Instant Family is probably exactly what you expect. Humor, forced emotion, and light entertainment in an attempt to tackle a serious subject and encourage more family’s to foster and adopt. It is entertaining, but while Mark Wahlberg (Mile 22) and Rose Byrne (Juliet, Naked) are the stars, it is really Isabela Moner (Sicario: Day of the Soldado) that carries the film and comes across as anything close to real and honest.
The tone and result shouldn’t be too surprising with Sean Anders at the helm and also penning the script with long-time collaborator John Morris (Daddy’s Home 2). Subtle is not this duo’s forte. In this case is sort of works, though a bit more reality may have served the greater intention better. It didn’t have to be Short Term 12, but I would have liked it a little less broad at moments where it often busted the seams of the film.
Smaller supporting roles by Octavia Spencer (Shape of Water), Tig Notaro (Tig), and Margo Martindale (The Hollars) definitely keep it all humming. Martindale comes on a force of nature while Notaro and Spencer actually make a great comedy pairing, though you’d never really expect it.
For a sort of sweet, with a bit of bite, evening you can curl up with this. It doesn’t break any ground and it is utterly unrealistic far too often, but as a light entertainment and a slight propaganda film, it isn’t a total loss.
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.
This is a movie for cynics, cynics who secretly harbor a romantic heart, and romantics tired of the same-old story, even though they constantly order it on the menu. It isn’t a great movie, but it is a diverting one. Director Todd Strauss-Schulson takes the same wry look at this genre as he did with horror in Final Girls. He skewers the romance genre while also delivering exactly the kind of movie you expect. It isn’t as smooth or complete as his previous offering, but it is certainly entertaining.
Primarily the success of the approach here is down to Rebel Wilson (Pitch Perfect 3, Night at the Museum). Her energy and cranky wit stand in for our incredulity and hopes. She is this film. Of course, she has some good talent to play off of as well.
Adam Devine (The Intern), her off-time comedy other-half, comes through nicely. He even gets to be more restrained in this completely unrestrained romp. Liam Hemsworth (Independence Day: Resurgence) gets to expand on the family Hemsworth tradition of gorgeous hunks making fun of themselves. And Betty Gilpin (Glow) and Brandon Scott Jones (Can You Ever Forgive Me?) each get to have some nice transformations.
Most of the issues in this silly story are down to script. As an early film by the triumverate of writers on the project, it isn’t at all bad, just a little unpolished and uneven (and weirdly neither American nor Australian in its feel and execution). It is still very funny and, at times, even insightful as it embraces and makes fun of the genre and its audience.
For a silly distraction, and a bit of heart-felt warmth, give this one a shot when you’re ready for it. That could be to make fun of it or to cheer it along. Part of the smarts of this film is that it works for either sensibility.
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.
So, if you thought from the trailers that this was a thinly re-veneered Alice in Wonderland or Wizard of Oz, you’d be mostly right. But it is also an interesting retelling of the story Tchaikovsky adapted to his infamous ballet over 100 years ago. While it is more complete as a story than the ballet, it is still aimed at a young audience and is rather simple in its telling and resolution. Given its primary audience is tweens that isn’t unfair, it just is less enduring and interesting in the result.
I will say that co-directors, Lasse Hallström (A Dog’s Purpose) and Joe Johnston (Captain America) and first-time feature writer Ashleigh Powell did manage to provide a strong heroine to lead the tale. Mackenzie Foy (Interstellar) is not just an observer in this story. She is bright, charismatic, strong and very much her own savior.
The production values and design are also wonderful. Among these aspects I include the supporting players from the realms who are built out of that vision. Helen Mirren (The Leisure Seeker), Keira Knightley (Colette), Morgan Freeman (Just Getting Started), and relative newcomer Jayden Fowora-Knight are all just extensions of that world and each delivers nicely.
This isn’t a great movie. It is a simple tale of a young woman growing up and accepting herself and her family. There are no surprises and even the warmest moments feel a little glossed over. It doesn’t even rely heavily on the music you are so familiar with, which will be a disappointment to many, I’m sure. But it is a reasonable and beautifully escape for an evening and it has a good message. I didn’t feel I’d waste my time, I just don’t see this becoming the classic it might have been had the story been a little richer.
What a wonderfully weird and dark world. There are enough twists and turns amid the obvious and predictable to keep the inaugural 10 episodes of this series gripping. The production rides the line of comic book and real life beautifully, crossing back and forth between the natural and the absurd.
The ensemble is varied and impressive, much like the Academy was meant to be. And they all commit and deliver at every step, with their (eventually revealed) back-stories supporting their choices nicely. The core group is primarily lesser known talent with Tom Hopper (I Feel Pretty), David Castañeda, Emmy Raver-Lampman, and Robert Sheehan (Mortal Engines) each having some great stories to tell. And then there’s Ellen Page (Flatliners) in a truly challenging role, who does well, but she is the least credible for me. Page delivers, but a lot will depend on the anticipated second season as to whether I fully buy into her choices. However, if there is anyone who really gets to dominate this series it is Aidan Gallagher as Number 5, who graduates from Nickelodeon to adult fare. Coming across believably as a 50-something year old man in a 15 year old’s body isn’t easy at the best of times, but Gallagher has an amazing energy and ability to pull it off.
Umbrella is first and foremost a comic adventure. Expect extremes and complexities. Expect the unexpected and the genuinely obvious. But mostly expect to be entertained and to have a rollicking good adventure that will have you trying to put the pieces together till the end. This sits in temperament somewhere between the Marvel and DC universes, delivering humor but also the gravitas and the dark. Think of it as a twisted, dark X-Men sequence by way of St. Trinian’s. It even echos a lot of the sensibility of Utopia (which is also being remade for US television). I had a great time with the result and, if you like these kinds of stories, you will too.
A new Coen brothers (Hail, Caesar!) movie is always reason to celebrate, or at least to take notice. They are responsible for some of the weirdest and most wonderful cinema of the last 30 years. And they have garnered nearly 300 award nominations, winning nearly half of them. Their work is idiosyncratic and uneven, but always inventive and intense. Buster Scruggs is no exception.
So what is The Ballad of Buster Scruggs? It is a collection of six shorts held together only by the Western theme that binds the framing book that opens the film. If you are a lover of subversive westerns (think The Dressmaker or Pale Rider, though thoughts of Blazing Saddles probably aren’t out of order), this is probably for you. The stories are organized to become increasingly dark and reserved, but, honestly, the first half of the anthology is much more interesting and effective than the latter half. And it never really came together as a whole for me.
It opens with the eponymous segment, which is a hilarious send up led with real talent by Tim Blake Nelson (Colossal). From there, things begin to shift and take a very dark turn by the wonderful third segment, Meal Ticket, in which Harry Melling (Harry Potter and the Deathly Hallows) steals the screen from Liam Neeson (Widows). The remaining segments aren’t bad, but become more about what the West really was than how we picture it. And the latter three stories drag a little for my taste. In many ways, thanks to the dose of reality, they are closer to real Westerns despite their moments of satire and commentary. I’m not particularly a Western fan, so it isn’t surprising that they left me a little nonplussed. Certainly, like all Coen brothers films, the are all loaded with recognizable and talented faces.
All that said, I’m not entirely sure how this particular offering garnered three Oscar nominations, even if they were for song, costume, and screenplay. I don’t think it really has a chance at any of them given the competition. That doesn’t mean it isn’t worth seeing, it is. And, nicely, you can exit it at the end of any one of the sequences and probably feel satisfied though I’m sure the Coen’s would argue you aren’t going to get their point. But I didn’t really get their point and I did watch the whole thing. Or perhaps I did, but got it early and didn’t need to be hammered. Regardless, there are moments through to the end that are worth seeing, if you’ve the patience, and performances are all very entertaining.
Now to the bigger question, is Netflix really a player in cinema now? Between Roma and this movie, they’ve got more than two fist fulls of Oscar nominations, not to mention all the other noms and wins this season. But what is more important to the art of the industry is that Netflix offered both movies the chance to be what their creators envisioned, without the obligation to create something to be a “hit.” In an odd way, Netflix, and other services, are reinvigorating the idea of artistic vision in a way that the studios have crushed in their search for tentpoles and only tentpoles. The success of Roma in particular is challenging the idea that streaming and theatrical releases can’t co-exist. They Shall Not Grow Old has also had a huge theater run, though initially through TV, then Fathom Events, and now broader release. The rules are definitely changing and maybe it’s time for Hollywood and the theater chains to catch up.
If you’re a fan of films like Theater of Blood, Vincent Price and Diana Rigg’s 1973 horror delight, you’ll likely enjoy this latest, admittedly imperfect, Netflix release. It is a wry look at the art world but also quite dark. Not a huge surprise given it is writer/director Dan Gilroy (Roman J. Israeal, Esq), though the tenor of this movie is quite a bit more tongue-in-cheek despite the horror elements.
Gilroy pulled together a talented and committed cast that pivots primarily around his reunited Nightcrawler leads Jake Gyllenhaal (Okja) and Renee Russo (Just Getting Started). The other substantial role is delivered with mixed results by Zawe Ashton (Oasis). She isn’t so much bad as without plumbable depths. Perhaps it was part of the point, but the result diminishes her impact and the impact of the story. Adding to the mix in a series of supporting character roles are Toni Collette (Hearts Beat Loud), John Malkovich (The ABC Murders), Billy Magnussen (Ingrid Goes West), Daveed Diggs (Blindspotting), and Tom Sturridge (Song to Song). Each is a forced extreme, but all are entertaining in their ways.
But if you were hoping for a break-out horror, like Get Out, based on Gilroy’s previous powerful main releases, you’re going to be disappointed. It isn’t horrific enough for the horror fans nor intellectual enough for lovers of satire. This is simply some evil fun with a social eye and a mean desire to slam the more obvious absurdities of the art world. Where it fails is in its lack of clear explanation or point and, ultimately, by not providing anything positive about an industry that Gilroy knows has value…and is even using to send his message. In other words, it is somewhat rudderless with some fun moments and serious talent, but that’s about it. That doesn’t make this flick something to skip, but go in knowing it isn’t what you think it is and probably won’t reach what you hope it is.
There are some real gems jammed into the goop of Smallfoot. For instance, the opening is a wonderfully rich satire that is a story in and of itself. Much like the opening of Up it was its own tale before the tale. And Smallfoot’s main message is equally as adult and important, and it is delivered cleverly with the Yeti and Humans unable to easily communicate (in a surprisingly accurate way).
But, ultimately, co-writer/co-director Karey Kirkpatrick (Spiderwick Chronicles, Chicken Run) gave us a kid’s film trying hard to be Frozen and slipping into silliness too often to make it a classic…or even all that good. The musical numbers are bolted on and poorly mixed, even if delivered with talent. The dialogue is just OK and the plot, generally, is way too obvious (though it has at least one nice twist). One of the issues may have been the number of other co-writers and co-directors that worked on the film (3 other writers and one other director). Just too many chefs.
Channing Tatum (Logan Lucky) takes the lead in the cast as a guileless Yeti coming to terms with new knowledge. Along with James Corden (Ocean’s 8), Zendaya (Spider-Man: Homecoming), Common (John Wick: Chapter 2), Danny DeVito (The Lorax), Gina Rodriguez (Annihilation), and even
LeBron James (possibly in prep for his upcoming Space Jam 2), the cast has quite the scope and solid delivery of what they had to work with. But you can’t overcome a weak script no matter how talented you are, you can only sell it well.
So, yes, you can probably watch this once, alongside a youngster, without being too bored. However, if those same mini-people demand it on repeat, set it up and walk out of earshot. Once is more than enough for this, despite any of the good bits that it may contain.
Father Brown has been around for a while now. They are sweetly entertaining cozy mysteries, much like Miss Marple but lacking some of the complications and not really worth calling out as something special. This newest series remains in the cozy territory, but our slightly secular Father B has suddenly become rather humanist and, somehow, even more religious at the same time. Every episode, save one, has him suggesting absolution via confession…not quite in the booth so much as the witness stand. Still it is a marked shift.
So too are the plots. Nearly every episode is a morality play tethered very much to the present, even though it is anchored in the past. The show has always shined a light on hypocrisy, but these plots go even further and are period only in their trappings. And it is clear the series was set up like stations of the cross; one episode per message. Only the finale cleaves fully to past series traditions in plot and, because of that, feels a little out of place with the remaining 9 episodes. It isn’t a bad finale…in fact, it is a rather satisfying one…but it is of a very different tenor, which makes the series arc a little unbalanced.
The cast remains the same, with Mark Williams (Early Man) running the presbytery with assistance from Sorcha Cusack (River), and Emer Kenny (Pramface) and Nancy Carroll (Prime Suspect (1973)) hanging about. In the constabulary, John Burton gets a bit of an upgrade this series in focus. Only Jack Deam has devolved in development, becoming even more a pompous ass than he was, despite a few special moments. His character causes more than a little teeth-grinding thanks to his lack of growth and awareness. But even with that miss, the the show runners have imparted an interesting breath of fresh air into the show in this series, without mucking up what made it work in the first place.
Art, writing, life explained… or at least commented upon…