Tag Archives: grrrls

Deadpool 2

[4.5 stars]

Despite having one of the best posters and some of the worst cover art (see below) Deadpool 2 is as funny as the first, if not quite as surprising now that we know the shtick. In fact, it might have the highest ratio of referential jokes per minute ever (I’d love to see a counter on the disc when it is released akin to the original Taken’s body count meter).

Ryan Reynolds (The Hitman’s Bodyguard) continues to rip up the screen and unequivocally supply the energy for the film. His returning cast from the original Deadpool have fun as well, though there was far too little of Morena Baccarin  and Leslie Uggams for me. I will say that T.J. Miller lost some of his game this round, though Karan Soni got to up his in some ways. On the other hand, Brianna Hildebrand had a similarly minor role but made more of it this time. And Stefan Kapicic’s Collosus got to have a bit more fun than his last outing.

As much fun as it was to see the old gang strutting their stuff, Zazie Beetz (Geostorm), Shioli Kutsuna (The Outsider), Eddie Marsan (The Limehouse Golem) and a smattering of fun surprise guests provide the real zazz to the remix. And Josh Brolin (Avengers: Infinity War) not only delivers, but gets to be part of another of the biggest films this summer; talk about great career choices. And speaking of great choices, perhaps the most surprising addition was Julian Dennison (Hunt for the Wilderpeople), who is probably very new to most audiences but who proved he could handle a major motion picture leap without blinking.

Reynolds joined Reese and Wernick in writing this sequel, which may explain the extreme density of the jokes, and director David Leitch (Atomic Blonde) took the franchise reigns well in this sequel. The overall effect isn’t quite as polished or paced as the original, but it acquits itself well by the end; it just has a rather long setup. And, it should be noted, in Marvel tradition, it has little gifts up through the end of the final credits. They also are continuing another more recent Marvel tradition of wickedly funny (and at times astute) music queues. If I have any real gripe with the script and character it is that Deadpool is still a bit more homophobic than the pansexual, which has more to do with current society than the original material.

So is it all you hoped for? Yes. Is it a worthy sequel? Yes. Does it set up yet more stories? Of course it does. Should you see it on big screen? You bet your red-clad ass. In fact, you may have to see it more than once to catch all the references. Deadpool is the perfect pallet cleanser for the avalanche of serious super hero stories. It reminds us you can have fun and carnage and even a certain amount of intelligence while it is all going on.

 Deadpool 2

Please Stand By

[3 stars]

For all its effort, cast, and moments, this movie never quite achieves liftoff, though it is sweet and panders wonderfully to Trekkies and sci-fi geeks alike. Dakota Fanning (Now is Good) carries the story well and manages to make her performance empowering and a touchstone for anyone who’s felt challenged by the world around them. Her character is also full of enough Trek knowledge to shame the best of us (or embarrass those of us who actually did know some of it to start with).

Toni Collette (Unlocked) and Alice Eve (Star Trek Into Darkness) work alongside Fanning well. Due to the character’s situation, there is little direct collaboration, but it isn’t unemotional. Two small roles worth noting were given life by Jessica Rothe (Happy Death Day) and  Patton Oswalt (Freaks of Nature). Neither gets a full storyline, but their scenes are very effective, particularly Oswalt’s.

Michael Golamco (Grimm) adapted his own play for this script. The shift in media is smooth and there is no sense of a stage play lingering in the result. However, the story is somewhat…easy, for lack of a better word. And the timeline, particularly around Eve’s house and choices, is less than clean. However, director Ben Lewin (The Sessions) works well with the cast and the script to make it diverting and fun while still also providing some nice emotional punch. I could feel the movie teetering at the edge of something much better than it achieves, but it is still worth seeing and will leave you with a feeling of positive possibility.

Please Stand By

Life of the Party

[3 stars]

Some films live on one scene, and this is definitely in that category. Which isn’t to say that it isn’t entertaining nor that there aren’t many entertaining bits. But, there is a single scene worth your price of admission (or rental) in this bit of popcorn silliness that should live in the halls of humor for years to come. It cracked up my audience and had them groaning, shouting, gasping, and laughing out loud. You’ll know it when you see it and I’ll say no more.

This is a female dominated cast and story. Melissa McCarthy (Ghostbusters) and Molly Gordon (Love the Coopers) make an amusing mother/daughter pairing and drive the story in a nice, light way. Gillian Jacobs (Don’t Think Twice) and Heidi Gardner get to tackle and breathe life into a couple unconventional characters that each have contributions to make. Maya Rudolph (We Don’t Belong Here) delivers some great side-kick moments alone and with her screen partner. The rest of the sorority and side-characters deliver as well. And on the male side, Luke Benward provides a surprisingly genuine and grounded love interest who manages to do his part without ever taking over the screen (in a good way).

Generally, this is better than I expected, but still not a great film or classic. Like all of Melissa McCarthy and Ben Falcone (The Boss) movies it takes short-cuts, though it avoids most of the cliche pitfalls, and never quite how far not to take a joke. The result leaves the story fairly predictable and the characters and choices often way too broad for credibility. They do keep trying to come back to center to keep the wheels on the crazy bus…and they succeed enough to make the story enjoyable.

Like I said, this film really survives on one scene, so I can’t deny its success. Absent that moment, it would have been fairly empty and forgettable. But for that moment, which they work for and set up beautifully, make time to catch it eventually. It doesn’t have to be on the big screen, so there’s no rush, but you owe yourself that solid a belly laugh at some point.

Life of the Party

In the Fade (Aus dem Nichts)

[3.5 stars]

In the Fade packs a lot of story into its shy two hours. And while I’m not a Diane Kruger (The Host) fan, often finding her stiff and unemotional, she is powerful and painfully exposed in this film; she carries it utterly. In fact, the only other actor that leaves a real impression is Johannes Krisch, who’s super creepy and foul lawyer will twist your guts as he does his work.

Director/co-writer Fatih Akin tackles what is becoming an all-to-common story in the last ten years. However, he focuses the story very personally and small, expertly guiding Kruger and the cast, keeping it paced and under control. The story, however charged, stays ensconced in the painfully mundane, which is part of how it earned the many awards it was was nominated for and/or won last year.

Admittedly, In the Fade is not a light film for a night of simple distraction, but it is a well-done film that should be seen at some point. Because it focuses on the individual rather than the broader societal threads, it is oddly more palatable. We connect with Kruger and invest in her need for meaning, even when her actions are far from anything we may personally identify with…and even more so when they are.

In the Fade

Tully

[4 stars]

In their first pairing since Juno, director Jason Reitman (Men, Women, Children) and writer Diablo Cody (Ricki and the Flash) yet again bring their A-game to the screen. Tully is a glaringly honest look at being a parent with a newborn. It is also a story of trying to survive seemingly insurmountable odds in life.

Charlize Theron (Atomic Blonde) last worked with Cody on a story about a different kind of broken woman in Young Adult. Theron, as always, gives herself over to this new character, allowing herself to be as unquaffed and unclean and unpleasant as the story needed at times. It is a great and sympathetic performance that anyone who has felt crushed by life’s events will understand. As her husband, Ron Livingston (The Odd Life of Timothy Green) gets his own interesting path to navigate through this story as well.

Though the two make a solid couple, it is Mackenzie Davis (Blade Runner 2049) in the title role that pulls it all together. She brings a sort of wonderfully twisted Mary Poppins energy to her night nanny.  She sweeps in and sweeps Theron’s family off their feet, working to put them back on track with a focus on Theron’s needs. It is a challenging role, and one she executes with style and craft.

This isn’t an easy film to classify. It is very much a slice-of-life film, but with a broader impact and with more going on that is very obvious at first. It is also a great piece of film-making that should get a lot more attention as word of mouth spreads (or it certainly deserves to). Be on the watch for this one come awards season, particularly for Theron, Reitman, and Cody.

Tully

Bombshell: The Hedy Lamarr Story

[4 stars]

Bombshell is well named and well punned by first time writer/director Alexandra Dean. She brings us a wonderful examination of one of the best known faces of the 20th Century: Hedy Lamarr. It is all the more poignant is that this arrives in an atmosphere of the #metoo movement and the rising concerns of the potentially eroding position women hold in society.

What Dean makes immediately clear is that while Lamarr’s face was known, and maybe some of her life, who she really was remained ignored till recently. Through interviews with family, friends, and industry colleagues, as well as extensive recorded interviews and footage, we get a sense of the astonishing person behind the tabloid history that dominated her legacy. Which isn’t to say her life wasn’t tumultuous, but it was also full of invention…literally.

Take 90 minutes to learn about Lamarr and how she has shaped your life in ways you have never known. And, while you’re at it, gain an appreciation for both the horror of the studio system and the implicit bias that still pervades the world.

Bombshell: The Hedy Lamarr Story

Gloria (2013)

[4 stars]

Even when a movie like this one earns your attention and trust you aren’t always sure it’s working until the final moments. By the end, however, it most definitely pays off; in fact, the final moments are transcendent for the character and the audience.

The success of the final scene is worth the entire movie to get to…and wouldn’t work without what comes before. Paulina García’s (Narcos) subtle performance holds you and endears you to her over time. And, it must be said, she is certainly helped along in the finale by the 80s hit that shares the same title. (As a side-note, there is a fascinating history to the song and its lyrics and why you may not recognize the translation.) Without question, this is García’s film. While Sergio Hernández certainly gives her something to work off of, she controls the story and screen from start to finish.

Gloria is a quiet film of discovery and life for its main character. The tale is interesting, but not provocative. Like Finding Your Feet, it allows the information to seep out and inform over time. We travel with Gloria through a critical period of her life, starting 12 years after her divorce. It is clear that, up till now, she had drifted through life’s events, shifting directions as they sent her. We aren’t really sure where she’ll end up nor whether anything is going to change as we see her wake up to that reality; the tension of that question and the accessibility of her character pull you along to the end.

Director and co-writer Sebastián Lelio’s (A Fantastic Woman) love of the character and his trust in the material and in the audience is wonderful. He is expert at showing us what we need, and nothing more, while helping us celebrate his characters, flaws and all. You would be excused for not seeing how well its working till the end; but the final scene makes it clear how undeniably good his craft is and why, even with a small opus, he has so many awards nominations and wins. Make time to celebrate Gloria at some point, and keep an eye on Lelio. He is clearly a talent to watch with many more tales to tell.

Gloria

Avengers: Infinity War

[4 stars]

Just: Holy S*%#!

If you were ever worried that Marvel was over taking risks or didn’t have a game plan, this should settle it for you. But avoid all information before you go, if you can. The chance for spoilers is just too high.

We’ve seen all these folks before (me, very recently having rewatched it all)  so I’m not going to take up 1000s of pixels to list the actors and characters.

However, Josh Brolin’s (No Country for Old Men) Thanos does deserve to be mentioned. He, with the help of Makus and McFeely’s script, created a complex villain who, believably, doesn’t think of himself that way. He’s still totally nuts, but what a nice surprise in a world where things are too often black and white to help make it easy on audiences.

I have no idea if this is the film that was planned 10 years ago, but it certainly brings it all together. And in the first five minutes you’ll know you’re into something different. I also have to admit, some of the CG is really subpar (at least on IMAX), which was surprising.

What comes next as Phase Three heads to its final conclusion? Well, I have my guesses…and I’m sure you will too. Thankfully it is only year off till we find out if we’re right (and with a couple films to fill that gap in between).

Avengers: Infinity War

Finding Your Feet

[3.5 stars]

Yes, another tale of late-life discovery and rebirth. But it does it well, with humor, and with a hell of a cast.

The story is led by the incomparable Imelda Staunton (Pride) and Celia Imrie (The Second Best Exotic Marigold Hotel) as a pair of estranged sisters reconnecting after more than a decade. The two work brilliantly together both emotionally and with their timing. Imrie’s world is full of other characters that spur Staunton’s rediscovery of herself and life. Chief among these are Joanna Lumley (Me Before You) and David Hayman (Macbeth) as the core of her group along with the most unlikely of the cast: Timothy Spall (Denial). Spall has often carried stories, but rarely, as in this case, as the romantic male lead. Not your typical choice, and yet he manages a sweet magnetism and vulnerability that makes it all work.

The script for this life and aging adventure was from a pair of writers: first-timer Meg Leonard and the more-heeled Nick Moorcroft (Burke & Hare). But as fun as the film is, it falls prey to taking a couple simple “outs” with the plot rather than working toward their goal in a more challenging way. Honestly, it was a bit of a shame as the scope of the story across age, love, and loss was pretty sweeping; perhaps a little too sweeping given how they solved the problems. But, they still manage to land the moments and the point, even if a few of the paths were far too generic and obvious from the get-go.

Regardless of any weaknesses or clichè in the script, Richard Loncraine (Richard III) directed the story with a sure and powerful hand, controlling the leaps in time and emotional evolution well. The story borders on broad comedy, but has just enough of a tinge of bitterness and embarrassment to feel real during the most challenging moments. It is also unafraid to quietly feel pain at its rawest.

As a tale and reminder that life doesn’t end until it does, this is a great couple of hours. It is for the romantic, at whatever age, and the time invested is worth it just to get to the final frame.

Finding Your Feet

I Feel Pretty

[3 stars]

Sure, this is exactly what you expect it to be…though, actually, it’s probably a bit better. Despite over-reaching a few times on the humor it still manages to be effective. Frankly, I was surprised as I’m not a fan of self-deprecating, broad humor based on silly or stupid choices. But Amy Schumer (Seeking a Friend for the End of the World) manages to pull it off by embodying the fears and insecurities (and ultimately the egos) we all have. Yes, this is directed at women, heck you even get to hear the film pitch in the climax, but the message is pretty much universal.

While Schumer’s personality and delivery make this work, it is only because first-time directing and long-time writing duo, Abby Kohn and Marc Silverstein, knew when to pull back and reset the boundaries. Their script is passable, but their control of the acting and the pace keep you there. And though this deals with some adult subjects, it really does stick to its PG-13 intent without losing its impact.

Opposite Schumer are a few roles that serve a grounding purpose. Yes, there are her friends played by Aidy Bryant and Busy Philipps with rather obvious and surfacey efforts. But it was more Lauren Hutton and Michelle Williams (The Greatest Showman) that gave her something to bounce off of. Williams, despite an inconsistent, if very funny, portrayal creates an hysterical character of insecurities and depth. Sadly, it doesn’t get paid off as completely as you’d like, but doing so would have delayed the the ending. What these two women manage in their short scenes is still very entertaining and pivotal to the story.

There is actually something in this flick for men as well. Rory Scovel’s (Those Who Can’t) non-traditional character helps mirror Schumer’s for men. That is highlighted by Tom Hopper (Merlin), whose not-quite-nere-do-well role is almost throwaway, except for his moment of catalyst related to Scovel’s.

There is nothing surprising in the plot of this film. It is pure entertainment with a message. And the message is simple, but rather important these days. It is actually a great delivery mechanism for anyone doubting themselves in just about any way. And, yeah, it’s a bit of amusing distraction as well. Whether you see it now or the small screen, when you’re looking for this kind of humor, you won’t be disappointed.

I Feel Pretty