Category Archives: movie

‘La La Land’ an enjoyable love story

Directed and written by Damien Chazelle, ‘La La Land’ tells the story of Sebastian (Ryan Gosling) and Mia (Emma Stone), two dreamers living in Los Angeles, one looking for fame as a jazz musician, the other as an actress. As they meet and fall in love, their passions for fame and artistic brilliance threaten to tear them apart.

It is an incredibly well-made film, utilizing dramatic camera movements, a full color palette and strong performances to tell its story. Emma Stone’s huge blue eyes have never been used more effectively.

The music is not all that memorable, but it doesn’t necessarily need to be either. It stands as more of a metaphor for how the characters (as dreamers) view the world: full of love and possibility, a poem from the heart. It is both sad and happy, full of longing, hope and regret.

Much like his previous film “Whiplash” though, there’s something about Chazelle’s work that feels just a tad off. It doesn’t stick with you as much as it should. Perhaps it’s a case of style over substance. Perhaps because his characters are not wholly developed, more archetypes than fully fleshed out. Perhaps the stakes are not deep enough, the forces confronting both characters not crafted well enough to understand the character’s plights.

Regardless, “La La Land” is an enjoyable ride, full of great little moments and great visuals. Experience it for yourself and see what you take away from it.

 

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‘Rogue One’ explosive but lacks soul

Are you ready for a “Star Wars” movie every year until the end of time? Disney is. After rebooting the franchise last year with “The Force Awakens”, the next film in the series deviates from the Skywalker storyline and focuses on a Rebellion troop who manage to secure the plans for the Death Star and deliver them to Princess Leia.

The story follows Jyn Erso (Felicity Jones), a renegade whose father, Galen (Mad Mikkelsen), was forced to build the Death Star by the Empire. Meeting up with Cassian (Diego Luna), a member of the Rebel Alliance and a few other allies, she intercepts a message from Galen that contains information on how to destroy the weapon. She and her team must retrieve the plans before the superweapon is operational.

The action is strong and exciting, the last thirty or so minutes of the film a breakneck war film that recalls memories of “Saving Private Ryan” and “The Dirty Dozen.” It is refreshing to see a darker tone and something a little bit different.

However, when confronted with a story where the audience pretty much knows the ending, the filmmakers have to establish a basis for the audience to care. That starts with strong and empathetic characters, but there is nothing particularly compelling about Jyn. The story is a simple stop-the-bad-guys type of affair, which by itself is pretty boring. Jyn and her rebel friends really need something to drive them internally.

For example, take a look at “Guardians of the Galaxy.” The film’s conclusion is about an army trying to save a planet from a warlord trying to destroy it, but that is not really what it’s about it. It’s about a team of losers who have been alone for so long and have found friendship and are willing to make the ultimate sacrifice for each other. We are given time to really know them and to understand their fears and desires, what has held them back, what they want in life and they build off each other.

In “Rogue One”, we are rushed through from scene to scene, never quite identifying with Jyn or Chirrut (Donnie Yen) or Saw Gerrera (Forrest Whitaker) or any particular character. We don’t really understand their past or why they are fighting for the Rebellion so the resolution to the story lacks meaning and emotional punch.

Perhaps Jyn’s father was a loyal Imperial and she has to correct his evil deeds (similar to Luke in “Return of the Jedi”). Or she has been running her entire life from responsibility and ditches the fight only to be lured back at the end (similar to Han in “A New Hope”). Perhaps Cassian was a stormtrooper who couldn’t stand the killing anymore. Perhaps Chirrut and Baze (Wen Jiang) lose their home to the Empire after it begins ethnic cleansing and want to take revenge. We just need a little backstory to care.

It’s a shame because there is so much that “Rogue One” does right. It’s direction and visual style are strong, it’s action scenes are top-notch, the premise is precise and interesting and it elaborates on the “Star Wars” mythos. But without a heart behind it all, it is just a pretty facade.

“Spotlight” a solid film

The premise of “Spotlight” is simple. It’s “All the President’s Men” only the institution being investigated is the cover-up of the child abuse in the Catholic Church. But whereas newspapers were arguably the dominant form of information for the average individual at the time of Nixon’s Watergate, newspapers today are losing prestige as digital media has taken over the world. “Spotlight” then is not only an excellent film, it is also a powerful reminder of the value of good investigative journalism.

The film follows the Spotlight team at the Boston Globe, a committed set of journalists who slowly uncover not one, not two, but 87 priests in the Boston area alone who have abused children throughout the years. Led by ‘Robbie’ Robinson (Michael Keaton), the team of Sacha Pfeiffer (Rachel McAdams), Mike Rezendes (Mark Ruffalo) and Matt Carroll (Brian d’Arcy James), buoyed by incoming editor Marty Baron (Liev Schreiber), must come to grips with the dark underbelly of their city of Boston and one of its most powerful institutions.

The film does not try to make heroes of its journalist protagonists. It presents them as human beings first, full of flaws with different backgrounds and histories, committed to uncovering the truth. What is important above all to the characters is the story and getting it published correctly, for if any detail is incorrect, the church can cover the whole investigation up for another generation.

The cast are all at the top of their game, showing both care and urgency as they deal with the survivors, the lawyers and the church. They are able to elevate the true thrill of the film: the uncovering of vital information that will confirm their story. As they attempt to seek justice for the survivors in the way they can, the audience roots for them in a very compelling manner. The fact that we know what has happened in real life only increases our desire for the team to learn and report the truth.

The style of the film is also very subdued and not very flashy, which works towards the film’s benefit. The focus is on the story, on the script, on the actors, and they are given plenty of room to breathe, to pull the viewer into the narrative and to let them experience the joys and hardships of working as a reporter. That connection gives real power to the film.

The movie does seem to end before the story is ultimately over, a decision probably based on needing to find some sort of closure for a case that is in some ways still unraveling. One can only imagine that what happens after the credits start to roll is just as fascinating and poignant, the sex abuse scandals still a relevant issue for a church that is trying to repair itself.

Newspapers have seen their share of public influence drop dramatically in the past few years, but their ability to elevate the hopeless, to bring light to important subjects and to topple the towers of industry should not be underestimated. “Spotlight” gives us an important glimpse into that world once again, a peek into a community of reporters and what they can do for justice.

“The Good Dinosaur” disappointing

“The Good Dinosaur” was the most plagued production in Pixar’s history. Due for exhibition in the summer of 2014, the release was pushed back twice to November 2015 and the original director, Bob Peterson, was replaced in 2013 by Peter Sohn. After several major script changes (characters dropped, themes changed), most of the original cast was dumped for new audio recordings. There were staff layoffs and the production went over budget.

It is a disappointment therefore to say that the finished film is just not up to par.

“The Good Dinosaur” tells the story of Arlo (Raymond Ochoa), a young Apatosaurus. The asteroid that killed the dinosaurs has missed, leading to dinosaurs still roaming the earth in our present day. Arlo is scared of everything and finds himself stranded with no way to get home. He befriends a young human boy he names Spot (Jack Bright) and journey back.

Some of the visuals of the film are breathtaking, the water looking so real it’s hard to believe it’s CG. The mountains are majestic, the river gorgeous. It’s just a shame the characters look like cartoons from Scooby Doo. To have such detail in the environment mixed with cutesy animals disconnects the audience from the story right from the get-go. Realistic animals or a less realistic environment would have helped immensely.

There are a few tender scenes, such as the moment where Spot comforts Arlo about missing his family, but as a whole, the entire film is missing high dramatic stakes. Nature is the antagonist, but there are few moments of conflict, and it is never as scary as it should be for Arlo’s character development. A few gags fall short, and there are not a lot of laughs either. The film feels off and the rewrites, change of directors, shifting themes and tone all leave the viewer feeling detached. There is just something missing.

It is puzzling why such a good concept was given such poor treatment. The hook alone deserves better. “What if the asteroid that killed the dinosaurs never hit the earth?” There are dozens of different narrative threads from that question that could have been explored. Perhaps man existed alongside dinosaur in society and both needed to coexist peacefully (as in the recently released “Zootopia”). Perhaps there were wars between dinosaurs and man (as in old B-movie science fiction) and the last remnants of such conflicts must learn to work together. Perhaps there are no humans at all, just advanced dinosaurs and the plot involves a segment relating to their world (similar to Monstropolis in “Monsters Inc”). Why then do we have this flimsy semi-Western coming-of-age story that really doesn’t even need to have dinosaurs in it?

Simply, whatever problems plagued the production resulted in a mediocre film despite the time and effort taken to fix it. A great concept went sour. After the critical and commercial success of “Inside Out”, “The Good Dinosaur” indeed looks meek in comparison. The few strong emotional elements and the luscious visuals keep it from being a complete wreck, but, in hindsight, perhaps it would have been best to have scrapped the production altogether.

The series that will never end

We now live in an era when TV and movie sagas really have no ending. Even when you look at a final film, listed as the last installment, hyped as the end of an era, fans start asking as soon as the credits roll, “Okay, when’s the next one?”

Sequels are endless. Great movies get sequels (X-Men: Apocalypse). Terrible movies get sequels (TMNT: Out of the Shadows, Ice Age: Collision Course). Movies that don’t need sequels get sequels (My Big Fat Greek Wedding 2, Magic Mike 2). Popular movies from ten years ago get sequels (Zoolander 2, Jurassic World). Unpopular movies from ten years ago get sequels (Bridget Jones’ Baby). Movie franchises are brought back from the dead (Independence Day: Resurgence, Ghostbusters (2016)). Everything gets a sequel.

And TV is not any different now either. TV shows long dormant are rebooted. Just look at recent attempts at rebooting “The X-Files”, “Gilmore Girls”, “Full House”, “Arrested Development”, “24”, and “Heroes” to name a few. Those shows all ended years ago, but here are they, back again. Thankfully, these shows really just seem to be one-offs as none of them have really caught on with the fire that they once did, but that hasn’t stopped studios from making them.

One just has to wonder, will anything ever end anymore? Let’s look at some of the seemingly never-ending properties and come up with an expiration date, starting from soonest to latest.

X-Men (End Date: 2017)

The current iteration of X-Men movies, spanning from 2000 to the present, have given us 9 films, ten with “Logan” next year. But with Hugh Jackman saying that “Logan” will be his last go with the character of Wolverine, time seems to be closing on the heyday of Patrick Stewart, Ian McKellen, Jennifer Lawrence and Michael Fassbender. Now, having said that, there will be another “Deadpool” movie, but he doesn’t really fit into the X-Men mythos. And there will be more X-Men movies, but they will be rebooted with new casts and new characters. So take this one with a grain of salt.

PREDICTED ENDING: Wolverine and Charles Xavier have an emotional sendoff that culminates with Wolverine finding his humanity, completing his journey. The next film opens with an entirely new cast and a female Wolverine.

DCEU (End Date: 2022)

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Batman V. Superman was supposed to be the DC Extended Universe’s big, blockbuster hit. It did okay commercially and was pretty much a bomb critically. The same with “Suicide Squad.” Now “Wonder Woman” and “Justice League” will debut next year and that will be the true test for Warner Bros. If either or both of them bombs, it could spell the end for their hopes of taking on Disney’s MCU. They simply need to perform better. If next year is a dud, they may seriously have to reconsider their plans. Maybe this is just me being optimistic, but I see two more critical failures, two more box office mehs, and an early end to this colossal mistake.

PREDICTED ENDING: The entire Justice League takes on an army of aliens bent on destroying the Earth at all costs, probably with a giant blue laser that shoots into the sky, a gigantic hour-long fight ensues that levels a city, blah, blah, blah… There’s a teaser for a future film at the end of the credits that is never filmed.

Toy Story (End Date: 2025)

The “Toy Story” series should have ended with “Toy Store 3” in 2010. But now we have “Toy Story 4” coming in just about two years. Will there be anymore? I think there’ll be one more, but with Tom Hanks and Tim Allen certainly getting up there in years, that’s it. Without Woody and Buzz, I don’t think Disney makes anymore “Toy Story” films. But I’ve been wrong before.

PREDICTED ENDING: Buzz and Woody and the gang engage in a colorful journey through the scary world that tests their friendship and involves them coming to grips with maturation and inevitability. There are an equal number of tears as laughs.

Transformers (End Date: 2032)

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“Transformers” has made so much money and been so bad for so long that it may be tempting to think it is on the same level as the cockroach and the twinkie in terms of evolutionary survival. But fear not. “Transformers” is mortal. It can be slain. It just won’t be for a few years. It’s U.S. business is falling. It’s making less money. It’s really just made for the Chinese at this point. They will learn too, once the euphoria of the explosions has passed, they will sober up.

PREDICTED ENDING: Boom! Wham! Clink! PFFFFFHHH! Crash! Boom! Clank!

Fast and Furious (End Date: 2040)

There have now been eight “Fast and Furious” movies dating all the way back to 2001. With another two planned, the franchise is still a continuous moneymaker, despite the death of star Paul Walker. The appeal of fast cars, cool action and hot women won’t diminish anytime soon, so the franchise will probably continue to soldier on for the next few years, even as its stars leave. But as usually happens, when the big names go, quality suffers and the box office will slowly start to reflect that. Then they’ll try and reboot it later on with a whole new cast and some cameos by Vin Diesel and Michelle Rodriguez, but that won’t work.

PREDICTED ENDING: Ummmm…. I don’t know. I’ve never seen one of these movies. Car races?

Harry Potter (End Date: 2052)

Harry Potter seemed to be finished. All the books had been translated into movies and the story was complete. But that was so five years ago. Fast forward to the present and we now have a whole set of theme parks based on the stories, a new play about Harry and his son, Albus, and a new five-picture series set in the 1920s. So the wizarding world is back in full force and it shows no signs of stopping. “Fantastic Beasts” is doing well enough at the box office so plans should continue on their current course. Of course, the thing driving all of this is J.K. Rowling. By 2052, she will be in her 80s. She won’t have written for a few years, but once she leaves us, one of her kids or family members will publish some jotted notes about something to make some cash and that will be the last story… well, turned into a six-part movie series anyway.

PREDICTED ENDING: Harry is now 128 years old. He’s dumped Ginny and now shacks up with Hermione because that is the only sensible thing to do. Voldemort is back… again. It’s his clone or something so they have to fight, but never fear; there’s some convenient magic that helps Harry defeat him despite the fact that he is a far inferior wizard to the dark lord. Voldemort just can’t catch a break.

MCU (End Date: 2061)

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The Marvel Cinematic Universe just keeps going and going and going. It is now a behemoth of Hollywood. Even obscure characters like Doctor Strange, Ant-Man and the Guardians of the Galaxy produce hits. The name itself brings people to the theaters because they know an MCU movie is fun and easy to digest. Steven Spielberg has said that the superhero movie is like the Western and that it will come and go like that genre. Perhaps he’s right. This end date signifies pretty much the length of the Western’s popularity.

PREDICTED ENDING:All 134 superheroes fight a giant CGI army led by a generic villain whose name you won’t remember. The heroes beforehand will fight amongst themselves and disagree about… something. They’ll unite and fight the big baddie and defeat him with the power of teamwork. The movie will literally have so much awesomeness that all the supernerds who watch it die from euphoria, ending the superhero craze once and for all.

Star Trek (End Date: 2072)

Star Trek has endured through TV shows and movies and next generations and reboots. It’s not going anywhere anytime soon. The only thing that will make Star Trek irrelevant is when humanity actually catches up to it, technology-wise and humanity-wise. Technology-wise is actually not that far off. Humanity-wise is still a ways away. Go figure.

PREDICTED ENDING: The Enterprise journeys to a distant planet where the crew must… zzzzzzzz. Whoops, sorry. They meet the Klingons and start a series of negotiations over…. zzzzzzz.

James Bond (End Date: 2104)

James Bond has had dozens of films, 6 actors play him (soon to be seven) and has become the top-grossing film series of all-time. Is there an end to his film series? I do see one, but not for a long, long time. I mean, eventually, society will start to decay as global warming, mass populations and nuclear holocaust take its toll. Perhaps humanity’s last breath before extinction will be the 124th James Bond film. He will still be very suave.

PREDICTED ENDING: I mean, it’s the same movie every time. There’s women and cars and spy stuff and weapons and gadgets and catchy songs and opening stunt sequences and headline villains and on and on. It ends exactly as it started.

Star Wars (End Date: Infinity)

Was there ever any doubt? For a franchise that lasted through the 70s and 80s, through an incoherent special edition, through three absolutely horrendous prequel films and now with a new heavyweight company bankrolling a film a year, “Star Wars” is bigger today than when it first premiered. I don’t think anything can kill this franchise. Not the Great Recession. Not plagues and wars. Not George Lucas. It will be around forever and ever. Even when the human race is gone, it will be around. Small microscopic life forms right now are soaking up its cultural relevance and fan fetish, and it is influencing the genetic makeup of its DNA so that when it reaches evolutionary maturation in a few thousand years, it will continue the series.

PREDICTED ENDING: Luke’s great-great-great grandchild is an orphan on a desert planet. There’s a dark force rising. He or she is called forth by a droid who needs his help and then he or she discovers that it is imbued with the Force. Wait… that’s not an ending. That’s just another beginning.

 

‘What We Do in the Shadows’ a funny ride

Improv in movies can be both good and bad. Sometimes it weighs down the plot of the film. But it can also add a stronger element of comedy and originality than scripted films. “What We Do In the Shadows”, thankfully, is elevated by its improv to often hilarious results.

With over 120 hours shot, the film is condensed into a mockumentary narrative following vampires living together in New Zealand. Vladislav (Jemaine Clement), Viago (Taika Waititi) and Deacon (Jonathan Brugh) are hundreds of years old, living in a flat, trying to manage the new world around them. When a recently-turned vampire, Petyr (Ben Fransham), joins them and brings along his human friend Stu (Stu Rutherford), things become rocky for the group.

Looking at vampires in a real life situation brings humor to a genre that has otherwise been done to death (pun intended). No one really thinks about how hard it is for a vampire to dress himself since he can’t see his reflection. Or how vampires can’t eat anything other than blood. The results are hilarious.

The film starts to peter out a bit near the second half of act two, but picks back up again for the finale. And as with most comedy films, some jokes work, some don’t. But overall, it is the kind of film that audiences will look back on fondly, a film created to be a cult classic; well made, but at the same time just so strange.

‘Fantastic Beasts’ a return to the magical world

J.K. Rowling’s wizarding world has a lot of room for further stories outside of the character of Harry Potter. That world is expanded with “Fantastic Beasts and Where to Find Them”, a story set in 1920s New York City.

The film follows Newt Scamander (Eddie Redmayne), a wizard from London with a suitcase full of illegal magical creatures. As tensions between the magical and no-maj community reach a boiling point, several of Scamander’s creatures escape into the city, setting off a series of events that lead to Scamander conflicting directly with the MACUSA, Magical Congress of the United States of America.

Not exactly a prequel, not exactly a standalone film, “Fantastic Beasts” both suffers and strengthens itself off its relationship with its predecessor. On the way hand, it is free from the constrictions of the books and can be its own entity. On the other, it is always in Harry Potter’s shadow, and the story is not as strong as any of the books.

The creatures are indeed fantastic and fun (though a bit over-reliant on CGI) and the interactions between them and Newt, in addition to the no-maj Jake Kowalski (Dan Fogler), are the true heart of the film. Other characters such as Porpentina (Katherine Waterston) and her sister, Queenie (Alison Sudol) are rather pointless, and that’s a shame. Tina is really just the added-on love interest which is a character that has never materialized in one of Rowling’s books (outside of Cho Chang). Hopefully in the sequels, they will become more integral parts of the plot.

While it is always a joy to be in the wizarding world, the film suffers with a plot that is not clearly focused. While Newt collecting the creatures who escaped him is the main part of the story, there is a subplot involving Graves (Colin Farrell), Mary Lou (Samantha Morton) and Creedence (Ezra Miller) that doesn’t really seem to fit in with the rest of the story. Focusing on just Newt and his creatures would have given us a more cohesive story because the film feels distracted at times.

Those who enjoyed the Potter movies will find plenty to love in “Fantastic Beasts.” Those unfamiliar with them or disapproving of Rowling’s sometimes rambling plots and inactive characters will be left wanting, but the magic of Harry’s wondrous world is still with us.