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.
You’d think that writers John Kåre Raake and Harald Rosenløw-Eeg would have scratched their collective disaster-itch with The Wave. But, like their first, much lies hidden in plain sight beneath the feet of humanity, and they wanted to bring it into the light.
However, this isn’t just a repeat of the first film’s formula, even though it picks up the story and the family from after their survival. There is the mystery and the suspense of the titular event, but the film isn’t about tilting at windmills, it’s about getting out alive, and family. Think of it as a San Andreas in the north, but with an actual script and story that that is way more than the special f/x (which are certainly impressive for an indie).
Director John Andreas Andersen takes over the helm of this tale, acquitting himself nicely. He keeps the reactions and interplay very natural, while not losing track of the stakes. Certainly there is some lack of communication between characters I’d like to have seen done differently, but some of that was cultural more than weakness. And it was all within the scope of the characters we’d met before.
Ultimately, The Quake is a tale about family and redemption. Survivor’s guilt and PTSD play into it as well. We care about Kristoffer Joner (Mission: Impossible: Fallout) and his continuing journey, while still wanting to slap him on occasion. And the facts of the story, much like The Wave, make it clear that the fictional risk is very close to the truth. This sequel is also less preachy than the first film, which hammers both the science and the resistance to facts a little too hard.
I can’t imagine watching the two films back-to-back. However, watching them in close proximity would be interesting to see just how well it all comes together over the several year span of the tale. I’d like to see what the writers come up with next…but I am hoping it is a new tale with a new focus. They’ve shown themselves capable, but I’d like to see it applied to something less specifically pointed.
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.
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.
It is really impossible to talk about either of these shows without referencing the other. They are both reactions to the previous decades of Trek and are being run by competing ex-Trek production staff with (clearly) different visions. Their first seasons established unique directions and sensibilities from what we knew as Trek and from each other. However, both Discovery and Orville somewhat lost their way in their second series. Oddly, while at opposite ends of the spectrum (dark action vs satire), they both moved more centrist. In doing so, they both lost their edge and uniqueness but never quite gained the chops to carry off their more standard action/adventure sf intentions. And what makes them even more comparable again is that they tackled similar uber-arcs to their seasons, which I won’t discuss, but certainly stood out for me.
Let’s start with the official franchise. Discovery has drifted slowly and deliberately from its very bleak prequel universe. That darkness had really set it apart from previous series and allowed for some good characters, all of whom have now become somewhat bland. Worse, the move for the series was from a female dominated to a male dominated one; very disappointing. Sonequa Martin-Green (The Walking Dead) is still the focus of stories, but she has taken a backseat to new arrival Anson Mount’s (Inhumans) Pike and other men on board rather than being the main driver of the action and plots. Her Vulcan-ness has likewise diminished, though I can see an argument for that choice. There was a drive for the first several episodes to inject wry humor to balance the sturm und drang, but it was often tossed off and felt forced, or simply got lost amidst more important information. Eventually, they just gave up. Basically, it has become more standard Trek and less something unique. In fact, in some ways this season as a whole could simply be titled The Search for Spock.
I have to admit, I had trouble letting go of the dark roots of Discovery’s first season’s going into the next iteration. And make no mistake, season two is a whole different animal. In some ways I love the tight banter and wry humor, even if the audio mix often made it challenging to hear clearly. I like that they didn’t just forget season one, but grew on it, even though they remade the show entirely and left a lot of what made it something new, something not standard Trek, behind. Bryan Fuller’s vision for Discovery was refreshing for me. Even if he didn’t get to see it through, you could feel him in the bones of season one.
And then there was the season finale, which was unforgivable. Loaded with, and led to by, stupid choices and bad writing. It also had a critical element only from the Short Treks, which I’d not seen. The frustration is that if you’re going to make something an integral element of the season, it should be part of the season. Otherwise, it is fine to have nods and gifts from the other material (SHEILD and others have done this), but nothing core as not everyone would have the information necessary.
I will grant that the scope of the season, in terms of the overall plot and ongoing arcs, was impressive and gripping. It managed to be somewhat episodic and still have a much larger story pulling it along. But as a rehash of Enterprise’s failed attempt at the same idea it is full of the same kinds of plot holes and issues. It also took a stab at the now standard trope of revisiting the original series that began with the Tribbles episode in DS9; but they didn’t manage it effectively or with any real emotional weight.
But worse, depending on how they resolve the finale in the next season, the reset of the universe was more than a little cheap and frustrating (both in choice and method). I don’t quite know how they follow up this season in a satisfying way…but they have succeeded in bringing what was a brave new show back to the well-trod Trek center, and making it a lot less interesting.
The Orville has swung in from the opposite direction, trying to become more Trek and less satire of that genre. It essentially gave up what made it unique and left us with middling writing and lackluster plots for most of the season. However, a lot of that middling slog was worth it to get to Menosky’s Sanctuary, which picks up the Moclan tale from season one (Ja’loja) in earnest. It is loaded with guest stars and great moments and hits the exact balance of honest and satire that made the first season so much fun. It is also one of the few MacFarlane didn’t write this Sophomore season.
The final few episodes of the Orville season redeem it…right up through the finale. I am hoping that it indicates a recognition of where they drifted from their mission and that they will return renewed and refocused. Orville may never have been great, but it was entertaining and a good escape. Sure it catered to the geek crowd, especially in its humor, but it had potential. Making the Trek-like universe something a bit more realistic instead of aspirational in its society is not only a rising trend in the written genre, but a hunger in the audience who are tired of the sanitized worlds that had been on offer for decades.
Yes, I will be back for both of these shows, assuming both are back. Only Discovery is officially renewed as of this writing. There is potential in both and both shows have a willingness to take chances and change. I just hope they learned the right lessons from this past year.
Who would have thought, watching that first tag at the end of Iron Man 11 years and 22 films ago, that today we’d be here? Talk about delayed gratification.
I didn’t rewatch all the films again, but I did rewatch all of Phase 3 in prep. Still an amazing trip. Thor is certainly the odd one out in flavor and Black Panther is still not my favorite (though its resonance has changed for me again in the last year with our own political mess), but as a whole the sequence continues the huge landscape and story. It has to be said, though he left after Age of Ultron, the success and structure of this audacious and incredible ride owes a huge amount to Joss Whedon’s grand vision of architecture.
And that is where this movie shines. Christopher Markus
and Stephen McFeely, writers of the entire Captain America sequence and Infinity War, landed this saga beautifully. It is a tight three acts loaded with humor and drama, and the biggest sequences since The Hobbit or Dunkirk in terms of battles. The Russos did a great job directing it all, never losing the pacing nor the sensibility of the characters. I can’t recall the last time an audience had so much spontaneous applause and tears.
Despite being over three hours, the movie doesn’t feel long at all. Every character gets their moments and resolutions and nothing is easy. And even the forced moments work because you want them to be there. Markus and McFeely also, almost, manage to get out of it all without a paradox, gap, or gaff. Just don’t pick at it too much, there was no way to avoid some of the issues they ran into. If there is any real ding on Endgame as a film, it is that it doesn’t and can’t stand on its own. Without the lead up (forgetting even the Infinity War cliffhanger) it would be obvious something is going on, but not what. That isn’t a bad thing for a finale, it just is being honest.
Anticipation couldn’t have been much higher for this movie, which concludes the emotional and character arc of Phase 3 of the MCU for so many characters and marks a change in direction for the stories. What that change will be remains to be seen in the official end to the Phase in Spider-Man: Far From Home. It has been floated that the overarching stories aren’t going to continue, though some characters are getting series on Disney+. I have to say, I am worried that they cannot sustain the franchise with that approach and thinking. It shows a lack of comprehension of what made the last 11 years one of the grandest adventures and experiments in movies.
I did see Endgame in IMAX 3D for this first go-round. It was worth it. The story is huge and gorgeously shot. The 3D is subtle rather than cheap most of the time. Most of the f/x are seamless, though some of the Hulk’s moments are a little threadbare. But definitely the way to go with this movie, at least once. Now, get yourself out there and see it before you get the story spoiled. You’ll only get to experience it once without knowledge, enjoy the surprises. And while there are video tags during the credits, there is an audio tag that is causing much discussion and little confirmation as to the meaning.
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.
Art, writing, life explained… or at least commented upon…