Creed II picks up nicely from the first film. But, like the first, it is impossible to leave the Rocky legacy behind. In fact, the Creed series seems to be repackaging the “best of” Rocky moments to create something both satisfying and new. And, you know what? That’s OK. It works. The rise and fall and risks of a boxer with heart is just as engrossing now as it was 40+ years ago. That we have an actual storyline that reaches back that far just enriches it.
Steven Caple Jr., with few big credits behind him, managed to take this complicated reflection across the finish line without it feeling like a cheap copy or tripping over its baggage.
The truth is that this is an engaging film with triumphs and tragedy paced perfectly to pull you along. Like Creed, the film surprises in quality and doesn’t stumble up the sequel step, despite clearly being both a sequel and remake at the same time. And credit to Stallone and co-writer Juel Taylor for looking back at the Rocky films and pulling that off so well.
There is room for the Creed story to continue, and given its success it probably will, but it would be fine to just let it end before it stumbles. In fact, I’d love to just have Creed retire and allow these movies to stand as a testament to what Stallone and his cast could create. But I’m sure greed will trump Creed eventually…it is the standard story in Hollywood and, just as often, aging boxers.
I so enjoy being surprised by a movie. You wouldn’t be wrong assuming this is a small, simple romantic comedy of sorts. However, it is much richer than that, with complicated relationships and less than obvious paths. I’m not saying it isn’t a bit oversimplified and a little over-structured, but it is a wonderful ride with lots of nice sharp turns.
Kelly Macdonald (Goodbye Christopher Robin) dominates this film from a position so unassuming you don’t even see her doing the driving. It is an odd role in that way, but one we’re seeing more often. Gloria and Shape of Water each come to mind for different reasons.
David Denman (Logan Lucky) and Irrfan Khan (Inferno) each play their roles well. Neither is breakout, but they are there for a purpose and they don’t overstep it. Likewise, Austin Abrams (Tragedy Girls) and Bubba Weiler (The Ranger), in much smaller roles. The collective whole the men around Macdonald form is essential and entirely real. And a lot of that sense is down to the careful directing.
Better known as a producer than a director, Marc Turtletaub (Gods Behaving Badly) tackled this very genuine story with confidence. The opening sequence, in fact, is inspired. With great economy he sets up a wealth of relationships and history before the front credits have even completed. And while I haven’t seen its Argentinian original, Rompecabezas, this remake has no sense of hollowness to it the way some remakes can. It feels unique and solidly on its own feet. Turtletaub claims to have not viewed the original until his own final cut was complete; a smart move on his part that paid off.
Practiced remaker Oren Moverman (The Dinner) paired up with newcomer Polly Mann to adapt the script. I have some minor quibbles with aspects of the story and pieces that get lost (no pun intended), but it feels comfortable in its shift to NYC and Bridgeport from its South American origins.
This is a film definitely worth your time. It is sweet, but not saccharine. It is honest, but not preachy. It is simple, but not boring or painfully predictable. And, yes, it is romantic, but not palling. Watching the story come together into a complete picture is a wonderful experience.
When Stieg Larsson died in 2004, he left us all hanging on the intended fate of Lisbeth Salander. His first three books weren’t the entire journey he’d envisioned. His fourth book will never see the light of day due to legal stupidity and family greed. And the final six lived only in his head. However, his remaining legal family licensed out the characters and commissioned more books, starting with The Girl in the Spider’s Web. I refused to support the ongoing book series, but I couldn’t resist checking out the movie. I wish I had.
Despite some real effort on the part of Claire Foy (First Man), this is a hollow movie with no heart at the core. The gap is in the plot and the script, which assume you know the previous stories (and are willing to forget parts of it as well). The story also veers radically from the central drives for Salandar and her relationships in the world.
This is most notable with Sverrir Gudnason (The Circle), who does a fine job of acting, but he isn’t Blomkvist. He’s far to young and pretty. And he has no emotional thread to grasp; though one is indicated in the script, the story isn’t there. He is a complicated man with complicated relationships, not just a foil or convenience with which to move the plot. Even the usually entertaining hacker Plague, Cameron Britton (Mindhunter), was somewhat flat in this story.
Three new characters were introduced into the series. Stephen Merchant (Logan) probably had the most levels to play with because the writers had to give him a story; we knew nothing about him from the beginning and it is his actions that start the plot. On the other hand Lakeith Stanfield (Sorry to Bother You) is OK, but sort of cookie-cutter American NSA from a European point of view. The writers assumed actions would obviate the need for character on his part. They were wrong.
More surprising was the lack of a character for Sylvia Hoeks (Blade Runner 2049) playing Lisbeth’s sister. Forgetting how this and the rest of the revised/ignored backstory affects the series canon, there were rich possibilities for this woman, none of which were plumbed.
Director and co-writer Fede Alvarez (Don’t Breathe) did a beautiful visual job with the film. He also managed to capture the Swedish emotional sense with a lot of the characters. But he failed to recognize the weaknesses in the script and fight for better. And he allowed cliche to triumph over effort by some of his cast.
So the core issues of this come back to the script by writers Steven Knight (November Criminals) and Jay Basu. It feels like they took a passing knowledge of the books and decided to take those characters and throw them into a standard story. There is a small nod to the core of Salander’s, saving women or reacting to injustice, but that is simply there as a short grace note before dropping her into a Bond-like story that just isn’t a good fit and doesn’t further her purpose. However, and in some ways worse, some of the law enforcement research is awful, making the Swedish police and secret service into idiots.
So, to sum up, this is a somewhat mediocre action film and a very poor continuation of the Millennium series. Foy does a game job capturing the character, but never really gets to emotionally explore or expand her. As a stand-alone flick, without any knowledge of the base tale, you’d be watching a rather empty action movie with some clever bits to it. And there are some good moments and aspects, but this could have been a triumph, especially in the current climate. I’ll leave it to you whether or not to spend you time with it.
While Dakota Johnson (Bad Times at the El Royale) does a passable job in her role, and Chloë Grace Moretz (November Criminals) helps launch the tale, they aren’t the reasons to see this movie. The reason to see this film is Tilda Swinton (Okja), who executes three roles in service to the story and the intent. Her main role is obvious, as the Dance Master of the troop. But the other two roles take a bit of effort to see. All three are done beautifully, with the complex emotions and physicality you’d expect from this wonderful performer. Her efforts alone were worth the price of admission for me.
Director Luca Guadagnino (Call Me By Your Name) has taken Dario Argento’s original concept and, with the help of David Kajganich’s (A Bigger Splash) script, expanded on it as well as added meat to its bones. This remake is more of a real story than just a psychological splatter pic. The multiple roles for Swinton are just the tip of it. There are dualities and mirrors all over the story, from a divided Berlin to the Baader-Meinhof connection (and even its subsequent psychological phenomenon) to male/female, high/low, etc. The layering is thick and fast; this is a movie that takes time to unpack.
Let me put it this way: Have you ever finished a film and feel like it came to a point, but have a heck of a time nailing it down? This remake of Suspiria is like that. There is a lot going on with metaphors upon metaphors not to mention just a darn good classic horror/suspense thing going on. But it doesn’t exactly spoon feed you (or force feed you) all of its intent. Some is obvious from the beginning, other aspects develop, and some will likely leave you pondering the purpose. The original was as much art house as it was horror as well, so building on that legacy isn’t a bad thing. It does mean that not everyone will be satisfied, especially when such a classic horror like Halloween is available in the theater next door.
Like the original, this movie is also violent. Whether it is violent toward women or in support of them is arguable. It is intensely weird and definitely dense and inscrutable at times. Guardagnino makes some challenging choices near the end that force you to shift your thinking. But it does feel complete, as I’ve said. The structure is there and, as I chipped away at it for hours after viewing, I made sense of a lot of it. Does that mean it worked or that, despite oblique choices, I was able to create sense out of a chaos? I guess you’ll have to be the judge.
If you’re a fan of the original or like horror that has a bit more going on, like Hereditary, then you should give this a chance. If you don’t want to go to theater, it will end up on Prime eventually, but it is visually impressive on the big screen.
This sequel is different than most. One of its most radical choices is that it discarded every film that followed the 1978 original, even those with Jamie Lee Curtis in them, to give us a different follow-up and one more fitting for the times. The depiction of a woman under threat and not being believed becomes a metaphor made manifest. The result is a bit more than a slasher flick…but not much. Though it tried to subvert that formula, it ended up bowing to the weight of expectation and gave in a bit too often.
Along with Curtis Judy Greer (Wilson) and Andi Matichak as her daughter and granddaughter add some generational expansion and views. And there is a host of potential and realized fodder with some nice talent throughout, including Virginia Gardner (Runaways) and Dylan Arnold (Mudbound) for some nice teenage hijinks. The rest of the cast is good. But then there was Haluk Bilginer’s (Rosewater) shrink, who fills the hole left by the late Donald Pleasence. Like Dr. Loomis, he is an obsessive with his own agenda. This is also where the script is at its weakest and moves the furthest from its updated feel. But none of it is far from the genre.
Director and co-writer David Gordon Green (Your Highness) was a mere 3 years old when the original Halloween hit screens in 1978 and spawned a 40 year franchise. Despite growing up with the sequels, he really managed to make it his own but with nods to both the original and the sequels as we knew them. Stylistically, however, it fits right in with the original. The script, co-written with Danny McBride (Hell and Back) and Jeff Fradley shows a real love for the series and the horror experience. It isn’t brilliant, but it manages a few surprises and some grounded aspects to its plotting.
As a side note, I’ve been watching a number of conversations about why horror is making such a come-back these days. One explanation is that horror is best experienced with others in a theater, that is more fun and satisfying that way. Sure, I’ll give you that, but I think it has more to do with our current state of the world. As with during the Cold War, people want safe ways to feel scared and in control. Then it was primarily scifi monsters. There is also a new trend in horror (Get Out, Quiet Place, It), that takes itself seriously as film, not just pulp. Halloween doesn’t rise to that level, though it certainly takes itself a half-step above pure slasher film by the end very cleverly.
For the heck of it, I also decided to see this in one of AMC’s new Dolby theaters, assuming that sound was more important than visuals for this kind of skin crawl and seat jump film. I have to say, the visuals and sound are pretty astounding. While it doesn’t quite have the visual scope of IMAX, it certainly has impact. If you’re wanting to try it out, pick a film like this one to try it out where you are less invested and think sound will be impactful.
But back to the film in question. If you like this kind of horror or just have a penchant for Halloween, you’ll have fun with this. I wish it had been a little more, but I definitely had fun and appreciated the result.
Talk about an unlikely pairing: Robin Williams (Absolutely Anything) and Mila Kunis (Hell and Back). And yet, it works. Both have great comedy chops and put them to solid use alone and together in what amounts to a black comedy with heart. The tale, essentially, asks: What do you want to do with your life and why aren’t you already doing it? It’s a simple and often asked question in movies, but this one has a nice layer of entertainment wrapping it up.
Supporting the antics, issues, and events are Melissa Leo (Equalizer 2) and Peter Dinklage (Three Billboards Outside Ebbing, Missouri). Though they both server their purpose well enough, Dinklage has the more nuanced character of the two. Frustratingly, Leo never quite finds the right groove for the tone of the movie. Hamish Linklater (Magic in the Moonlight) and Sutton Foster (Bunheads) round out the main cast nicely, but without a lot of impact. In addition, there are some cameos that are pleasant surprises.
Writer Assi Dayan adapted this film from his award winning Mr. Baum for English audiences and trusted it to director Phil Alden Robinson (Good Fight). The story is a bit halting and odd at times, I suspect from the conversion, but it holds up. It is also part of the collection of final films from Williams who did four that year before hanging up his shoes, making this movie both bittersweet and not a little ironic.
Bottom line: It’s not bad, but it’s so not Marvel Studios.
When Sony last attempted to bring Venom to screen it was one of Sam Rami’s misfires: Spider-Man 3. Their record hasn’t been the best with this universe from there forward (Spider-Man: Homecoming is really a Marvel film, so that doesn’t count). So, needless to say, I went into this movie with concerns but with an open mind and hope. There are some good aspects to what they delivered, but overall it is full of short cuts, almost unwatchable fight scenes (especially on IMAX), and comic-book logic full of science and plot holes, not to mention bad character choices. At only about 90 minutes of story (and 18 of credits) they didn’t take the time the story deserved. Entertaining? Sure, but not brilliant.
Despite this being a tent-pole flick, the entire movie spins around only three characters. Tom Hardy (The Revenant) toplines. He brings an interesting aspect to Eddie, but he isn’t very credible as a star investigative reporter. There is something just a bit dim about Hardy’s portrayal and the story has him just a bit too reckless to have gotten to such a height in his career.
Michelle Williams (I Feel Pretty) character holds her own better and has a bit more built in to make us respect her. Is she tough and judgmental? Yes, but with cause and she is anything but dumb.
On the other side of the coin is Riz Ahmed (Una), who presents a particular kind of sociopath impressively. He is a chameleon at the edge of social norms and, at this point in his life, often unconcerned about wearing his mask of normality. It isn’t a mustache twirling lord of evil, but he does borderline the geography. And, of course, it becomes a heavy-handed metaphor for the story.
A few smaller roles add to the mix, in particular Jenny Slate (Gifted). And, of course, there is the small cameo of Wood Harrelson (Shock and Awe) to hint at things to come. For the sharp eye, there is also Michelle Lee (Altered Carbon) floating around for a while.
Primarily used to TV, director Ruben Fleischer (Zombieland) has had mixed success on the big screen. Despite its record opening, I don’t think this is setting him apart. The script, though co-written by the Jumanji: Welcome to the Jungle team, Jeff Pinkner and Scott Rosenberg, along with Kelly Marcel (Saving Mr. Banks), doesn’t really capitalize on any of their talents fully and devolves into easy things from the genre rather than breaking new ground or showing us something new. In fact, Venom doesn’t even acknowledge the rest of the MCU…no Spider-man, no Avengers, no aliens and alien tech. It is completely stand-alone and isolated, which just feels weird given Homecoming and the other 17 films that have built out that world.
Sony may have been mostly responsible for the comic-book Renaissance on screen thanks to the Rami trilogy they had the guts and vision to produce, but they’ve yet to learn how to do it well. The fear is that they will drive the Spidey universe into the ground yet again. And, given what they have planned on slate for the next several years, it is almost a guarantee. They are rushing to monetize the success of their partnership with Marvel without understanding why and how what they did with them worked. I will grant them the acting talent in the popcorner, they just have to get better scripts and someone solid to run the franchise with a longer vision.
All that said, this is a 90 minute romp with some good moments and some nice humor. It is far too short for an origin film of this complexity, but if you don’t care about the longevity of the series, it will probably do. I don’t suggest IMAX as it didn’t add much and some of the filming is too tight for the format.
The bones may be old on this fifth remake of the 1937 classic, but Bradley Cooper (Joy, Guardians of the Galaxy Vol. 2) put fresh flesh on them in the roles of director, co-writer, and even co-star.
Cooper brought his own life to bear on the tale, enriching it with a sense of reality not to mention driving passion and real romance. While he did this for his own reasons, he also recognized he had an opportunity. Once in every generation or so a performer comes around who has the presence, charm, and ability to take on this role.
In 2018, it is Lady Gaga (Sin City: A Dame to Kill For, American Horror Story), a woman of incredible talent. I’m not a huge fan of her music, but I respect her abilities both musically and in business (much as I did Madonna’s in the 80s). She has both the chops and the confidence to be part of something rather than having to dominate it. Because while A Star is Born is clearly her story, it is also very much Cooper’s. If she simply took it all over, there wouldn’t have been a film worth seeing. And the story is a heartrendingly beautiful one, danced by these two performers. Along with Sam Elliott (Grandma), and a surprise performance by Andrew Dice Clay, their lives unfold and their pasts exert their inevitable influence.
Cooper gets great performances out of everyone, including himself. Choosing to record all the music live adds a sense of reality and credibility to the entire endeavor as well. And though the story has been updated and made his own, he manages to hold onto a sense of nostalgia thanks to his choices in color timing the film to give it a slightly washed-out feel. The third act of the story drags a bit, but the overall impact is only slightly diminished for that drop in urgency. This isn’t a car chase movie, it is a paced tale of love, art, and family. For a first time director, it is also a major triumph. This is sure Oscar-bait, and it even has a chance at securing a statuette or two come next year’s ceremony.
Grab some popcorn and, maybe, even a few tissues and take someone you really care about to this for a date night. The movie is worth your time and it reminds you of what is important in your life in many expected and unexpected ways.
A movie about violence in times of ineffective government is probably not the best timed release. Death Wish has always been a bit problematic as a story. Stories like Die Hard or Taken or other similar machismo-based tales of fathers and/or husbands fighting back, tended to be with a rescue in mind or they were forced into action due to time constraints or other issues. Death Wish is about the conscious choice to become a vigilante for the sole purpose of revenge…and not even against the perpetrators, but against all criminals that cross his path.
There is a 7-year-old part of me that applauds that sensibility, but there is also the adult that knows where that leads. In the current climate of hate being encouraged from the very top of our government, it is actually pretty terrifying. I’m not overstating it to say this is how the brown shirts got their start in the 1920s and 30s. So I have to wonder if we needed this remake at all.
Joe Carnahan’s (The Grey) script tries to balance this conversation, but ultimately ends up celebrating the choices. That happens in part due to the very nature of film, but also because of Eli Roth’s direction. While the first third or more is set up and family and relationships, the final third of the film progresses steadily off the rails both in plot situation/choices and violence. It shifts from a man getting involved to a man reveling in the carnage while the cops, essentially, give him a pass. And the final moment belies any positive message the story could have raised.
Bruce Willis (Rock the Kasbah) does a credible job as a distraught father and victim and a middling one as a surgeon. Script and direction on the hospital sequences were rather, let’s say under-researched. But it works fine enough for the intention. Vincent D’Onofrio (Emerald City) is an interesting foil for Willis as his brother. But while Elisabeth Shue (Battle of the Sexes) made a good showing as his wife, the less heeled Camila Morrone as their daughter was less engaging for me. To be fair, Morrone was there to serve a purpose rather than a character and the script didn’t really help show her off.
Outside of the family unit, Dean Norris (The Book of Henry) and Kimberly Elise (Dope) make an interesting detective duo. They manage to come off relatively competently but overwhelmed. It is the subtlest part of the script. Their characters break down towards the end, but through most of the story, we see them as a glimpse of sanity and potential rather than as ineffective or buffoons.
You may have noticed I don’t even mention the criminals. They’re there, but none came off as real. They’re all extreme portrayals intended to go without sympathy. We’re not supposed to care that they are offed in violent or tortured ways, so why flesh them out? Well, that is part of what is wrong with the pic…by not fleshing them out, they become purely “other” and it is OK to kill them, even enjoyable. The issue isn’t that these kinds of people don’t exist or even if they did or didn’t deserve their fates, the issue is that it makes it OK to view people as “other” and absolve yourself of the effect you have on them or the judgement you make of them. That is a major part of what is wrong with society and getting worse right now: we don’t recognize each other as fundamentally the same regardless of age, skin color, sexual preference, economic status, sexual identity, political affiliation, fill in the descriptor here.
So, did we need a remake of this Charles Bronson 1974 classic? The 70s were a different time, in many ways. The violence was as much about racial and economic tension as it was the existential horror of war. Today, hmmm… well, maybe it isn’t all that different, but the message should have been updated as well. Something more like The Equalizer in flavor, where the system honestly tried, but failed or where justice and humanity co-existed would have worked better for me. Stoking the anger and hate and divisiveness between people is the wrong message to enhance right now. That doesn’t mean you can’t have revenge movies or even movies about personal justice, but they should be better balanced. I guess what it comes down to is whether or not this movie depicted a world I’d like to live in and the answer for me in this case was: no. You’ll have to decide for yourself if that is the kind of story you need to see or not.
This Vietnamese rom-com cum horror is an amusing and touching escape for an evening. A remake, or seriously inspired by, the Korean movie Spellbound, it follows a magician and his muse as they both struggle with finding out what actually makes them happy…with a bit of the supernatural thrown in along the lines of My Left Eye Sees Ghosts.
The comedy is broad at times, but it is well-contained and not nearly as over-the-top as you might fear. Even the romantic bits remain very sweet, but never melodramatic. Thanks to the late writer/director Stephane Gauger, it balances rather well and never wanes in energy despite its two hour length. He managed to walk the line of Far East and American comedy nicely, keeping it accessible to both audiences. Even the horror bits, which lean more toward Japanese horror influence, aren’t so much scary as pointed for the tale.
Gauger had a short but impactful career. He came out of the gate strong when he shifted to the director’s chair and gathered a number of awards quickly. He clearly had a career ahead him and it is a damn shame we’ll never see what it could have been. In the meantime, he left us with a range of films worth spending some time with…this one included.
Art, writing, life explained… or at least commented upon…