It isn’t a bad film, and it is entertaining, but it’s just, well, confused. It’s neither a kid’s film nor an adult’s. It doesn’t even run that ephemeral line between the two, appealing to both audiences by cleverly balancing adult nods and silly humor. Chris Butler (ParaNorman) couldn’t quite find the tone in his script or direction to pull it all together.
However, it does eventually get to the point in the last quarter of the movie. If only the rest had had the punch of those final confrontations and sequences. But it doesn’t. Despite some impressive animation in scenes, the overall movie feels a little less polished than what Laika has put out before. The animation is a tad less smooth and the feeling a little less magical than I’d have expected from them. It will keep younger kids chuckling, though some will be beyond them and some may be a bit too frightening.
I so wanted to like this more. I kept trying. There is sense of something buried deeply in its recursive, meta, Sophomoric view of life. Unfortunately, I never quite found it…and the final denouement “Part 2 coming soon” after the credits made me shrink in horror rather than anticipation.
Despite that reaction, I was drawn through the story, though I think that was mostly on a misinformed idea that there would be a pay off. That said, it has Tilda Swinton (Suspiria) in, literally, a matronly role to her real-life and screen daughter Honor Swinton Byrne. The two work well together but Byrne’s character life is hampered by the telling of the story. We don’t really see her changes, we must mostly infer them. But we also never really understand her attraction to Tom Burke (Strike), who does a likewise solid job with what he has to work with. While we don’t have to agree with a character’s choice, we do have to understand it.
Writer/director Joanna Hogg certainly has a track record, as does this movie, with awards or nominations for every one of her feature projects. But I don’t understand the enthusiasm around this offering. It may have been created with skill, but that didn’t translate into a good movie. At least it didn’t for me.
For the title alone, I had to check out this silly satire, and clear vanity project, by David Harbour (Hellboy, Stranger Things) on Netflix.
The short film is full of nods and winks to the History Channel, Dark Shadows, and Documentary Now among other shows. It also takes many hilarious slams at the acting craft generally. Against this background Harbour explores his family’s fictional past in search of… well, that would be the problem overall. We never really understand why he’s doing this, what “questions” he has to answer. And, in the end, we don’t know what he’s discovered or embraced. Perhaps the open ended aspect was part of the satire, but it left me as a viewer wondering why I’d spent the half hour.
Given director Daniel Gray Longino’s background with Portlandia, and both he and writer John Levenstein’s involvement with The Kroll Show, the sensibility of this 30 minute distraction shouldn’t be a surprise. Mainly, it’s just disappointing, or was for me. But at 30 minutes, it isn’t a huge chunk of your life to lose for some funny moments. Just don’t expect it to hold together or pay off in a great way and you’ll be fine.
Cute idea. Childish execution. Tina Gordon directed this movie as a Disney Channel special rather than as a feature release. The style and script, with co-writer Tina Oliver (Girl’s Trip), is very much a child’s view of the world rather than an adult learning about how to view the world as a child again.
It doesn’t help that Regina Hall’s (The Hate U Give) performance is so broad at the beginning at that I almost turned off the flick in frustration. There was no way this person would have still had a company with her behavior. This means that the movie started at a massive deficit…and I could never quite suspend disbelief because it was so obviously wrong. Issa Rae (Insecure) and Marsai Martin (Black-ish) help pull the movie back toward center, but never manage to make up for the the rest of the weaknesses even with their efforts.
People have been trying to recapture the magic that was Big for decades. The sentiment never really goes out of style, but while the general story is what people remember (even with the reversal), the filmmakers forgot that it was the chemistry of that film that really made it a classic. And no one in this cast matches Hanks’ vulnerability and charisma.
There is nothing particularly bad about this Rupert Wyatt (Rise of the Planet of the Apes) alien invasion/human insurgency story, but there is also nothing particularly special either. Well, I’ll modify that, there is one thing from Wyatt’s and Beeney’s co-written script that is so right, and so real, it had me seeking a reference that didn’t exist…and it’s the opening to the flick: Light a match. Ignite a war. It sounds so familiar, even comfortable in association with a host of figures from the 60s, I was sure I recognized it. But if it is attributable, I couldn’t find it. That’s a rather impressive invention.
As to the rest of the movie, it is nicely understated with low amounts of pure exposition, allowing images and videos to explain the world and the situation. And the story doesn’t insult us by trying to explain everything. Some information is just never provided, and that’s OK. And the cast is certainly talented.
John Goodman (Black Earth Rising) and Ashton Sanders (Moonlight) topline the story from different sides of the tale. They are relatively interesting, but not overly compelling characters, which is part of the weakness in the movie. We don’t entirely care about either of them. Some nice support from Vera Farmiga (Godzilla: King of Monsters), James Ransone (Bosch), Ben Daniels (Rogue One: A Star Wars Story), and Alan Ruck (Goats) helps sell the situation and add some depth but they are all bit players in the larger scheme.
Basically, there is little surprising in the plot and there isn’t quite enough suspense to sell it on suspense alone. There are certainly some nice effects (and a couple really bad ones). I didn’t feel bored nor that my time was wasted, but I wanted more than just a setup for a franchise. I wanted a sense of triumph or disaster. I wanted more than an obvious metaphor for our times. I wanted to invest emotionally rather than just with my eyes. And, sadly, I never really did, and I suspect you won’t either. For a popcorn evening, there is some craftsmanship here…just not a great movie.
If you’ve ever been frustrated by how fairy tales and myths have been depicted on screen, this may be the film for you. This movie takes a non-sanitized approach to, if not exactly purely adapting, the collected fairy tales of the late 16th Century poet Giambattista Basile’s. Given that it is from director Matteo Garrone (Gomorah), the dark aspects of the story shouldn’t be a surprise, nor should the sure hand behind the camera guiding you through its interconnected tales.
While there are some recognizable faces in this movie, no one really stands out. The star here is the story and the production. Think adult bedtime stories of a darker nature and you’ll get the idea. Being a collection, it doesn’t really come together into a single story, but characters keep crossing paths from the opening story to the final. Basically, if you like auteur cinema, the original Grimm tales, or simply twisted plots, you’ll likely enjoy this colorful romp of moralistic and humanistic failings. If you prefer a cohesive plot with a single purpose, this isn’t your movie.
Stardom has been with humanity since its earliest days. What excites the masses shifts, but there is always something that captures imagination. In the 18th century, for a time, it was castrati; singers sans balls who’s life altering choices were made for them as young boys. Farinelli was one of the biggest. Singers, that is.
Though made in 1994, the movie resonates with current tastes and reflections. From the camp to the glitz, you can’t watch this without thinking of Freddie Mercury’s story as told in Bohemian Rhapsody, the docu Studio 54, or even reflect on the careers of Bowie and Elton John. This is Glam Rock in its infancy.
The story, however, is more of an opera: overblown and extreme. But the film struggles a little on bringing us into it all. In large part that is because it is more than halfway through before you start to understand the character’s motivations. In fact, it wasn’t until after the final moments and thinking about it more that it came into full clarity. That either makes director and co-writer Gérard Corbiau’s result very clever art or a poorly constructed film. It isn’t an easy call to make on that point.
Stefano Dionisi’s Farinelli is everything you’d expect. His brother, taken on by Enrico Lo Verso is more cryptic. The two play off each other well…but it is a curious and fraught relationship that is as much confusing and it is sibling battles. Arrayed against them is the better known actor (stateside), Jeroen Krabbé, who tackles a much-conflicted Handel. Some of the film smacks of Amadeus because of this conflict, but the stories, while philosophically often sharing ideas, are very different.
This would be a really fascinating movie to remake today. Given the sexual politics that have dominated so much of the news, not to mention the tensions mounting around the world, there is fertile ground for both spectacle and commentary. For now, however, we’ll have to settle for this incarnation of it, which hits on many historical accuracies, even if that isn’t its real intent or focus.
Juliette Binoche (Summer Hours) is always worth seeing, but it helps if she has a good story to work with. The problems with this movie begin with the miss-translation of the title (which is closer to: The Beautiful Light Within). That more-direct translation makes slightly more sense than the published choice, though in an ironic way. The movie is really a dark (French) comedy rather than a hopeful journey of a middle-aged woman looking for love and connection; a sort of anti-Gloria.
Claire Denis directs Binoche through a constantly shifting emotional landscape very naturally. But her co-written script just never comes together. In fact, as untethered as it is through its episodic view of Binoche’s life, it manages to go completely into the woods during the final credits.
I can’t honestly recommend the film. I didn’t find it all that funny or even all that dark. It is just sort of sad and frustrating. And, ultimately, I felt I was cheated of my time. So either I really missed the point, or this movie did. Given the talent involved, I’m open to either reality. You, however, will have to decide for yourself.
It is a sad irony that this sequel is going to make more than the others in the series, despite being the weakest entry. Parabellum is a hollow shell that has a few good moments, but generally just a lot of disconnected fights and very little to recommend it.
The fights, the unmitigated and unadorned violence of Wick, had a sick kind of glee in the first two films. They felt, well, justified or at least unavoidable. You could revel in them and not feel too guilty. In this installment they feel choreographed. None of the characters are people and none seem to feel any risk. Returning director Chad Stahelski (John Wick, John Wick 2) even heightens this aspect with a ballet theme that even comes back in the credits…it is all choreography. But it leaves the fights flat; you can almost see them counting at times. It had little of the organic mayhem of the first two films, which got to absurd levels, but in more believable ways.
The brief, shining moments of this movie are really Halle Berry’s (Kingsman: The Golden Circle). Her sequence has a story and fights you can invest in. Until she joined the story, about a half hour in or so, I was really checking out of the movie. And after she exits it, even with the addition of Mark Dacascos, it never really comes back together. Dacascos gets to let loose, but not really act (they tried, it didn’t work).
The first two films, while thin on story had a through line. This third is simply about survival and greed. People getting punished for obscure reasons and people simply killing to kill. I get that it’s partially the rules of the world Derek Kolstad created, but that doesn’t make it interesting without some emotion attached. And Wick just has no real emotion. In fact, his one emotional moment makes utterly no sense at all and is contradictory to the man we’ve gotten to know.
It doesn’t help that Keanu Reeves (47 Ronin) is completely outclassed in acting by everyone around him. It is almost painful to watch him speak Russian to Anjelica Huston (Isle of Dogs), who has a flawless accent. Or try to match the chops or gravitas of Jerome Flynn (Loving Vincent), Lance Reddick (Bosch), Laurence Fishburne (Ant-Man and the Wasp), or Ian McShane (Hellboy) as well. The wooden Keanu worked fine in the first two films because there was a seething ocean of emotion underneath it. This time, his only discernible motivation is about making it to the next, more inventive fight. And the fights are inventive. But that isn’t enough to hang two hours on.
Short version: if you must see this, see it, but it isn’t as good as either of the first films. And worse, it doesn’t wrap it up, it simply delays the ending of Wick’s story yet another film. I’m not sure I’m going back after this one. There just isn’t anywhere interesting to go.
The first Lego movie had the element of surprise and uniqueness going for it. The last 20 minutes of the film, especially, helped set it apart. But that aspect now revealed, left writers Lord and Miller (Spider-Man: Into the Spider-Verse) with a challenge that the humor and approach just couldn’t manage to overcome when revisiting the world. The first movie was funny, but relied on those final moments to make it something special.
This literal continuation of the tale, starting from the final moments of the first, just isn’t nearly as clever or interesting. It is too forced and not nearly as funny because it is obvious. Director Mike Mitchell (Trolls) just couldn’t find something new, though it has its moments.
One of those moments is the end credits, which are both visually impressive and, at least for the first minute or so, a wonderfully self-conscious plea to watch them. But the rest of the movie was fine for kids, obvious for adults, and more or less a retread of the first. You’ll have to decide if there’s enough there for you to see that again…for me, I’d have been fine if I’d never gotten around to this somewhat empty sequel.
Art, writing, life explained… or at least commented upon…