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.
Sometimes it is nice to dig out a classic you’ve missed. I recently did that with Iprcress. It is very much out of date at this point, but with some amusing moments and a rather young Michael Caine (Sherlock Gnomes). Ipcress released the year before Caine’s breakout in Alfie (1966), which really launched him on the international stage.
The plot of this flick isn’t very surprising, though it is all carried off with a quiet English humor and a staid set of reactions. It feels like a weak version of The Manchurian Candidate, which released a few years earlier. However the wry humor is an unexpected aspect to it all. It isn’t Kingsman funny, but it is somewhere between that and Bond.
One of the things that caught me off guard was how much the opening is reflected in the series opening sequence of Dexter. Even the music is similar. As it turns out, I’m not even close to the first to realize that. Really, it is jarring how close it is.
As a film, it is diverting and is executed well, though more of an interesting curio than brilliant movie. Still, entertaining. It is also packed with a slew of talent that is no longer with us. Caine is one of the few survivors in that cast, along with director Sidney J. Furie. That Caine is still putting out quality work is what makes him one of the most working and recognizable actors of our time, and Furie continues to dabble across all genre over his equally wide ranging career.
The first Goosebumps movie in this series was, honestly, a surprise. It was certainly aimed at kids, but had enough meat and story to hold the adults attention as well. This second installment has its moments, but is unabashedly aimed at kids and tweens with little for adults.
The cast isn’t at fault here. Director Ari Sandel (The DUFF) found a good ensemble and, though he certainly focused on a particular audience, he kept it consistent and moving along.
The issue is almost entirely on Rob Lieber’s (Peter Rabbit) script. But it isn’t just about the tone and tale, it is also about the plot itself. If you’ve seen the first installment, you’ll be a tad confused for a while. Since this is a sequel, you’re expecting it to pick up from where it left off. But that isn’t really the case at all. It takes about 20 minutes for Lieber to explain why we’re in a different town and how Stine’s book ended up there. I like that it is intended as more a standalone, but it also seems to remake some of the rules established in the first film.
Am I being picky about a silly kid’s film? Probably, but it is what separates the successes of the Jumanji’s from these kinds of releases. If you’ve someone young, or on heavy medication, to watch this with, it is entertaining enough. It just isn’t a good movie for anyone over 14.
Such anticipation and such disappointment. This adaptation of the classic novella by George R. R. Martin ended up as an unhappy cross between Event Horizon and 2001: A Space Odyssey; an embarrassingly and nearly unwatchable tale of space horror trying to be intellectual.
You can tell that the producers knew they were in trouble with this series from the start. In order to hook you, they had to start with the unlikely events near the finale. By doing so they kept you hooked trying to figure out how it happened, even though wading through the absurd plot and actions of the characters would have normally had you switching off the show.
There are some clever ideas amidst the really bad writing. Some are from Martin’s source material and some from the writer’s own expansion of that novella. But clever ideas alone can’t drive a show. You need at least one other element, good dialogue or good characters. Neither materializes despite some considerable talent in the cast and effects on the screen. And, to top it all off, the end of the season is far from a resolution, though I can’t say I’ll be back for a season 2 should it appear.
I wholly support the efforts to start bringing well known writing to the screen, large or small. But the results need to be as crafted as the original source in order to bring it to life.
Nightflyers is middling at best and, in my opinion, not worth 10 hours of your time to navigate.
If you are a Netflix subscriber, you probably have already seen this movie, which has smashed all kinds of expectations for this kind of release. If it had the same attendance in theaters, it would have been a certified hit. As it is, no one knows quite how to judge the results, but they were impressive nonetheless with 45 million account accesses within the first couple days and moving up from there. But is it worth it?
Horror has seen a Renaissance over the last year or so. Get Out, It, and A Quiet Place, even Suspiria, Halloween, and Hereditary have each staked out different corners of the genre successfully, if not always financially. Bird Box lives happily in the Quiet Place corner of that realm, focused on family survival during an unknown and little understood threat. Its story is somewhat predictable, but as it is told in flashback, and there is a lot you can assume from the start, it is intended that the journey and the coda at the end are what you’re sticking around for. And, of course, the cast.
Who would have seen Sandra Bullock (Ocean’s 8) taking on a lead in a horror movie, let alone a streaming only horror? She brings considerable talent and range to an otherwise standard role. Trevante Rhodes (Predator) provides her a nice foil, though not necessarily much of a performance on his own. But he is part of very unexpected cast list. With additional roles by Sarah Paulson (Carol), John Malkovich (Mile 22), Jacki Weaver (Widows), BD Wong (Jurassic World), Lil Rel Howery (Get Out), and Tom Hollander (Bohemian Rhapsody), you’d be understandably surprised. It certainly signals a strong turning in the streaming game.
Director Susanne Bier (The Night Manager) brought all of her suspense know-how to bear on this story. Even when the adaptation by Eric Heisserer (Extinction, Arrival) isn’t quite to his previous crafting, she helps pull it together with the actors and directorial choices. Ultimately, this is a story about people, not about events, which is what, I’m sure, attracted the cast and Bier to the production.
Depending on your love of the genre, you will like this to differing degrees. As a pure horror, it is only OK. As an examination of the human condition amid calamity it fares better. Purely as a movie, it is entertaining and gripping, but not brilliant. But if you like Bullock, or any of the other cast, it is worth some time and popcorn. For me, the ending was more than a little obvious and forced, but since this really is about the journey, as I’ve said, I’m giving it a break. On the other hand, you might find the journey itself questionable, depending on your interpretation (one interpretation is quite cliche, while another is a bit more broadly acceptable). Most folks will be able to go along for the ride and enjoy it without the over-intellectualizing I found myself unable to escape. Give it a few minutes to see if it hooks you…I’m betting it will for most.
As a side note, this is quite the double punch for Netflix, whose technology setting Black Mirror: Bandersnatch also released this past week.
This makes three for three highly noticed, and very different, films for director Yorgos Lanthimos who hit the cinema consciousness with The Lobster followed by Killing of a Sacred Deer. The first was surreal look at love, while the second was dark examination of family, life, and suburbia (or perhaps something else…honestly that one baffled me).
Despite the wildly different styles, there are some commonalities in his work. First, he gets great talent to bring his vision to life. In this case Olivia Colman (The Night Manager) and Rachel Weisz (Disobedience) reunite with Lanthimos to bring us two very different women. Colman as Queen Anne is a bundle of emotional issues, but with the power to move continents. Weisz, as her long-time friend, confidant, and adviser is either a Machiavellian blight on England’s rule, or Anne’s and her country’s protector from a ill-prepared monarch. Into this steps Emma Stone (Battle of the Sexes), a fallen aristocrat, and cousin to Weisz, trying to survive. Dark hilarity ensues.
And that is the second aspect of commonality for Lanthimos: dark humor. It is a language he revels in and that suffuses his stories. Supporting that humor from the sidelines are Nicholas Hoult (Equals), Joe Alwyn (Billy Lynn’s Long Halftime Walk, Boy Erased), and James Smith (In the Loop), but this is very much the women’s movie.
One of the other striking commonalities for Lanthimos’s movies are the endings…or lack of them. His three most recent offerings all have contemplative endings that are open to interpretation. While he wrote Lobster and Sacred Deer, Davis and McNamara’s script for the Favourite fits comfortably with these other two at the final credits. I would say that the end of this movie is a bit clearer and has some powerful commentary, but also some aspects that left me pondering the meaning. That open end is likely pure Lanthimos as it is about the presentation rather than the dialogue. Honestly, it is the ending that dropped my rating of the overall film, which is otherwise an incredibly entertaining tale of court politics with enough of a contemporary flare to reach a wide audience and powerhouse acting to sell it.
This isn’t quite the laugh-fest I had hoped for when I sat down, but I did enjoy it a great deal. Colman, in particular, delivers a wonderful performance, only bits of which were spoiled by the trailers. That isn’t to diminish Weisz or Stone’s equally strong performances, but Colman ultimately controls this story.
Lanthimos continues to prove himself capable of delivering gripping, dark stories about people that entertain and make you think. I would still prefer slightly less cryptic endings, but the journey is worth the uncertainty at the end.
This is a hard film to watch, but probably not for the reasons you think. Yes, it is full of violence and it will anger and disturb you, that is true. But the hard part of this film is that it feels all too real and possible.
Writer/director Sam Levinson pulls off a neat magic trick by taking vulgar mayhem and making it into an honest-to-god statement about society and people. It takes a while to get there but when it does, it is a solid gut-punch. But even the journey is unexpectedly intriguing thanks to the cast.
Led solidly by Odessa Young, a small group of friends navigates high school and life as it all crumbles around them…literally. Abra, Suki Waterhouse (Future World), and Hari Nef (Transparent) back up Young nicely, and each has their own plotline to spin out. These four, young women each embody different aspects of the challenges of growing up in a world saturated with social media.
The adults around them are at turns clueless and, at turns, active in the unavoidable disaster that begins as the credits roll. Joel McHale (The Happytime Murders) is the only one with any real plot to work with though Anika Noni Rose (Ralph Breaks the Internet) does get her moment. Jeff Pope (Hap and Leonard) and Colman Domingo (The Kick) don’t really have any story of consequence, but each creates a recognizable character to push it all along.
Like I said, this isn’t an easy film to watch, but it is worth your time if you have a high enough tolerance for violence. You get a reminder and warning at the top of the movie as well, to give you one last chance to bail. But as a piece of social commentary, this is an effective and solid film. If Levinson can continue to develop that aspect of his voice and continue to match his stories to the need, he’s going to be a director and writer to watch.
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.
Like its title character, the original Mary Poppins (1964) is practically perfect in every way. It is full of childlike wonder, entertaining humor, amazing pacing, fabulous music, and a sweet and affirming resolution. It is also one of my favorites of its type. So it was with both anticipation and not a little trepidation I walked into this sequel.
Ben Whishaw (queers.) and Emily Mortimer (Spectral) do justice to the Banks family. Getting to see Whishaw in a young father role was great and a nice evolution for him on screen. And Mortimer mirrored Mrs. Banks’s character from the original admirably. Adding to the threads from the past, bringing forward Ellen the maid in Julie Waters (Mama Mia! Here We Go Again) was also a nice gift. The new generation of children were also well cast. Pixie Davies (Humans), Nathanael Saleh (Game of Thrones), and Joel Dawson are a great trio with talent and the ability to work well together.
I’ll get to Poppins, for she is the key to it all, but if I don’t give a nod to Lin-Manuel Miranda (Speech & Debate) as the lamplighter that steps in for Dick Van Dyke’s man of all trades to help out Poppins and the family, I’d be remiss. Miranda is incredibly talented, and the movie uses his particular talents well. He isn’t entirely credible as a Cockney, but he has the sense of the character well. And Colin Firth (The Happy Prince) brings his talents to bear well too. Even Meryl Streep (Mama Mia! Here We Go Again) gets to have a bit of fun in a throw-away role.
Now on to Poppins herself. Emily Blunt (Sherlock Gnomes) is worthy of the role. She certainly brings some game, has good pipes, and brings a ton of on-screen charisma. But she isn’t quite comfortable in the role. It hangs on her like an oversized dress and feels just a little forced as she tries to make the part her own. Most of this isn’t her fault, but rather the fault of the script and direction. But to get to that, you have to acknowledge the difference in feel of the two movies.
The new installment is big and magical and entertaining, but it is more like Chitty Chitty Bang Bang than the original Poppins; much darker and with some bite. I enjoyed the choice to make it a continuation of the Banks family, but that also came with some timing issues. To make it Jane and Micheal’s lives in their prime, it had to happen between the wars…and yet, despite taking place between the wars, there is no hint of that hanging over the tale, which was odd. That darkness in the character and plot reflected more of today than the 1930s and ignored well-established and understood history.
It is the darkness that really changes the Poppins world in this movie. In fact, writer Dave Magee (Life of Pi) and director Rob Marshall (Into the Woods) feel like they didn’t quite get Poppins at all in some ways. Emily Blunt is allowed to be far too arch rather than matter-of-fact in her actions and attitude. The original Poppins doesn’t have to work for anything, it all happens as she plans; no muss, no fuss. This Poppins seems to take glee in mucking about with people. It is less about wonder and magic and helping people and more about power and control.
And, on a script level, they never deal with her looking different, which felt wrong. They go out of their way to claim she looks “just the same” which is absurd and was unnecessary. Why can’t Poppins be more like Who or the Banks children recognize her but feel they remembered wrong or see her differently? Why pretend when we all know she’s been recast?
But it goes beyond these things. She is much less in control of the children in this story because she’s too intent on being the center of attention rather than controlling from the sidelines. Part of the joy of the first movie is watching Poppins get everyone to do what she wants and they need without them realizing they’ve been utterly manipulated.
In this sequel, she certainly makes demands and has some control, but the manipulations don’t feel much like they’re in her control at all. Also, one of the great things of the original was how utterly feminist it was. All the important decisions were by women. This sequel isn’t as feminist a movie…it is all about the actions of men and men’s decisions. Rather surprising given the current culture and 54 years in between flicks.
There is also another oddity in making the sequel. In the first movie, the story is really about saving Mr. Banks. The same focus is in this sequel, but because the father was the child in the first film, it somehow feels like she’s there for the children (even if the children are adults now). This isn’t an error in choices so much as just an unavoidable result, and brings in some odd echos.
OK, let’s face it, creating a sequel to such a classic is a near impossible task. Forcefully mirroring the original in structure, in many ways, hurt the overall result. This story isn’t nearly as tight. The music isn’t as nearly on point for the plot, even if it is entertaining. The story isn’t quite as satisfying. Certainly it is a level of musical in movies that isn’t seen often, making a nod back to the 40s in its scope. Kids will enjoy. Parents will reminisce. Awards will surely be offered if not gained. And it is going to be a huge success. But do yourself a favor and rewatch the original before you see this sequel (or watch it after if you don’t want to compare while watching). There is a magic to the to the 1964 classic that just isn’t replicated here, despite everyone’s efforts. I’m not even sure that it could be done in this time as we’ve become so much more jaded and aware.
I don’t mean to dissuade you from going to Mary Poppins Returns. You should. But it is impossible to see it and not think of the original. Or, for that matter, this delightful 2004 short with Andrews herself still nailing the sense and personality of her original. And, in fact, to bring this all home, I have to bend my rules a bit and go into some of the comparisons below. So don’t read on if you don’t want to have aspects of the movie spoiled.
WARNING: Some Spoilerage Lies Below
My frustration began with the opening credits. By preceding the movie proper with a lot of pre-production art, much of the plot was given away, which was a damned shame. Not sure why they didn’t follow the example of the original and just set up the tale and let Miranda be our guide. Instead, the film jumps straight into a musical number rather than framing it all, and easing us into the magical world. This is a fair choice, but it made it jarring rather than feeling like a bedtime story.
As a whole, the music and sequences aren’t nearly as tight as the first film. Everything in the first film comes back to have an effect on the resolution. That just isn’t the case for Returns. For instance, Meryl Streep’s scene, which mirror Ed Wynn’s Uncle from the original, had no impact on the story at all. Wynn’s scene supplies the necessary and plot-turning joke. Streep is just an amusing distraction with an emotional point that could have been done differently.
Likewise, the lead up to the finale with the lamplighter dance sequence has no real place, unlike chimney sweeps in the original. The sweeps seemingly overlong sequence is necessary to trigger the confrontation with Mr. Banks and so that the sweeps can shake Banks’ hand (more necessary for the children to see than the story) and it pushes Banks to his epiphany. The lamplighter sequence has no impact whatsoever. Yes there is a similar confrontation with the children, but it felt, much like Streep’s scene, to be there as a mirror to the original rather than with a purpose.
Taking it a bit further, the lamplighters do nothing for the resolution in this sequel. It is Poppins who turns back time, not the lighters. So why the whole insane sequence scaling Big Ben if she could just fly up there and move the hands?
And speaking of the finale, let’s face it, the location of the stock obvious from the moment we see the paper. I spent the whole movie waiting for them to notice it. I did like how it tied in the original kite. However, I just wish it wasn’t so bloody obvious… or that it was so we could anticipate the discovery as part of the story rather than it having to be a “surprise” near the end.
I did think the tuppence connection was nice from a story point of view. But having capitalism win over emotions and “what’s right” felt wrong for this world. Though, I will admit, it did provide a great thread for Dick Van Dyke’s return, however briefly, for the denouement.
I also do have to say I am so glad Andrews turned down the role that Angela Lansbury took on. Andrews was absolutely right, it would have been a huge distraction and dismissed Blunt’s efforts entirely.
And, finally, there were the choices for the finale, and perhaps this is where it flew off the rails the most. The ending in the original was redemptive all around, for all characters. Let’s Go Fly a Kite is an anthem of joy and possibility. In Mary Poppins Returns, Up in the Air (or whatever the song title is) just isn’t, which felt wrong for the sensibility of that world. And though I’m sure the romantic in Magee and Marshall drove the choice, having to find Jane a partner was also just the wrong message for the younger viewers.
Again, I enjoyed myself, honestly I did. But it is impossible to see this new movie and not compare and think about the differences. You should still go, just unplug a bit or accept the differences a little more than I could<g>
Art, writing, life explained… or at least commented upon…