Bryan Caron's Blog, page 5
December 1, 2019
Movie Mayhem – Knives Out
Murder mysteries have been a staple in storytelling for as long as storytelling has been in existence (or at least it seems). Why? Humans are a curious lot, so pretending to be a master sleuth for a couple of hours as we attempt to figure out what happened before the big reveal can be quite an exhilarating experience. When it’s done correctly, the pieces are placed perfectly throughout as to throw us off the scent, even when the clues are right their in clear daylight. When done poorly, you don’t have to be an eagle-eyed viewer to know who did it ten minutes into the story. Rian Johnson’s new film, Knives Out, slips somewhere in the middle — although the big reveal feels a bit anticlimactic, the ride getting there sure is a blast.
It’s structured that way on purpose. Johnson takes everything we know of a good murder mystery and twists those tropes in an odd and fantastic manner so as to completely keep us off-guard. The mystery in question involves the death of Harlan Thromby (Christopher Plummer), a wealthy patriarch found one morning in his study with his throat slashed. As the film unfolds, the most shocking moment isn’t the a-ha moment at the end of the film, but the point in which Johnson decides to reveal what happened to Harlan.
As Harlan puts it, “Sometimes a person doesn’t know the difference between the real knife and the fake one.” It’s setup early on by Harlan’s eldest child, Linda (Jamie Lee Curtis), that she can’t but help to think this is just one of Harlan’s games he likes to play with her, making her believe that there’s more to her father’s death; as if this is just another one of his novels and there will eventually be some big reveal that will happen at any time.
Johnson plays with these sentiments gleefully throughout the process as the audience tries desperately to figure out what is and isn’t real, and by proxy, what direction the film is actually going.
The whose-who begins right away when the detectives on the case (LaKeith Stanfield and Noah Segan) invite all of the family members back to Harlan’s house a week after his death, even after they have all but ruled the death a suicide. Stanfield and Segan play like a Laurel and Hardy team of keystone cops; Stanfield being the straight arrow detective that doesn’t see anything amusing about anything, while Segan continuously fan-boys out over the ties between Harlan and his bestselling novels.
Linda is just one of three siblings who all believe their own sordid lies about who they are as individuals and what they meant to their father. She is married to Richard Drysdale (Don Johnson), a man basically living off his wife’s income as the owner of a successful real estate company, who may or may not be the doting, loving husband he pretends to be. Together they have a self-absorbed son, Ransom (Chris Evans, having a blast playing an entitled shmuck), who skips the funeral because he’s upset by something his grandfather told him the night of his death.
Harlan’s youngest son is Walt (Michael Shannon), a self-made business owner if you classify self-made as being given the reigns of your father’s publishing company. Everyone in the family despises Walt for that very reason; no one believes he is deserving of the company. What they don’t realize is that none of that may matter, as Harlan may have taken the company away from Walt over a dispute about selling the adaptation rights of his books. Walt also has a creepy son (Jaeden Martell) who spends all of his time on his phone.
Then there’s Joni (Toni Collette) and her spoiled daughter, Meg (Katherine Langford), who has been receiving tuition payments for years after Joni’s husband died. Joni relies so much on that tuition that she would be devastated if Harlan ever decided to stop providing it to her. Just the thought of it makes her already high-strung socialite personality that much more heightened, and Collette does a tremendous job of chewing as much scenery as she can without being over-the-top annoying.
Finally, there’s Harlan’s nurse, Marta Cabrera (Ana de Armes), who spent her time not just caring for Harlan’s medical needs, but his emotional ones as well. She is, in no uncertain terms, the daughter Harlan never had. It helps that Marta also has an affliction against lying; that is, even the thought of lying makes her literally vomit. It makes for a terrific juxtaposition, setting her apart from the rest of the family, all of whom have no qualms against deceit if it helps them improve their lot in life.
This first act could have felt overtly expositional, but Johnson carries the film with a delicate hand, providing the actors enough room to play with their characters in order to get to know them through the subtle nuances of the way they carry themselves, how they speak and what words they use during the interrogations.
Nothing is more telling than in how each one reacts to the mysterious man in the back of the room, hitting a piano key whenever he thinks the person may be lying about something. This man is Benoit Blanc (Daniel Craig), a private investigator hired anonymously to get to the truth behind what happened that fateful night.
Blanc, as you would expect, doesn’t fall for any of the family’s BS, choosing to keep Marta close by his side as he investigates what happened because he knows she’ll either tell the truth or face the consequences. He is set up to be the proxy for the audience, and Craig pulls off a masterful performance in both dramatic and comedic timing. He is the center of cynicism from which the entire film is built, leading us step-by-step to the brilliantly executed final reveal.
Full of terrific performances, the “dumbest car chase ever”, and a twist that comes way earlier than anyone might expect, Knives Out plays like a murder mystery written by someone toying with a group of people they utterly dislike. Harlan wants nothing more than to ween his children off the teat of his success so as to build their own empires as he once did; the only way to do that is play one last devilish game with the lot of them, making for one enjoyable ride through the bowels of entitlement culture.
My Grade: A
Bonus Reviews:
Christian Bale and Matt Damon are having a blast as Ken Miles and Carroll Shelby in Ford v Ferrari, a two-and-a-half hour film that races to the finish line with exhilarating speed, highlighting an authentic friendship that’s held together through sheer and utter respect for the talents of the other that each unselfishly use to make someone else famous while enjoying life to the limit at the same time. A
Shia LaBeouf turns in a second great performance this year in Honey Boy, a semi-autobiographical account of a young boy’s life growing up as a rising star in Hollywood with a father who’s only around because his son is paying him to be his chaperone, and the drug-related fallout as a young adult; a therapeutic, heartbreaking memoir of the truth that lies hidden under an addicts deceit. A-
Though the story is simple and leaves a lot to be desired, 21 Bridges is still a tightly-wound thriller focused around the manhunt for a couple of drug dealers who kill eight cops during a botched plan to steal thirty kilos of drugs, mostly because of the on-point performances that keep things moving with the pace of a bullet. B+
Next week, new movies include Playmobile: The Movie and Aeronauts. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.
November 24, 2019
Movie Mayhem – Frozen 2
Back in 2013, Frozen became a cultural phenomenon that led to a series of short films that didn’t quite live up to the majesty of the full-length feature. To put all of it into perspective, Disney was sued for one of the shorts that mirrored another animators story, and another was ridiculed for its length; apparently twenty-one minutes of Olaf (voiced by Josh Gad) running around doing stupid things is too much when your kids are anticipating the day of the dead. As a lesson to be learned from the disaster known as Minions, side characters like Olaf are so much better when they aren’t the focus of your movie. So it was nice to enjoy a return to Arendelle with Frozen 2, a film that doesn’t surpass its big sister in quality, but stays on par with with the magic we all expect from the franchise.
The film begins the same as the original, taking us back in time to when Elsa (Idina Menzel) and Anna (Kristen Bell) are kids (before Elsa was locked away for harming Anna) to learn the story of a magic forest that used to rule the lands with the power of the four elements, but which now is covered in fog because of a sinister betrayal that took place. The sequence is fine, but it does feel like a pretty blatant way to info-dump prior to beginning the adventure. This can be taken as both a good thing (it gets the information out of the way early so it doesn’t bog down the story) and a bad thing (it doesn’t get the film off to the best, most immediate start).
Back in the present, we learn Elsa is starting to hear a voice singing in the distance that only she can hear. This leads her to inadvertently wake up the spirits of the forest, which immediately forces the residents of Arendelle out of their home and into the mountains. To prevent future tragedy and save the kingdom, Elsa, Anna and the rest of our familiar gang head off into the magic forest to restore balance and peace to the land.
The movie settles into a nice rhythm once our heroes enter the forest. Everything that has been strategically setup in the first act blossom nicely into several plots that complement one another as if the script was its own song in and of itself.
Returning writer and co-director (along with Chris Buck) Jennifer Lee does not skip a beat when it comes to bringing these characters back to life. Anna is still very protective of Elsa, who continues to be a lone wolf, pushing her sister away (sometimes literally) to “keep her safe” from what’s to come. Olaf is his usual delightful self (though admittedly not quite as endearing as he was in the original), and Kristoff (Jonathan Groff), alongside trusted sidekick Sven, continue to be fun characters as they spend most of their time attempting to propose to Anna, who constantly (and hilariously) twists everything he says leading up to those magic words into something foreboding.
But therein lies the issue. Within each of these fine-tuned plots, the characters don’t change. When our heroes first reach the forest, Olaf marvels at its majesty and claims that although he doesn’t know what transform means, he has a feeling the forest is going to change each one of them in different ways. However, the changes that do occur are more external than internal, as the characters learn basically the same lessons and never reach the magnitude Lee and her team wished to climb.
It doesn’t help that the new characters introduced, including Jason Ritter and Evan Rachel Wood as natives of the forest, and Sterling K. Brown as a soldier in Elsa and Anna’s grandfather’s army who was stranded in the forest when the wall of fog was raised, have no substance beyond their willingness to help these “intruders.” Luckily, we get a cute little fire chameleon who adds some cuteness while helping Elsa find her destiny.
Now a review of Frozen 2 wouldn’t be complete without discussing the music. Right away, we know it’s going to be extremely difficult to top the soundtrack from the original, which was rich with clever songs that grew more likeable as the years went on. Original songwriter Kristen Anderson-Lopez does her best to rise to the challenge, but can only seem to emulate what made songs like “Do You Want To Build A Snowman”, “For the First Time In Forever” and “Let It Go” so special.
All of the songs you might expect are there: Elsa’s beautiful power ballad, Anna’s quirky-fun interludes, and Olaf’s tune full of naivete. One that stood out for me the most, though, is Kristoff’s lonely-heart balled; not because the lyrics were all that memorable, but because of Lee’s direction. The whole sequence delightfully embodies everything we loved about eighties music videos, complete with closeups of Kristoff singing superimposed over background elements of forlorn sadness.
In my review of Frozen, I lamented the animation during “Let It Go”; it encapsulated the song beautifully and gave life to both the character and the film itself, making it one of the best sequences in any movie in 2013. “Show Yourself”, Elsa’s second power balled that tries to emulate that moment, doesn’t have the same staying power of its predecessor; the animation, though, lives up to everything that made that other sequence so majestic as Lee once again transforms the screen into a brilliant landscape of visual grandeur. The entire sequence gives the film just enough juice to jump-start us into the powerful and emotional final act.
I’m not sure anyone believed that Frozen 2 could ever live up to the original — not many sequels do. And although the film does feel somewhat like a carbon copy of the original insofar as the characters are concerned, the animation and the journey the characters take remains perfectly executed, bringing us all back into a world we weren’t sure we wanted to return to and giving us a new reason to fall in love with Elsa and Anna all over again.
My Grade: A-
Bonus Reviews:
I couldn’t think of anyone better to play Mr. Rogers than Tom Hanks. Not only does he embody the purity we all hope to aspire to, but Hanks nailed every facet of the iconic figure, right down to the cadence in his voice. Add that to some terrific directorial choices, such as encasing the narrative around an episode of the television show and using models to mimic the show’s style during scene transitions, and A Beautiful Day in the Neighborhood is a beautiful homage to a man who respected everyone for nothing more than being true to themselves. A
Helen Mirren and Ian McKellen are a perfect pair in The Good Liar, a film about a conman looking to swindle a naive widower out of her fortune that plays with our senses well enough to keep us in a false sense of security before turning the con on us with an interesting, if not prolonged twist of fate. A-
Next week, new movies include Knives Out and Queen & Slim. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.
November 10, 2019
Movie Mayhem – Last Christmas
I like me a good brainless rom-com every now and again, and with Emma Thompson both writing and co-starring, Last Christmas was poised to be an enjoyable couple of hours. Thompson has written some very good movies in the past and has the ability to raise what could be subpar material to a new level with just her mere presence. However, with Christmas, something got lost in translation.
Katerina (Emilia Clarke), er, um, I mean, Kate, is a near pitying self-absorbed, self-destructive mess. She’s on the outs with her sister, Marta (Lydia Leonard), and refuses to call her mom (Thompson) for help even though she bounces from one poor choice to the next, picking up random men at bars and ruining whatever goodwill she has left with her friends. Even her time at work is spent mostly piddling about in delightful depression as her boss, Santa (Michelle Yeoh), bickers about her being a poor employee.
Enter Tom (Henry Golding), a mysterious young delivery man who suddenly seems to pop into her life at random times and then disappears for days on end. He is by definition a saint — he doesn’t pressure Katerina, uh, I mean Kate, into anything but finding the joy in life, doesn’t carry a cell phone, finds romance in the littlest of things, and volunteers at a local homeless shelter.
Of course, as anyone would guess in a film like this, as the two lovebirds grow ever closer, Katerina — ahhggh… Kate! — begins to understand the joy of helping others and turn her life around for the better. She’s like a much prettier Ebenezer Scrooge who, instead of being an evil curmudgeon, is a perky, likeable lost soul.
For this movie to even remotely work, Clarke and Golding must be a strong pair, and this is where the movie works wonders. The two of them are like marshmallow cream on a chocolate pie; they are so adorable together, they charm their way into your hearts while making you sick to your stomach. Both actors understand the nature of the film they’re in and go all out in creating a loving whimsy that never falters. Even when Kate (yes!) isn’t with Tom, you still feel his presence within her.
It’s everything around them that can’t live up to the duos delightful union. So much of the script (co-written with Thompson by Bryony Kimmings) is so convoluted and directed by Paul Feig with such silliness that it takes away from the heart of the story. Outside of Kate and Tom’s relationship, there are three other relationships in varying degrees of status that the film tries to intertwine within but feel utterly out of place.
First up is the relationship between Kate’s mom and dad (Boris Isakovic), a long-in-the-tooth marriage that is on the verge of divorce throughout the film. The two remain together because… they’re married, and that’s what married people do, I guess. Even Kate asks why they haven’t divorced yet with no clear answer given. There’s no point to this dichotomy, though, as their relationship isn’t given enough time to grow in order for us to understand or care about the dynamics.
It’s still more than Marta’s relationship, which is nurtured about as much as a weed on the outskirts of a lawn. It’s thrown into the film like an afterthought for no other reason than to appease the LGBTQ community. Gotta have a gay couple in there somewhere, right?
Then there’s Santa’s very strange and odd courtship with a man that literally comes out of nowhere. Their first encounter is so extremely strange, awkward, and over the top, it becomes a tonal mismatch with everything else that’s going on. At first, I expected the whole thing to be some sort of fever dream; then it just kept going and going, and it’s never quite understood why. What does this (and by extension, all of the other relationships) have to do with the core message of the film that Kate and Tom’s relationship doesn’t cover?
Outside of the various relationships vying for attention, Thompson and Feig make some very odd chocies that distract from the film. Why is it exactly that Kate and her family are refugees from Yugoslavia? There isn’t one except for adding some unnecessary political undertones that, like the secondary relationships, feel incredibly out-of-place. This decision also hurts Thompson’s performance, as she tries very hard to draw laughs out of a silly accent than just being her extraordinary British self.
If that weren’t enough, we’re provided a third act that is so predictable, if you don’t know the “twist” by the halfway point in the film, you aren’t paying attention. There is one scene in particular that gives everything away an hour before the reveal finally arrives.
Last Christmas has a high pedigree in front of and behind the cameras, so you would expect some sort of effort in creating something special for the holidays. However, although Clarke and Golding are charming beauties who keep your attention and do everything they can to win you over, the film ultimately fails to live up to anything more than a glorified Hallmark outing.
My Grade: B
Bonus Reviews:
From the moment Pearl Harbor is attacked at the beginning of the film, Midway, the untold story of America’s battle with Japan during world War II, takes root and builds a high-flying voyage through history that, despite some minor flaws, attacks your senses with exciting visuals and strong characters that honor the brave men who fought valiantly to cripple Japan’s forces and begin the road to victory. A-
It’s very rare I see a foreign language film; when I do, it’s because I’ve heard good things about the film. And I have to say, everything you may have heard about Parasite is true; the film combines some terrific performances with a story that takes you in directions that keep your mind wondering what will happen next. A
Next week, new movies include Charlie’s Angels, Ford v Ferrari and The Good Liar. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.
October 20, 2019
Movie Mayhem – Maleficent: Mistress of Evil
If you’ve been reading my blog since the beginning, you may have read my review of Maleficent way way back in 2014. In that review, I was very critical of the film in many aspects, including the watered-down — or non-existent — relationship between Maleficent (Angelina Jolie) and Aurora (Elle Fanning) that was supposed to be the crux of the plot, as well as the lack of character development to make the whole idea behind telling the story of Sleeping Beauty from Maleficent’s perspective. The film was okay, and there was a lot to like, it just felt flat and uneven because it wasn’t executed to its full potential.
Changing things up behind the scenes was a good start for Maleficent: Mistress of Evil. Joachim Rønning takes over the directing reigns from Robert Stromberg and lifts the energy of the film to a new level, even while falling into many of the same traps the first film setup because everything on-screen is exactly the same.
Jolie and Fanning are back as Maleficent and Aurora, respectively. Aurora has spent the last five years (give or take, depending on the actual timeline of the film, which it never really discusses) ruling over all of the beautiful creatures that inhabit the woodlands under the watchful supervision of her still menacing godmother. The good news here is Jolie still looks and feels incredible as Maleficent and Aurora is given a much larger emotional palette that helps her break free of her happy-go-lucky sprite-in-distress persona.
When Philip (Harris Dickinson), the prince of a nearby kingdom, proposes to Aurora, she and Maleficent are invited to a congratulatory dinner at the castle by King John (Robert Lindsay) at the chagrin of his queen, Ingrith (Michelle Pfeiffer). Much like the scene of Aurora’s christening in the first film, this specific sequence is one of the better scenes in the film, oozing with menace while setting up the plot. The dynamics between the characters is at its best here and the inciting incident, in which Maleficent is accused of poisoning John with the same sleeping spell she performed on Aurora, is well-executed.
This is where the film loses a bit of steam. As Ingrith begins testing ways she can destroy the fairyland creatures with the help of her hardened ingenue (Jenn Murray) and a sinister creature (Warwick Davis) stuck hundreds of feet below the castle in his own dank, dark den, Maleficent discovers that she is not the only one of her kind; in fact, there are dozens more like her, all living underground after fleeing human persecution. Though this diversion hints at what’s to come in the grand finale, it also sidelines the character in favor of focusing on Ingrith and Aurora.
It doesn’t help that, much like it’s predecessor, the film lacks strong development in the supporting characters. Like the first film, we can’t get emotionally invested in what happens to these characters because we don’t know anything about them. Pfeiffer is always one mustache-twirling cackle away from a walking cliché; Murray is given nothing to do but scowl; Davis is much more talented than he’s allowed to be; and the woodland creatures that Rønning want you to believe to be important are wasted when the time comes to rise up and be important
This includes a potentially great new hedgehog character who looks like a cross between Sonic and a Critter. The film spends a lot of time on this character with no payoff. And of course there’s the trio of fairies, who remain uninspired, even as they’re doing something heroic. All of them together become nothing more than a set of glorified extras with the appearance of having meaning within the lives of our two main heroines.
The special effects aren’t improved either. From the dizzying intro sequence to the fairies that still feel like little bobbleheded children, the effects are at times mesmerizing and at others disorienting and plastic. If it wasn’t for the majestic third act reveal and the consistency in effects that made the first film tolerable, the abundance of effects utilized throughout would have made the entire film as emotionless as a sack of potatoes.
Despite all of this, there was still a heightened sense of kinetic energy that brought a spellbinding life to every frame. I felt much more invested in the outcome of this film than I did in the original. The way Rønning frames his subjects and the power of the editing fuel the film with enough energy to keep you absorbed in the world around you, as well as what’s happening and how it will all play out in the gripping final battle.
Maleficent was an average adaptation of a Disney animated film that didn’t need a sequel. And although the film is plagued with many of the same issues as the original, sidelines its star to settle into a substandard plot full of clichéd villains, and includes an abundance of visual effects that add nothing to the heart of the story, Maleficent: Mistress of Evil feels superior to its predecessor due to a has a sense of vitality that was sorely lacking in the original.
My Grade: B+
Bonus Review:
I wasn’t one of the many fans of Zombieland when it premiered back in 2009, so I wasn’t all that interested in returning to this world. Surprisingly, Zombieland: Double Tap adds several new characters to the mix that not only enhances the comedy throughout (making for some extremely funny sequences), but unites the gang of four in a way I don’t feel the original ever had a chance to do. A-
Next week, new movies include Black and Blue, Countdown, and The Current War: Director’s Cut. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.
October 13, 2019
Movie Mayhem – Jexi
I wasn’t all that excited to see Jexi. With Adam Devine and a overlay of raunchy humor in the driver’s seat, for all I was concerned, the film could have been relegated to direct-to-DVD or on demand status. Or better yet, buried on some obscure streaming service to be seen by insomniacs browsing their feeds while high. But, CBS Films and Entertainment One decided to release it in theaters, and as I always say, you never know when a movie will surprise you. So I went to check it out. And boy, did Jexi surprise me.
Except for his stint on Modern Family, I don’t much care for Devine’s taste in humor, which tends to be more toward the style of Seth Rogen than that of Bill Murray. That is to say, at some point, there will be at least one joke involving dicks, at least one pot smoking scene, and nothing will be subtle or subversive. This leads to a lot of lazy jokes and lazier performances that don’t even attempt to be clever.
Devine, however, can be quite funny when he’s surrounded by the right people. In Jexi, Devine is paired with a group of actors who elevate not only his performance, but the movie as a whole to a much higher level than you’d expect about a movie where a phone app falls in love with its human owner.
The supporting cast is spread across the entire spectrum of brilliant to ludicrous. One the one hand, you have Alexandra Shipp as Cate, a sexy, intelligent, athletic bike store owner who maintains an unexpected chemistry with Devine, and Justin Hartley killing it as her pompous, arrogant, but extremely likeable ex-boyfriend. On the other, you have Wanda Sykes as an Apple-esque store clerk going through the motions of her usual wise-ass shtick that doesn’t do anything for anyone.
And then there’s Michael Peña as Phil’s over-the-top racist, bigoted, sexist boss, who at some times is hilarious in the absurdity of what comes out of his mouth, and at others is so overbearing and obnoxious, it becomes too cringe-worthy for its own good.
Sitting right in the middle of it all is Devine, who reacts to each of these characters in a sweet, innocent way that remains honest and relatable throughout the film. Phil would rather spend more time with his electronic devices than real people. Seemingly, that’s how he likes it and doesn’t necessarily want a change. That is until his phone gets smashed to bits after meeting Cate.
His new phone comes with an AI like no other. Her name is Jexi (voice of Rose Byrne) and she is there to make Phil’s life better. She also has a seriously foul and unfiltered mouth, which is where most of the comedy is directed. Though a lot of what Jexi says and is able to get away with in the film is funny on its own, it’s Devine’s reactions that raise them above simple shock value.
It’s never quite clear if Jexi got her personality from Phil or if her code was just written that way, as we never learn if there are more of her out there, messing with other people’s lives at the same time. Jexi, the operating system, doesn’t seem to be a mainstream thing, and isolating it to Phil, even though he gets multiple devices throughout the film with her on them, is odd and a little questionable. But because of the warm and delightful relationship between Phil and Cate that drives the story, and the fact that the scenes between Devine and Jexi are pure entertainment, this initial oddity is easier to overlook.
The raunchy behavior that infects the film, and which I am not personally a fan of, is also tolerated because of Shipp, who adds such a sweetness to the movie, it could rot your teeth. It helps the film be much more American Pie than Pineapple Express, as the duos relationship adds a welcome, loving core to everything that ultimately makes the film work.
It’s certainly not the direction of Jon Lucas and Scott Moore, who don’t quite know where to go sometimes. There are moments of pure levity, as when Phil starts to actually look at the world around him, and then complete chaos at others, such as when the camera zooms in and out as if we were back on the set of Modern Family. The balance is so distinctly off, it’s quite noticeable, especially when it appears that Devine looks directly at the camera as if he’s breaking the fourth wall, but isn’t clear as to whether it’s meant to be that way or because it’s a mistake.
Then there’s the odd sequence at the beginning of the film, which I assume is there to show how addicted Phil is to the phone. We see his parents hand him the phone whenever he’s bored or when they’re fighting, but it only shows them doing this twice and the idea behind it is never mentioned again. Which begs the question, why did we even need it? In this day and age, thousands of people are addicted to their phones, so what was the point of explaining Phil’s dependence on his device. We could have easily began the movie with Phil waking up in bed with his phone’s alarm and we wouldn’t have batted an eye as to his love for his phone or the apps that keep his attention away from the world at large.
Jexi isn’t necessarily a film that I would watch over and over again in the future, but it is a film that I can recommend to those looking for something fun to watch that has both raunchy tendencies and a strong heart. Just beware: there are some scenes that cannot be unseen. If you come away with one thing from the film, it will be that you will never plug your phone in the same way again.
My Grade: A-
Bonus Reviews:
Paramount, courtesy of visionary director Ang Lee, bring the early-nineties Will Smith back to the big screen against his fifty-year-old self in Gemini Man, a film that relies far too heavily on the CGI (which isn’t always as ground-breaking as it wants to be) and not enough on the story or the characters as Lee tries to push the boundaries of the still-developing de-aging technology to mixed results. B+
They’re creepy and they’re kooky, mysterious and spooky, they’re altogether ooky, The Addams Family. In this 2019 animated incarnation of the eerily masochistic sadist family, we get to see Gomez (Oscar Isaac) and Morticia’s (Charlize Theron) wedding, how they meet Lurch (Conrad Vernon) and their relocation to New Jersey to get away from townspeople who wish these “monsters” dead, only to go up against a reality home developer (Allison Janney) who is sadistic in her own way. Which only goes to show that just because we’re all a little different, it doesn’t mean we’re all bad. B+
Next week, new movies include Maleficent: Mistress of Evil and Zombieland: Double Tap. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.
October 6, 2019
Movie Mayhem – Joker
Thirty years ago, Tim Burton introduced us to not only Michael Keaton as what many still say is the quintessential Batman, but to Jack Nicholson, considered for a long time as the perfect choice to play the manic, high-octane Joker. That is until Heath Ledger (who, much like Keaton, was originally criticized for being a poor casting choice) blew us away with his Oscar-winning turn as the deranged psychopath in 2008’s The Dark Knight. It didn’t seem like anyone would live up to Ledger’s unhinged frenzy, especially after Jared Leto’s utter butchering of the beloved character in Suicide Squad. Luckily, Joaquin Phoenix dispelled those fears by delivering yet another Oscar-worthy performance as the titular character in the gritty, dark character study, Joker.
From the moment we meet Phoenix’s Arthur Fleck playing clown outside of a store while twirling a sign, we’re introduced to the deep sorrow that plagues this character under the fake, irrational smile. After chasing a gang of kids who steal the sign and then subsequently beat him to a pulp, we understand it isn’t just his physical body that’s been beaten throughout his life — it’s his soul as well. It doesn’t help matters that Arthur also has a condition in which he’ll laugh uncontrollably, usually at the most inappropriate times.
Phoenix is able to manage the turmoil between utter bitterness and maniacal joy with such eloquence, we can never be quite sure whether his condition is a real nervous tick or if he just finds certain sadistic tendencies to be uproariously delicious. The film will never truly answer this question, but it works to point out the chaos within the heart of this troubled individual.
Though the film itself never moves above a flat-line of grief and depression, Phoenix propels us forward with his intellectually mindful character arc. Bullied by everyone from those kids on the street to his so-called friends, we empathize with the torture and ridicule this man must endure, turning him into a complete shell, both literally and figuratively. As he slowly finds out that his life may have been a complete lie, it only exacerbates his tendency toward carefree malevolence.
What Joker does above all else is look at Gotham City and the overall lore of Batman with a much more realistic eye. Christopher Nolan’s Batman trilogy was the first to take a step in this direction, producing a film that felt more plausible as opposed to some colorful, crazy, heightened iteration of a comic book. But director Todd Phillips takes things a step further by making everything here seem as close to the real world as possible. Political comparisons aside, this Gotham, and the people that inhabit it, could be any major city in the U.S. today.
At times, this real-world aesthetic can make you sick to your stomach; at others, it can become quite awkward, or drag just a bit — which isn’t necessarily a bad thing. With other major Batman properties, there’s always some mindless, hyper-realized comic-book action to keep you entertained and remind you that it’s nothing more than a comic-book movie. With Joker, this sense of artificiality isn’t available to us, so it makes everything that happens throughout the film that much more frightening and disturbing.
There are a couple of beats in the film that don’t work quite as well as I believe Phillips wanted them to (Arthur’s relationship with a neighbor being one of them), but there is one major subplot that ties this film in with the lore of Batman in an intriguing way that I wouldn’t mind exploring in future iterations — if it ever comes down to that.
Joker isn’t a comic-book masterpiece in the way The Dark Knight is — we get a lot of brooding that sometimes works due to Phoenix’s well-balanced performance, but can occasionally become too depressing for its own good — and Phoenix isn’t quite as good as Ledger’s Joker (though it’s so close, I could see Phoenix’s version mature into becoming Ledger’s), but the film does bring us a solemn new spin to the life of the Joker that hasn’t been showcased before, making the entire thing feel unnervingly fresh.
My Grade: A-
Bonus Review:
Reneé Zellweger is a marvel as Judy Garland during the last few months of her life in Judy, however, flashbacks to the behind the scenes story of her time on the set of The Wizard of Oz made me want even more of what originally created the legend and less of the devastating life behind the curtain of Hollywood’s glitz and glamour. B+
Next week, new movies include Gemini Man, The Addams Family and Jexi. If you would like to see a review for one of these, or any other film out next week, please respond in the comments below.
September 22, 2019
Chaos Breeds Chaos 2019 Television Awards – Part 3
September 21, 2019
Chaos Breeds Chaos 2019 Television Awards – Part 2
It’s time now to begin the specialty awards in Part 2 of this year’s Chaos awards. (Check out Part 1).
Best Multi-Character Performance: Janet (D’Arcy Carden), The Good Place
[image error]Multiple D’Arcy Carden’s (The Good Place)
I wasn’t the biggest fan of D’Arcy Carden when The Good Place premiered; I thought the character of Janet was odd and a little off-center (to be fair, I thought the show was exactly the same – not sure what to make of it early on). But as the show matured, so did my affection for everyone involved. Carden’s place as the powerhouse performer was cemented when she hit her pinnacle best in episode 9 of season 3 titled “Janet(s)”, in which Janet pulled the entire gang into her void to keep them from being sent to the bad place. In order to keep her void from literally tearing itself to pieces, each one had to become Janet. Carden took the ball and ran with it, picking up every little nuance from each character almost to perfection, no more so than Jason-Janet. Her interpretation of the dim-bulb was amazing and hysterically accurate in movement, voice, and reaction. (Tahani-Janet was a close second). In the same episode, we also got to meet Neutral Janet, which was also a riot in and of itself. I wasn’t a fan before; I certainly am now.
Actor who’s better than the show: Paul Adelstein, I Feel Bad
[image error]I Feel Bad — NBC
I’ve been a fan of Paul Adelstein ever since his portrayal of Paul Kellerman on Prison Break. He has the ability to bring nuance and connection to his roles that allows for a sense of authoritative gravitas to whatever he’s working on. This is why he stands out so much in the comedy, I Feel Bad. The only time I ever even smiled during the two-episode premiere was when Adelstein was on screen. His timing, his expressions and his body language brought the show up a whole other level. Unfortunately, this wasn’t enough to keep watching the show as the rest was so unfunny and bland. I’d be fine if Adelstein remained a distinct character actor, but if he were to have his own show, he deserves much better material than this.
Most Vile Creatures: The Skeksis, The Dark Crystal: Age of Resistance
[image error]The Dark Crystal: Age of Resistance — Netflix
The Dark Crystal: Age of Resistance is full of vibrant, unusual creatures, but no creature created by Jim Henson’s creature shop can rival the Skeksis for pure stomach-churning disgust. Far be it for the Skeksis to just be pure evil as they use the crystal of truth to pull the essence from the Gelfling in order to remain immortal, their appearance, personalities and manners are all reprehensible in nature too. From the way they gorge on food to the way they punish those that get out of line, there is no character on television that is more vomitous than the Skeksis. To make matters worse, as the creatures deteriorate, they become even more repulsive, as evidenced most by the one that has pustules on her beak that occasionally ooze a disgusting creamy white liquid. Even more disgusting is when that liquid drips into her food and she eats it anyway. Just the thought makes me want to run to the bathroom and heave, but that is also what makes each Skeksis both unique and memorable.
Most Surprising Death: Captain Zoe Anderson (Mercedes Mason), The Rookie
[image error]Mercedes Mason as Captain Zoe Anderson (The Rookie)
Like any television season, there are going to be several major characters who perish, no more so than on shows that deal in science fiction and fantasy. The penultimate episode of The Walking Dead saw several characters, including Enid (Katelyn Nacon), Tara (Alanna Masterson), and young Henry (Macsen Lintz), get their heads placed on pikes as a barrier between the Kingdom and the sadistic Whisperers, led by “Alpha” (Samantha Morton). But I have to say the most surprising had to be Captain Zoe Anderson (Mercedes Mason) on The Rookie. Usually in a police procedural like this, a supporting/lead character such as this wouldn’t be killed off so soon, and with the episode being one that showcased the appearance of IA agents hidden in the field to make sure the officers were doing their job, it felt like it could have been all an act. Yet, by the end of the episode, it was clear that she had died, leaving a gaping hole in the precinct that embraced a 45-year old rookie into their ranks. I can’t say I miss her, per se, as we never really got to know her all that well, but I never expected her to be the first character to depart from the show.
Oddest Cast Change: Molly McCook, Last Man Standing
[image error]Molly McCook as Mandy Baxter (Last Man Standing)
It’s not unusual for a television show to recast a character when an actor decides to move on, something happens to them, or things just don’t work out. Occasionally, a show will simply bring in a new character (the better choice, in my opinion), but there are situations where that can’t happen. Usually, when a character has to be recast, the producers will choose someone with similar attributes to the original portrayer. When Darren was replaced on Bewitched, the actors didn’t just share the same look, they shared the same first name! When Becky was replaced on Roseanne, they chose someone with blonde hair and same height. Even the recasting of Kristen on Last Man Standing remained mostly true to the original actress. So it’s odd to see the producers choose an actress that doesn’t match any attributes (except their first name!) when forced to replace Molly Ephraim with Molly McCook as Mandy. I can overlook the hair color change; but casting an actress that is more than a foot taller makes the change really stand out above the fact that the replacement is trying way too hard to simulate the original’s effortless presence.
Best Milestone Episode: The Walking Dead
[image error]Andrew Lincoln as Rick (The Walking Dead)
Rick’s (Andrew Lincoln) final episode on The Walking Dead was the perfect homage to the character who brought us into this fantastic post-apocalyptic world. As he slowly dies from his wounds during a walker attack, Rick is haunted by memories of those he lost and essentially couldn’t help in his attempt at forming a new society against all odds. There were some very special appearances by old cast members, as well as a gut-wrenching moment when Rick chooses to sacrifice himself for the sake of his new family. Seeing Michonne (Danai Gurira) watch Rick shoot the barrel of dynamite to destroy the bridge that would keep the walkers from storming Alexandria was poignant, but no more so than witnessing Daryl (Norman Reedus) witness it happen. His look of defeat and loss was heartbreaking and matched what most fans were probably feeling at that moment… until Rick was secretly rescued by Jadis (Pollyanna McIntosh) and taken away on a helicopter to… live another day? To cap it all off, there was a post-“death” time jump with the wild reveal of Chloe Garcia-Frizzi as the now seven-year old Judith. All-in-all, it was a perfect send-off for a true leader and a perfect transition into what would come next.
Coming Into Its Own Award: The Orville
[image error]The Orville — FOX
The Orville never quite seemed balanced throughout its first season. It wanted to be a spoof on Star Trek by making fun of certain aspects of that show (and space operas in general), but it also wanted to be taken seriously as its own viable entity. The first few episodes were like a roller-coaster giving its viewers whiplash as the writers tried to bounce back and forth between these two conflicting ideas. It finally did settle into a groove toward the end, but still didn’t seem to have a good footing on what it truly wanted to be. Enter the second season, where The Orville finally found its voice. As it slowly found a strong balance between the dramatic and the surreal, it finally started to create plots and character developments that helped deliver both great drama and absurdist comedy. All of this newfound energy culminated in the two-part episode, “Identity”, which saw the betrayal and eventual redemption of Isaac (Mark Jackson), some very good crew pairings we don’t normally see, and a killer space battle that was incredibly directed with some of the best special effects this show has ever had. This was then followed by a terrific showcase for the underutilized Scott Grimes, and a two-part finale that saw what it would be like if Ed (Seth MacFarlane) never captained the Orville. It’s great that FOX picked up the show for a third season, but still a shame that it will only air on HULU.
Most Touching Moment: The Resident
[image error]The Resident — FOX
Last season, The Resident came at us with a different approach to the medical drama, making a big impact in both emotion and thrills. It didn’t let up in its first episode of season 2, though it did take a step back from its intrigue and cancerous financial storylines for one brief moment to reveal one of the most touching sequences of the season. As Dr. Austin (Malcolm Jamal-Warner) operated on a premature baby’s heart (in a blackout, no less), her tiny twin brother wouldn’t stop crying. So, when the small baby finally stops crying after he touches his sister’s shoulder with his hand, knowing she’s there with him once again and that they’re both protected by one another… if you weren’t crying, you probably don’t have a heart.
Best Self-Promotion: Andrew McCarthy, The Blacklist
[image error]The Blacklist — NBC
Although Andrew McCarthy hasn’t done a whole lot of acting over the last twenty years, he has become a rather prolific director, building his resume behind the camera on various television shows. One of his most recent gigs has been directing episodes of friend James Spader’s show, The Blacklist. On the April 19 episode, “The Third Estate,” directed by McCarthy, a woman is reading a book in a coffee shop. Eagle-eyed viewers would notice that the book was McCarthy’s own Just Fly Away. Kudos McCarthy for plugging your work in such a nice, subtle way!
Best way to keep a dead character on a show: Remy’s (Jaimie Alexander) Hallucination, Blindspot
[image error]Luke Mitchell as Roman (Blindspot)
After the death of Jane’s (Jaimie Alexander) brother Roman (Luke Mitchell) in the season 3 finale of Blindspot, it wasn’t necessarily a given that he would remain a constant presence on the show. It was sad to see him go, as Mitchell did a terrific job playing all sides of the situation that not only helped himself and his cause, but also helped the FBI take down a nefarious billionaire (David Morse). In order to keep this charismatic character around, the filmmakers set up an illness that both Roman and Jane were afflicted with, highlighted by Roman literally fighting with himself hours before he died from said illness. Once Jane’s amnesia turned off and Remy rose from the ashes, Roman started to guide her through each step of rescuing their mom and finishing what they started. That way, even in death, Roman remained a presence to be reckoned with—at least until Jane was cured. RIP for a second (and final) time, Roman.
Tomorrow, come back to check out Part 3 of the 2018-2019 awards, including Best Homage, the Most Annoying Pattern and the season’s most noticeable trend.
September 20, 2019
Chaos Breeds Chaos 2019 Television Awards – Part 1
The Emmy’s air this Sunday, which means it’s that time again to present my awards of the Best (and Worst) of the 2018-2019 television season. (See previous Awards – 2018, 2017, 2016, 2015, 2014, 2013)
We start as always with more traditional categories, and over the next two days will continue with additional categories for moments that resonated with me in some form or another over the past television season.
Best New Series: The Dark Crystal: Age of Resistance
[image error]The Dark Crystal: Age of Resistance — Netflix
I usually like to wait as long as possible before choosing the best new series of the year, as you never know when a gem will arrive. For the last several months, New Amsterdam was holding onto the top prize, and I was about to solidify its position as the number one show of the 2019-2020 season…. Then, at the tail-end of summer, I decided to try Netflix for the first time (mainly to see the new season of Lucifer) and discovered a glorious new show: The Dark Crystal: Age of Resistance. The 1982 film has slowly turned into a cult classic, and although there are good aspects to it, it can be extremely slow and meandering, so I wasn’t sure what to expect from this new prequel set in the time before the evil Skeksis wiped out all of Gelfling kind. It did take some time to get used to, but by the end of the second episode, the show truly hit its stride. From then on, I was hooked. Though we know where everything will eventually end up, the wonderfully distinct characters, masterful puppetry, terrific set designs, perfect flow, a brilliant mix of practical and CG that blend so well together you don’t know where one begins and the other ends, and wonderfully crafted scripts with plenty of twists keep your interest peeked and your investment worth every minute of time.
Worst New Series: Murphy Brown
[image error]Murphy Brown — NBC
I didn’t care for the original Murphy Brown when it aired in the late-eighties/early nineties, so it’s probably no wonder why the reboot didn’t grab my attention. In a year where most comedies, such as The Conners and The Cool Kids, failed to live up to the hype and the talent involved (or get canceled way too soon; keep reading for more on that), at least those shows had a few moments of pure joy and heart. Murphy Brown seemed to me to be one long tirade of bitterness. I’m not against political comedy, but to sustain humor, you need to be more diversified and come from a place of respect, which Murphy Brown was incapable of committing to. It’s no wonder they were eventually voted off the television lineup.
Series that shouldn’t have been this good: The Purge
[image error]The Purge — USA
Based on the four-film series, which started with an intriguing premise and devolved into a routine horror show that kept getting worse with each new installment (leading to a movie that failed on almost every level), it was hard to believe that I’d be interested in a series based on the franchise. However, television, it turns out, is the best medium for The Purge because it has the time to develop the premise in much more intriguing ways. Episodic television allows the writers to explore what’s happening with each character and help us connect with how and why each of them makes their decisions before and during the purge. It’s not a perfect show, nor is it the best thing on television, but it did do what it promised and lifted the franchise to a whole new level.
Series that should have been better: Nightflyers
[image error]Nightflyers—Syfy
Nightflyers had all the makings of a stellar sci-fi space opera: an intriguing premise, some interesting technology, a killer opening sequence and George R.R. Martin as executive producer. But the show itself ended up to be as lifeless as its ghostly A.I. Starting with the characters, who all solemnly trudged along through the swamps of sadness, the show couldn’t find a rhythm to hold your interest. The characters that were intriguing, like Thale (Sam Strike) or Lommie (Maya Eshet), ended up being wasted by a series of scripts that couldn’t even make sense of its own language. By the third or fourth episode, I had to force myself to hit play in hopes that the show would somehow find its groove. It never did.
Best New Character: Dr. Max Goodwin (Ryan Eggold), New Amsterdam
[image error]Ryan Eggold as Dr. Max Goodwin (New Amsterdam)
I was sorely disappointed when it was revealed that Tom Keen had officially died on The Blacklist. Tom started the show as a spy infiltrating Elizabeth’s (Megan Boone) life and turned into one of the best characters on the show as he tried to redeem himself. A spinoff eventually failed, but that wasn’t because of Ryan Eggold, who made Tom Keen the only bright spot in an otherwise generic spy thriller. But then he showed up in New Amsterdam as a doctor who becomes the head of a public hospital while also fighting throat cancer. From his first act of firing the entire cardio department to requiring Dr. Helen Sharpe (Freema Agyeman) to stop spending her time making television appearances, Eggold infused Dr. Max Goodwin with a brain, a heart and courage to fight a system that cares more about money than its own patients. Always moving, never wavering in his resolve, Max is a force to be reckoned with, and every moment he is on screen shines with a spirit you want to embrace for all time.
Worst New Character: Gutierrez, aka “The Gute” (Paola Lázaro), Lethal Weapon
[image error]Paola Lázaro as Gutierrez “The Gute” (Lethal Weapon)
When the powers that be decided to fire Clayne Crawford from Lethal Weapon, everyone knew the show wouldn’t be the same. But if I was to put money on who would be the worst part of a Martin Riggs-less Weapon, I would have bet on Seann William Scott. However, although Scott was definitely a step down from Crawford’s Riggs, he was able to turn on just enough charm to keep things running smoothly. What I wasn’t expecting was a new addition to the team named Gutierrez. Self-proclaimed “The Gute”, Gutierrez was neither funny or charismatic. I believe the show wanted to use this character to bring back some of that naughty rule-breaking left behind by Riggs, but whether it was the character or Paola Lázaro’s infusion of pompousness, Gutierrez just never fit in with the rest of the cast. She tried too hard to be “edgy” and never quite hit the rhythm needed for the character to truly fill another character’s beloved shoes.
Best Ensemble Cast: New Amsterdam
[image error]The cast of New Amsterdam
Beginning with Ryan Eggold as Dr. Max Goodwin (see above), the cast of New Amsterdam fires on all cylinders. Tyler Labine is beautifully resonant as Dr. Iggy Frome, the head of the psychology department, who respects every patient no matter what they may say or do to him; Anupam Kher as Dr. Vijay Kapoor is funny, knowledgeable and is always there to listen no matter his own problems; Freema Agyeman as Dr. Helen Sharpe only wants what’s best for everyone, doctor and patient alike; Jacko Sims as Dr. Floyd Reynolds is the voice of diversity; and Janet Montgomery as Dr. Lauren Bloom proves that everyone is fallible, and isn’t always willing to admit it. The show has found a few pairs it likes to keep together, but it’s for a very good reason, as each one works wonderful together. Individually each actor brings something new and fresh to their character, and together, they blend perfectly into a musical symphony that breathes new life into a saturated genre.
Worst Reboot: Roswell, New Mexico
[image error]Roswell, New Mexico — CW
Using basically the same premise as the original Roswell, Max Evans saves Liz after she’s shot in the Crashdown diner, exposing himself to be an alien from the 1947 crash. All of the familiar faces are here. What’s missing is the spirit that made the original show so fascinating and relatable. Julie Plec may have found magic with The Vampire Diaries and their off-shoots, however, when you take a show that worked so well with teens and update it with a pack of adults with hardly any charisma and zero chemistry, it simply made me want to grab the pilot of the original and revisit Roswell the way it was meant to be seen.
Worst Premiere Episode: The Conners
[image error]The Conners — ABC
Despite the decision to fire Roseanne from her own show because of a stupid comment on social media, I wanted to give this new iteration a chance. Overall, The Conners (much like the roboot itself) was an uneven attempt at moving forward without its controversial matriarch. There were a few highlights, mostly when it came to Laurie Metcalf’s Jackie and the appearances by Johnny Galecki as Darlene’s (Sara Gilbert) husband, David, but overall the show had a hard time finding its footing. And it all started with the initial episode, which picked up weeks after Roseanne’s death. From the jump, this felt odd, as we weren’t allowed to experience the immediate reactions from each character to that major life event. We hear about what each character felt, but it simply left me feeling a bit cold about the whole situation. Not to mention that a couple of episodes later, we see instances of grief (mostly by Dan (John Goodman)) that would have been better suited to appear prior to this episode, which also begs the question: was this actually the pilot? Whether it was or episodes got switched around, this particular episode set a poor precedent for the ultimate tone of the series moving forward.
Most Disappointing Cancellation: The Kids Are Alright
[image error]The Kids Are Alright — ABC
I wasn’t too excited about The Kids Are Alright when it premiered, but over time, the show found a rich, loving rhythm, and through that, the characters grew into their own one-by-one. From two parents who show their love by not caring about what their children are doing from one minute to the next, to kids who are always getting into trouble in one way or another, the show depicted a large family growing up in the seventies in the most honest, respectful way it knew how. All of the cultural references were subtle and the quarks of each kid, which started out grating and obnoxious, only became more endearing with each episode. It’s a shame ABC didn’t give this show a second chance; I have a feeling it could have grown into a phenomenon with a little more time and a little more love.
Come back tomorrow for Part 2 of our Television Awards, which includes the Best Multi-Character Twist, Most Surprising Death, and Most Vile Creatures of the 2018-2019 season.
September 1, 2019
Movie Mayhem – Don’t Let Go
Back in the year 2000, Frequency, a small film about a cop who begins to speak with his deceased father through an old ham radio, debuted in theaters. The movie was an intelligent, suspenseful, unique sci-fi thriller with terrific turns by Jim Caviezel and Dennis Quaid, who found a compelling chemistry together despite having no screen time together. Nineteen years later and we find our way back to a similar premise with Don’t Let Go, another smaller film that understands how to work within the bounds of the idea, but doesn’t know how to build the necessary suspense to sustain any amount of intrigue.
David Oyelowo plays Jack Radcliff, a weary cop (I say weary because the man looks so tired and worn, he can’t even find the strength to smile when he’s around his favorite niece) who spends more time behind a desk than in the field. When he gets a frantic call from his niece, Ashley (Storm Reid), Jack heads to his brother’s home to discover that someone has killed the entire family, including their innocent little dog. A couple of weeks later, Jack starts receiving calls from Ashley from a few days before the murder. It’s now up to Jack to figure out who killed her before it happens again.
The first thing that stands out here is the connection between Oyelowo and Reid. The actors are both fine in their respective roles, but there isn’t one iota of spark between them. As Caviezel and Quaid once proved, for this premise to work there has to be a fire between the two actors that burns even when they aren’t together. The chemistry between Oyelowo and Reid is so dry, it’s hard to become invested enough in their love for one another to believe that whatever cosmic force is helping them would care about bringing her back to him.
The next thing that kept me from connecting to the film on any real level is how Jack and Ashley connect across time. Ashley is able to talk to “future” Jack on her cell phone, but why exactly do her phone calls suddenly connect to the future Jack’s phone when she was able to connect to “present day” Jack prior to this? The reason this idea worked in Frequency was because father and son were using the exact same radio to communicate. So even though there was some suspension of disbelief, it still made sense within the confines of the premise. The only reason we have for Ashley and Jack is that he bought her the phone for whenever she’s in trouble.
Finally, even though the film does begin to build some semblance of suspense, the climax is wasted with a neutered turn of events. That is to say, the reveal of the killer is such a bore, it completely wipes away any good will the film has left in its arsenal.
There are also too many variables at play that are overlooked. In Frequency, there’s a thirty year gap between the two timelines; Caviezel’s character is just a kid in the past, so there’s no real way he can help. In Don’t Let Go, there’s only a three-week gap. Which begs the question — no matter how the information might change the future, why doesn’t Jack allow his niece to go talk to his past self about what’s happening? If there was one person that could help solve the case and protect his niece, it would be himself.
This question never gets explored until the bitter end when it doesn’t have any significance. The reason, as far as I can tell, is because the premise would break if he told his past self. But at least it would have given the filmmakers some creative license to bring in another layer of intrigue. Personally, I would have loved a scene in which Ashley tells the “present” Jack of her conversations with the “future” Jack, and to prove it, has him talk to himself. That would have been a nice hook to give the film some juice and take it in some unexpected directions.
Don’t Let Go tries to be intelligent; it tries to be suspenseful; it tries to be intriguing. But there’s nothing new to hold onto. What little action there is is standard fare at best; the plot walks us through the motions without much care for presenting anything special; the reasons for why the family is killed in the first place is flimsy; and every cast member, including Alfred Molina as the police captain and Mykelti Williamson as Jack’s friend and partner, seem to be going through the motions even while raising the film up due to their respect for the craft.
The film asks us not to let go, but it’s hard to hold on when there’s no substance of which to grab.
My Grade: C
Bonus Reviews:
Who knew we needed more Nick Nolte in our lives? Apparently the producers of Angel Has Fallen, a film that remains on par with the the first two chapters in this “Has Fallen” trilogy, but which gets a much needed shot in the arm with Nolte, who comes on board as Mike Banning’s (Gerard Butler) father, Clay, for some perfectly-timed comic relief. B+
Like Angel Has Fallen, The Angry Birds Movie 2 is about on par with its predecessor… but that isn’t saying much. Even though there are a few highlights scattered throughout — mostly involving a c-story that doesn’t have a whole lot to do with the rest of the film — the anemic plot and lack of energy in most of the voice cast keep Angry Birds from soaring. B-
Next week, new movies include It: Chapter 2. If you would like to see a review of this, or any other film out next week, please respond in the comments below.
