Tag Archives: SeeIt

TrollHunters: Rise of the Titans

[3 stars]

When last we saw our intrepid heroes, they were….well, don’t worry about it, there is a significant recap to remind you and get you current from the final moments of Wizards. Which, to be honest, left us hanging a bit and with a need to wrap it all up.

And, yeah, that’s not entirely going to happen, but that isn’t a surprise either. Rise of the Titans breaks into new ground for the franchise, having done fantasy and science fiction and myth, we’re now into Kaiju, with obvious nods to Godzilla vs Kong and Pacific Rim. The story is big in more ways than one. It is also a bit more rushed than the series since they’ve only allowed themselves a bit less than 2 hours to cover all the ground they wanted. And it is a LOT of ground. It also means there isn’t any of the really quality voice acting and character building we’ve seen in the past…because this is a wrap up. There are revelations and epiphanies (and some logic leaps for that matter) but none of the big arcs we’ve seen in the past, unless you count this as the end of an uber-long arc for all the shows, which would be fair.

The story was written and directed by several people, which shows in the breakdown of this event movie. For all intents it’s about 4 episodes in length, and the flick is divided into some natural breaks, though completely one story. This also isn’t a segment of the franchise that you can watch out of order, as you could the many series. Without the grounding of the previous stories, it will make absolutely no sense. It’s a gift to its audience, and has a wonderful ending that I’m desperately hoping they just leave as is. Not because it isn’t good, but because it is and doesn’t require anything more.

Either way, if you loved the foundation series, as I did, then you will enjoy and must see this conclusion. If you haven’t found the shows yet, give them a shot. Yes, they’re for younger people, but there is so much in there that adults will be well hooked and entertained as well. At least some of us will be.

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The Last Letter From Your Lover

[3 stars]

Yeah, up front, this is a sappy and manipulative movie by design. And I’m fine with that. Director Augustine Frizzell aimed the adaptation squarely at romantics, no others need apply. The story cleverly follows two couples from different periods through the lens of discovered letters and the mystery and curiosity they invoke.

In the 60s we follow a married woman discovering a life and love she didn’t even know was possible. But the relationship between Shailene Woodley (The Mauritanian) and Callum Turner (Emma.) comes across as more an act of desperation rather than a great love affair. Part of that is the period acting, but part is simply the lack of chemistry between the two. Given that our window to them is through letters, it could be a style choice to make it reflect more of a written romance; but many of the scenes are clearly flashbacks so that distance isn’t consistent.

On the other hand, Felicity Jones (The Midnight Sky) and  Nabhaan Rizwan (1917), in current times, are completely compelling as the inevitable couple that Jones refuses to acknowledge. Their mental and emotional dance is instantly tangible, even though neither knows quite what to do about it. We invest in them immediately and want them to succeed.

Outside of the main couples, Joe Alwyn (A Christmas Carol) plays the suitable cad of a husband for Woodley to react against. And the late Ben Cross turns in one of his final performances with a sweet and sad depth that carries all the emotion you wish the couple had had in their younger incarnations.

So find someone you really care about who can appreciate the movie for what it is, and curl up together. It will leave you happy to be in love and not unentertained.

The Last Letter from Your Lover Poster

Jolt

[3 stars]

Kate Beckinsale (Love  & Friendship) has made a portion of her career playing tough fighters in poorly scripted movies (can we talk Underworld?). And here we are again in an obvious franchise play with a script that is just as often good as it is, well, not.

This isn’t a story with a lot of surprises, just a lot of clever quips and many fun fights. Jai Courtney (Honest Thief) serves as catalyst for Beckinsale’s Lindy with a sort of guilelessness. And Bobby Cannavale (Thunder Force) and Lavern Cox (Promising Young Woman) provide a weird, almost believable cop duo. And while you’d expect the addition of Stanley Tucci (Supernova) and Susan Sarandon (The Calling) to elevate the story some, they’re just there to have fun.

For a first script by Scott Wascha’s it isn’t unwatchable, just occasionally cringey (especially the prologue). And director Tanya Wexler (Hysteria) manages to keep it all moving along with just enough character to the action. The result is a hyper-real tale of female power, not unlike, though with considerably less finesse and panache, as Gunpowder Milkshake or Sin City. It isn’t great, but it is definitely diverting and, if you can handle the violence, entertaining.

I’d love to see where they could take this story and if they can expand on the universe in a way that makes sense. Certainly they’ve queued it up to be an ongoing black-ops series. Time will tell, but at least this movie is relatively self-contained (and with a tag during the credits) in a way that doesn’t leave you hanging.

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Mad About You (2020)

[3 stars]

Remember that couple you used to hang out with all the time, but then they had a kid and you drifted apart as life pulled you in different directions? Well, the Buckmans are that couple and, with the child about to fly the coup, they’re back. Paul Reiser (The Little Hours) and Helen Hunt (Ride) are still at the center of this odd romantic sort of comedy, but Abby Quinn joins them as their suitably neurotic daughter, and holds her own. Other notables returning are Jon Pankow with a fun storyline of his own that he shares with Antoinette LaVecchia. And Richard Kind (Ride), likewise, with the wonderful Kecia Lewis. Another amusing add, for Quinn’s benefit, is Asif Ali (WandaVision), who delivers his broad humor with incredible precision and confidence.

The season, much like any long comedy set, has it’s weak moments. But Reiser, who wrote a good part of the season, also gave it a particular shape. The dozen episodes hold together for a very satisfying conclusion and pause, setting up another season if that should ever come. If you liked the original run, you’ll slip back into this extension fairly seamlessly. It has all the warts and flaws of the original, but it has evolved to fit in with the times and it has embraced the long gap between our view of their lives. And, as with the original, it stays just meaty enough in its examination of marriage to avoid being easily dismissed.

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Shiva Baby

[3 stars]

Shiva. It’s a thing. And Emma Seligman captures it in a way that is both delightfully uncomfortable and weirdly accurate. Not so much in the specifics, but definitely in the feel of it all. Seligman hit it all dead-on in her script and in her directing. Not bad for a first feature that presents a black comedy with more heart than you anticipate.

She also managed some great casting for her needs. Rachel Sennott (Call Your Mother) manages to be petulantly put-upon while also staying somewhat tragic. She’s a hot mess, but somewhat formed by the world she grew up in.  And Molly Gordon (The Broken Hearts Gallery) is a great counter-balance to Sennott as the calm core of the crazy day of mourning.

Frothing around the two are some fabulous characters. Polly Draper and Fred Melamed (In a World…) as her parents are painfully fun. They run the line between mean and caring in a way that many will recognize. And Dianna Agron (I Am Number Four) brings an outside, quiet tension to the gathering that stays utterly controlled. The rest of the rooms are filled with recognizable faces that lob quiet bombs and cross-conversation through the flick. Seligman just lets the conversations wash over you at times as Sennott passes through or is within proximity; often to funny effect.

If you enjoyed movies like Barney’s Version or This is Where I Leave You, this is probably another you should throw onto your list.

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Space Jam: A New Legacy

[3 stars]

OK, I get it. I understand why some folks will just love this crazy and silly romp through parenthood and basketball. And, to be completely fair, LeBron James actually pulls off his role believably. And Don Cheadle (Avengers: Endgame) gets to eat some serious scenery as well.

As a story, this is about on par with a Looney Tunes cartoon. It doesn’t hold up under any scrutiny. But the Tron/Matrix send up, and totally unabashed WB advertisement for every bit of IP they still own, entertains on several levels. The more you know, the more you’ll enjoy the references and background characters. (Though I also have to admit that voices for the classic ‘toons and some of their characterizations, esp. Bugs, didn’t quite work for me.)

Helping James out as his on-screen son, Cedric Joe feels about perfect. And Sonequa Martin-Green (Star Trek: Discovery) got to show us a new side of herself as James’ partner.

But most of the kudos really have to go to director Malcolm D. Lee who found the tone and the pace to keep it all going. He’s the core reason this crazy gamble worked. A brilliant classic? No. But certainly not an embarrassment. And while it will work on the big screen, it honestly is fine on a smaller one as well.

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Fear Street: Part 3 – 1666

[3 stars]

It’s all comes down to this: the origin. And what a nice payoff it is. As you’d expect, given the previous two parts, the cast reprises from the previous 1994 and 1978 time frames to inhabit the 1666 characters. Kiana Madeira and Olivia Scott Welch are back at the center along with Ashley Zukerman (The Code), Gillian Jacobs (Life Partners), and, now with a bit more range, Benjamin Flores Jr. (Rim of the World).

Having the setup of the previous two parts, this third flies in a swift 2 hours of suspense, action, and frustration. But the best part is that everything you’ve learned comes back into play right up through the end. And there is where it stumbles just the tiniest bit.

The main action resolves perfectly fine and acceptably. But there is a moment, and you can’t miss it, where there is an obvious and boneheaded oversight. I know it’s a trope of the genre, but it could have been less ham-handed. In fact, if it weren’t for that, I’d have rated the whole movie higher. That gaff cost it because after all the clever, subversive, and frankly well thought out planning, it was cheap and insulting to the audience.

But that frustration aside, which is small in comparison to the journey, this is a great trilogy of dark fun executed with a clever eye and solid talent. Leigh Janiak pulled the sequence off with aplomb and will have me watching for her next project for sure; as well as some of the cast.

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Gunpowder Milkshake

[3.5 stars]

Imagine a blend of John Wick and Bad Times at the El Royale, with maybe a dash of Terminal thrown in. Think a sort of hyper-real, female assassins tale. It isn’t quite as lyrical as it might have been, and the editing and timing were off for the first half of the film bringing down the energy, but it holds together and is definitely a fun ride.

At the center of it all is Karen Gillan (Spies in Disguise), in full Nebula voice, as a disassociated, abandoned woman doing the only thing she’s ever known how to do. And she does it very well. Things, of course, go wrong and she finds herself suddenly in the position of trying to do the right thing to balance out the voices in her head. This brings us to another wonderful performance by Chloe Coleman (My Spy), who has now lost her second chance at a big screen launch thanks to the pandemic, but who continues to impress.

Joining Gillan, from her past and present, are a collection of strong women fighters, cast as much for the abilities as they are for their past roles, providing a fun resonance. Lena Headey (Fighting With My Family), Michelle Yeoh (Boss Level), Carla Gugino (The Space Between Us), and Angela Bassett (Mission: Impossible – Fallout) make an impressive set of co-conspirators. And each gets their moment to shine. Paul Giamatti (I Think We’re Alone Now) adds a small bit of patriarchy for them to respond to.

This isn’t a perfect film. As I mentioned, the energy and timing are off for the first third to half. However, it does come together and has room for more stories. Much like John Wick, there is ongoing potential as the various levels of the onion get involved. For a bit of mayhem and girl power, spin this one up and enjoy the carnage.

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Loki

[4 stars]

The third of the D+ MCU series is, again, unique in design and storytelling, playing into it’s main character to inform the style. I give them great credit for that. Like each of the original comics the series are based on, they are allowing creators the freedom to tell the character stories in the most appropriate ways.

However that means that each time, each show has to level-set for the audience. Because of that the initial pacing of this short series, much like WandaVision, was slow, but it had an ever-increasing cadence that came together by the end. Interestingly, the light-hearted feeling of it all made the entire season feel like a close cousin of Doctor Who, especially given one of the bigger reveals. For those who don’t watch both shows, they would have had no dissonance while watching. But, for those of us who are broader omnivores in the genre, the tone and pace were unmistakable. It wasn’t a bad thing, but it was occasionally distracting for me.

Also, much like WandaVision, I feel like this is a show that is going to be more enjoyable on rewatch…once it all makes sense. I didn’t have  suspense pulling me along so much as curiosity while all the parts were spinning in the air. Some of that is the Owen Wilson (bliss) interplay with Tom Hiddleston (Thor: Ragnarok), which was amusing, but not quite intense enough to pull me in.

On the other hand, Sophia Di Martino, Gugu Mbatha-Raw (Motherless Brooklyn), and Wunmi Mosaku (Lovecraft Country) really brought the energy and impact throughout the story. There are several shorter-lasting roles of note too, but to list them would be to spoil. Suffice to say that the cast embraced the absurdity of it all and ran with it in earnest. (Also not unlike Doctor Who.) And they sold it well. It certainly helped to have a single director, Kate Herron, to guide the entire ship into its final port. Herron’s complete guidance was especially needed so that the delightful physical metaphor in play could be handled well from beginning to end.

My biggest gripe: I only wish it had more than six episodes for the season. Even though it didn’t feel rushed, and I got ahead of several aspects, I’d love to see what more they could have explored. Fortunately, there is a second season already planned.

As a total sidebar, what is happening now in the MCU as Phase 4 is getting spun up is exactly what Ron Howard had hoped to do with Dark Tower (jumping between movies and TV series). The idea was thwarted by the studios. You gotta believe Howard is watching with a certain amount of evil glee at the success of the MCU. You’d also hope that the studios are kicking themselves at this point having missed the chance to blaze that ground and build an empire. But studios don’t have a soul…or long memory…so I suspect they’ve not even acknowledged the miss.

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A Quiet Place: Part II

[3.5 stars]

While this sequel can’t compete with the unrelenting tension of the first installment, it is an adventure all its own, building out the world and the story. It’s also a hand-off of sorts, shifting focus from Emily Blunt (Animal Crackers) to her children, Noah Jupe (The Titan) and Millicent Simmonds (A Quiet Place). Though I must admit, I don’t recall Jupe’s character being so bloody foolish in the first movie.

Director John Krasinski (Animal Crackers) also nicely shifted the adult focus to Cillian Murphy (Anna), providing a different view of the invasion and its impact. And he continued to show his writing ability with a tightly constructed story that uses everything he threw into it.

But this story has quite a bit more soundtrack in it than the first. To be fair, Krasinski sort of tapped that trick in the first part and repeating it would have been boring. But the film definitely had a bit less suspense for the talking. And the impact of Djimon Honsou (Serenity) was less than I’d have hoped for, though I appreciate Krasinski’s strong choices again for the story and structure.

If you liked the first part of this tale, you do have to see the second. Watching the characters grow (literally and emotionally) isn’t something you get often enough anymore. Natural sequels are hard to come by, but this found a way.

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