To be honest, Harbour does fine as a younger version of Perlman’s Hellboy…except that isn’t the story that is being told. The root of the story isn’t horrible, however ham-handedly constructed. But for some insane reason Andrew Cosby (Eureka), rather than write a prequel or some kind of sequel, decided to rehash and rewrite the origin story Del Toro had already put on screen. That alone ate up about 20 minutes or more of the screen time. And the structure of the movie is weak as well. Cosby’s lack of skill had him telling huge chunks of the story in flashback because he couldn’t find a way to put the information into the current time frame of the movie. Flashbacks are useful tools, but they are also the fallback for a lazy writer. Director Neil Marshall (Doomsday) does what he can with the junk tale, but is as much at fault for accepting the script in the first place.
But flashbacks are only part of the problem. The movie has no heart and no real relationships. It has fight scenes and blood. Allowing or assuming that action can replace character work is a huge error. Del Toro’s movies had plenty of action (though a LOT less gore) but were very much about the people. This story gives us no connection, no purchase, and very little appreciation of the relationships.
So, in short, skip this. It doesn’t deserve your time. Go back to the original or even just the comics. Frankly, there are just better ways to spend a couple hours, despite any earnest attempts by the cast to spin gold from moldy flax.
An uneven adventure film that has its moments, but pisses them away at almost every turn with painful cliches though it manages to escape others. And, saddest of all, the last major appearance of Michael Nyqvist (John Wick). It isn’t as bad as Raul Julia’s Street Fighter, but this clunky action film gets sunk by Donovan Marsh’s uneven directing that no amount of talent can overcome. I will admit that there are moments where it works, particularly when the military in the field are working together. But that is, often as not, followed up by moments of absurd scenes with the likes of Gary Oldman (Tau), whose great talent is sorely abused into an histrionic military leader who would have never risen to his position.
That aspect of the characters makes this actioner into a weird, blue-collar polemic. Simply put: Those in power are fools; those on the ground are the sober thinkers. The truth is that most military leaders in first-world countries are very calm, considered people who hate to risk lives without purpose or to play politics… well, ever. The fantasy world of Hunter Killer resurrects false views of the military, at least our military, from decades ago.
The movie isn’t entirely absurd on that level though. There are few characters that have risen to admirable leaders. Gerard Butler (Den of Thieves) is a fairly credible, if somewhat wooden-er than usual, submarine captain. And Nyqvst gives us a subtle and stoic Russian as his counterpart. But Common (Smallfoot), though calm and collected, just has no credibility as a 1-star general. It is a hollow performance, however earnest. And Linda Cardellini (Green Book), though allowed to have brains, is also guilty of a silent coup thanks to the writing. And even some of Butler’s crew come across as having been inappropriately promoted, particularly his XO played by Carter MacIntyre.
Now, all that said, if you squint…quite a bit…the story is engaging and tense, particular during the fighting and evading scenes as most good sub stories can be. The setup is intriguing and the cinematography really something spectacular at times. But it isn’t a good movie. It is barely a passable one. It could have been so much more, but the producers clearly had a point of view and no sense of the real world, only the macho world they envision as they mouth-breathe their nights away.
Here we are at the penultimate breath bridging Infinity War and Endgame. A pause and some historical background to fill in missing pieces and characters before the final battle. And it is also our first peek at what a post Phase 3 MCU might be like with a whole new feel and rhythm, even if the journey is the same iconic trail. Collaborating directors and co-writers Anna Boden and Ryan Fleck (It’s Kind of a Funny Story) built on the sense and structure of Guardians of the Galaxy, but made it their own giving us an action-packed and humor-filled romp.
DC may have beat the mouse house to the screen with Wonder Woman, but Marvel built a better character and story, not to mention put women in almost every major power role of consequence. Brie Larson (The Glass Castle) tops that bill, landing a solid super hero out of what comes perilously close to not working. But a little trust, earned by the directors, lets you ride any concerns to understanding and support for the choices.
Larson carries the story and film, but is joined by several other women in key roles. A staid and smart Annette Bening (The Seagull) has a wonderful dual role. Lashana Lynch (Still Star-Crossed) adds some heart and grit as her fighter-pilot buddy. Even Lynch’s on-screen daughter, Akira Akbar, is a female of consequence in the story. All of these women stand on their own and drive as well as participate in the tale.
The men in this film are pretty much all sidekicks for Larson. On Earth, that is Samuel L. Jackson (Glass), who gives a good look at the early days of Fury. There are also a few moments of Clark Gregg’s (Spinning Man) as a newbie Agent Coulson. And, of course, there is Jude Law (Fantastic Beasts: The Crimes of Grindelwald) in a mentor role guiding, but never quite controlling Larson’s actions.
Larson’s initial team also includes some fun performances by Rune Temte (Eddie the Eagle), Djimon Hounsou (Same Kind of Different as Me) and, in one of the surprise performances in the movie for me, Gemma Chan (Crazy Rich Asians). Chan really stood out for me as trying on and delivering something new. We’re so used to seeing her quiet and controlled rather than as a kick-ass, warrior. I barely recognized her even though I knew she was in the cast.
The movie isn’t perfect. Some of the plotting and character choices seemed convenient rather than real, though others really did work…eventually. But there were things that threw me. The beauty work on Jackson and Gregg was very disturbing at first. It got better as the movie went on, but it was a heck of a distraction initially. Ben Mendelsohn’s (Robin Hood) accent was a weird choice and felt a tad forced. And the inevitable return of Lee Pace (The Book of Henry) was interesting, but somehow felt a little off from the character we know, even though he appears on the same path. And the humor occasionally clunks or is too predictable to be as funny as they’d hoped. And the hand-to-hand fights aren’t filmed as cleanly as I’d have liked.
Like I said, it isn’t perfect, but overall it is damned fun and it holds together even when you think it won’t. It answers a lot of questions, raises more, and sets us up for the end of an historic 11-year cycle of movies. It even plays homage to Stan Lee in a couple of nice ways (starting with the opening). And for a couple of somewhat newish directors/writers, it is proof again that Marvel can find lesser known talent for those roles and give them the opportunity to run a successful blockbuster while giving us an new voice to enjoy.
Most importantly, Captain Marvel begins to build a path beyond the end of that huge arc, showing there are possibilities and stories still to go after some of our favorites have been primarily retired. And, of course, there are extra scenes, so stay till the very end.
There is a lot to like and a lot to hate in this epic adventure. It is packed with incredible visuals, a strong female lead, amazing fights, and some great moments. To dislike, with prejudice, are several chunks of the script and the non-ending (again, thanks to the script). Did I mention the script?
There was so much anticipation around this first big offering of 2019. The pedigree was solid with Robert Rodriguez (Sin City: A Dame to Kill For), king of the low-budget high-impact green screen, at the helm. It even had James Cameron behind it as producer and co-writer along with Rodriguez and Laeta Kalogridis (Altered Carbon) with solid source material in a well-loved manga (Gunnm).
And, honestly, it starts off pretty well. Rosa Salazar (Maze Runner: The Death Cure) tackles Alita with a guileless honesty that manages to not feel stupid. Christoph Waltz (Tulip Fever) guides her journey with some actual depth and character. Even Jennifer Connelly (Stuck in Love), whose character is more than a little cliche, manages to broaden it out to something richer than what was provided on the page. Keean Johnson (Nashville) gives Salazar a reasonable foil and love interest, though he doesn’t quite have the experience to make the role much more than how it was written. Then, of course, there is Mehershala Ali (Spider-Man: Into the Spider-Verse), the man who’s everywhere this year. Ali gets to have some fun…if not blaze new ground or create a role of a lifetime. Jackie Earle Haley (Damnation Alley) and Ed Skrein (The Transporter Refueled) put together some fun, if unsurprising, villains as well. Even Ed Norton (Isle of Dogs) has a small and, unremarkable, appearance.
But the story is incomplete. It literally ends on an ellipsis without a sense of completion. That is entirely on the script. This film was clearly intended as a first installment in a franchise…one that will never get made (at least for the big screen). But rather than help it stand on its own with a possibility of a future, it simply gets through some stuff and ends without any feeling of resolution. Some slight edits at the end might have helped avoid that feeling by moving some of the final action into or after the credits, but that isn’t what Rodriguez did. After bringing the story to a rather nice climax emotionally, he drops the ball and speeds directly through to the final moments and images.
And then there are the eyes. Alita’s eyes, a weird homage to its anime roots and attempt to make her look different, are, well, distracting. I think there was some intent there to highlight her uniqueness. But in a world where cyborgs and body mods are common, no one there seems to notice them and, as viewers, we just keep getting put off. Salazar’s acting was more than enough to get across the point, the eyes were overkill. It doesn’t ruin the performances or film, but it was the one serious production mistake.
The truth is that if you have any interest in this story or movie, you should see it on the big screen (3D or not is up to you, I saw it in Dobly and was suitably impressed) because it really won’t translate to small screen. Like Valerian, this is a sprawling visual feast with a lot of story that feels pretty common since its release (almost 20 years ago in this case). It is worth supporting for its attempt to do something new, despite its weak script. On the other hand, if you aren’t living to see this or desire some visual acrobatics for a relaxing couple hours away from the world, there are plenty of other choices out there.
Go to Glass, but don’t try to watch the movie you wanted to see… see the movie that is on offer to watch if you want to enjoy yourself.
M. Night Shyamalan has always made the movies he wanted to make, for better or worse. He rarely compromises his vision, but he also often confounds audience expectations. And, sadly, most audiences don’t want to be challenged. Their loss, more often than not. And Glass definitely isn’t the movie you think it is going to be. Honestly, I loved it once I let go and went with it, but I know a lot of people out there were frustrated.
Another aspect weighing on Glass is that it isn’t a stand-alone story. Absent Split and Unbreakable, it means nothing and doesn’t work. Together, they are a great trilogy, but Glass has no individual foundation like the other two films. Ninteen years ago Unbreakable left us hanging with David Dunn’s and Mr. Glass’s story. It was a love it or hate it comic book film that predated the current rush of such things, but foresaw the tone. Split surprised us all a couple years ago by connecting to Dunn’s tale at the end. And now…Glass…the story we’ve been waiting for so long it was almost guaranteed to disappoint. To be fair, Shyamalan and the studios probably strung out the anticipation a bit too long to make this a complete success–we’ve had too long to plan on what we expected.
The challenges of the movie aside, Shyamalan managed to collect almost all the principles from the previous two movies. Bruce Willis (Death Wish), Spencer Treat Clark (Animal Kingdom), Charlayne Woodard (Pose), and, of course, Samuel L. Jackson (The Hitman’s Bodyguard) all came back and felt like they’d lived the 19 intervening years. Likewise for James McAvoy (Sherlock Gnomes), and Anya Taylor-Joy’s (Thoroughbreds) three years since Split. Taylor-Joy, in particular, has a fascinating challenge for her character.
But these were from the past, and Shyamalan was just as invested in his world in the present. Sarah Paulson (Bird Box) with some assistance by Luke Kirby (The Marvelous Mrs. Maisel), and Adam David Thompson (The Sinner) create the framework for the new story…or the explanation of the old ones. As with all Shyamalan films, there are things that feel wrong or out of place, but if you trust the filmmaker, it will all eventually make sense.
In prep, I did rewatch Unbreakable for the first time in about 18 years and I was glad I did. It still holds up wonderfully and there are some important and minor aspects I’d forgotten. Unbreakable was also eerily prescient, coming out the year before 9/11 and with nods to other current movements in our culture. But, most of all, it was it’s intent on making an origin story that was ahead of its time. Heroes that are human, villains too, was not the coin of the day back then, but was about to sweep the entertainment world two years later with Spider-Man and eight years later with the launch of the MCU.
As the end of a trilogy, I think Glass will eventually find its place in the pantheon of fandom. Why? Because it is a real trilogy, with three different stories that connect into a great whole. Compare this to other trilogies that are just the same story but with raised stakes to sub in for more story (Hunger Games, Fast & Furious, John Wick). It is going to take some time for folks to adjust to the realities of this final installment and, perhaps, some investment in rewatching the previous movies to see how they all fit together so nicely. There aren’t many directors out there who would have even tried to complete that vision, and fewer still who have properties that deserved it. Shyamalan is still a storyteller I respect a great deal, even with some of his truly awful films like After Earth and The Happening.
So, again, let go of what you think the story is of Unbreakable, Split, and Glass. Give each character and tale their due, and trust a great storyteller to make something complete and satisfying, even if it isn’t quite the meal you expected to sit down to.
I haven’t written Voltron up recently due to the uneven aspects of its story and the odd rhythm of release. But the good runs have been pretty good and this finale season definitely raised the stakes about as high as they could go while also supplying an interesting story.
It isn’t often an animated series, especially one that bridges younger and older viewers, is willing to do a complete cycle and finale. They’re usually designed to keep going and generate revenue as a business model. It is more common for manga series or adult anime where an end was always intended.
Voltron has bridged these audiences by creating a long-form, more mature story with a lot of kids-style animation spread throughout. They also took some interesting chances stylistically occasionally. It isn’t on the level of Attack on Titan, nor is it purposefully adult like Castlevania, but has definitely stretched to make something beyond the typical Saturday morning style stories. If you’ve not found it yet, give it some time and let it reel you in. I have to admit, it surprised the heck out of me, and only a few episodes really put my teeth on edge as too juvenile for my taste.
Under Michael Bay, the Transformers series of films had gotten bigger, louder, and thinner on story with each successive installment. By the release of The Last Knight, they were unwatchable. This reboot manages to rescue the franchise from oblivion, if they’re willing to take the lesson that character and story matter.
Hailee Steinfeld has the enviable position with this film to be driving two franchises this season, with Spider-Man: Into the Spider-Verse also still strong at the box office. She clearly knows how to embody strength without losing track of humanity. Her semi-suburban-punk gearhead is nicely credible and engaging. With Jorge Lendeborg Jr. (Love, Simon) in her orbit, but never overshadowing her, the two work together to save the world, as you do in this style of film.
And that is one of the cleverest aspects of the film, the style. Travis Knight’s (Kubo and the Two Strings) direction of Christina Hodson’s (Unforgettable) script is spot on. The two managed to set up and consciously deliver an 80s style family science fiction tale that still retains the big action of the Transformers but has all the silly heart and logic of 80s films, with some minor updates for the times. Think a less dark, bigger effects Stranger Things in style. It isn’t a perfect film, but it delivers on what it sets out to do with great pacing and fun sequences.
John Cena (Ferdinand), Pamela Adlon, and Stephen Schneider complete the main cast with some adult support to the story, each with some surprising moments. And Jason Ian Drucker, as the kid brother, completes the tableau.
If you’re a hardcore Transformers fan, you’ll probably find a lot to argue with in this story, and a lot to enjoy. It certainly explored aspects of the story, like Bumblebee’s voice, that I’d not seen before. I can say that as an adventure film for the holidays, it was great fun, full of humor, and solidly delivered. It certainly set itself up for a franchise as well, which, if they learned their lessons, could be good news. For now, at least, this was a worthwhile and fun romp on a lot of levels and for a wide range of ages. In other words, perfect for the holidays.
I won’t bore you with the mountain of specific issues with the script. This could have been DC’s breakthrough, and it is close, but they still just don’t get how to make it about characters and not effects. Of course, that was never director James Wan’s (Furious 7) forte to begin with. In this case his script writers didn’t do him much service either; there was so much potential, but they went for too large a scope and lost the thread.
I will say that idea of weaving the origin story into flashbacks to make this into a single film was clever. But that created a problem for the story in that it doesn’t explain things until too late. You keep seeing behaviors and science and abilities that are wrong or foolish, and by the time they try to explain it, you’ve already dismissed it as a problem rather than going for the ride. This happens over and over again. Much like things blowing up to separate people (which becomes something of an unintended joke after a while).
Jason Momoa (Justice League) does show he can mostly carry a movie. Amber Heard (The Danish Girl) makes a credible play at being a super hero princess herself, though with oddly confused motivations. Surprisingly, Dolph Lundgren (Creed II) actually comes across as one of the more layered characters as Heard’s father. But Patrick Wilson (The Commuter) is so teeth-grindingly cliche it’s frustrating. Likewise for Yahya Abdul-Mateen II’s (Boundaries) Manta. Even Willem Dafoe (The Florida Project) doesn’t get to stretch his rather broad-based abilities thanks to the script and directing. Frankly, that’s just criminal.
Honestly, the only relationship and moments that work are Nicole Kidman’s (Boy Erased) and Temuera Morrison’s (Moana) framing scenes. They’re predictable as hell, but they work and provide the only emotionally satisfying payoff in the entire movie.
So, if you’re going to see this, and you likely will, see it on the biggest bloody screen you can find. Enjoy the pretty pictures and the occasional humor. Squint through the dialogue and plot and just accept it. Munch your popcorn and have fun. This isn’t the ascendance of DC quite yet, Wonder Woman still tops their attempts, but they’re getting closer to understanding what makes a great comic book movie.
Talk about an unexpected treat. This film has so much going for it: action-packed, visually inventive, well acted, clever story. Amusingly, some of these are also to its detriment, especially the visually inventive aspect. But the sum total is that it is a sure-fire hit and a near lock for the Best Animation Oscar this year, with all due respect to Incredibles 2.
The cast is loaded with talent; a list too long to completely discuss. But none really stand out either. The film is a wonderfully balanced ensemble, not a collection of star voices covered by ink. That said, Shameik Moore (Dope), as Miles Morales, in the lead keeps the story pumping along with his naivete and strength. Through him we get to experience Spidey’s origin story again (and again, and again) but without it feeling like a cheap reboot. And that’s saying something for the most rebooted storyline in current cinema (though Batman and/or Superman may exceed Spidey, now that I consider the statement).
It isn’t giving anything away to say there are other Spider people. Jake Johnson (The Mummy) and Hailee Steinfeld (The Edge of Seventeen) stand out in that crowded and entertaining field . And Morales’s extended family is top-lined by Mahershala Ali (Green Book) and Lily Tomlin (Grandma). And that’s just the beginning of the talent list. On the other side of the plot, Kathryn Hahn (Hotel Transylvania 3) and Liev Schreiber (Everything is Illuminated) bring some humor and darkness to the evil side of Spidey’s world. The rest should just be a surprise.
Phil Lord, half the team behind the unexpected hit The Lego Movie, clearly loves the material and the world of comics generally. It is in every aspect of the film. And that, in part, is what I meant by it is both a strength and a weakness. The movie literally looks like a comic, with overlayed shading dots on the surface of everything, word bubbles at times, framed action panels, and even turning pages. While visually engaging, it also kept knocking me out of the movie and the action. It was too self-conscious and never really quite allowed it to just be a movie. It was a movie-comic. That isn’t necessarily bad. Lord has succeeded in doing something directors and writers have been trying to do for decades: He’s manifested the comic book experience on the screen beautifully. Only a true lover of graphic novels could have done that. Lord borrowed and expanded his lessons on The Lego Movie very nicely.
Bottom-line is that this is an amazingly fun and funny movie. Unexpected in almost every way, even while cleaving to the tropes and stories we know, love, and expect. In Dolby Cinema it was glorious and bone-rattling (despite two rather important moments being marred by loss of sound during my showing–shame on you, AMC). Whether or not you think you like animation, this isn’t what you expect or assume. I admit, I didn’t expect this to be more than a cheap cash-grab at more of the Spidey universe, but it really is something new and wonderful for audiences of pretty much all ages above age 9.
Art, writing, life explained… or at least commented upon…