Best known until now as a director of Step Up sequels, a Justin Bieber concert movie and flop flicks about G.I. Joe and Jem and the Holograms, Jon M. Chu seems an unlikely helmer of one of the first nearly all Asian American ensembles since 1993’s Joy Luck Club and one of the most satisfying romantic comedies since 1990’s Pretty Woman or 1992’s Strictly Ballroom, but here’s his film adaptation of Crazy Rich Asians (A-), and it’s bliss. Although not a musical, the film simply sings. Although not entirely a fairy tale, it’s enchanting. Chu’s star is born, a crouching tiger ready to unabashedly entertain, and he draws spectacular chemistry from the luminous Constance Wu and the dashing Henry Golding. She’s a Chinese American professor invited to accompany her humble boyfriend to a wedding in his Singapore homeland where she quickly discovers he’s part of one of the country’s most wealthy families and heir to a fortune. Hilarity and heartbreak are in store abroad. Michelle Yeoh is incredibly fierce portraying the perfectionist matriarch-antagonist as a battle royale unfolds between family duty and the messiness of love. The film is splashy, soapy and sensational; you’ll want to book a trip to the opulent, exotic city it depicts: a place of glistening razzle dazzle dancing and locales, of kaleidoscopic fashion and costumes. The film veers into a few arch moments threatening to tonally derail it, but the committed cast members remain jubilant journeymen. American rapper Awkafina is a hoot as Wu’s sassy sidekick. There are also two popular American songs sung in the film’s native tongue, adding extra glitter and throwback to Chu’s fanciful fantasia. In a year when racial representation on screen has already delivered a stellar superhero film, it’s lovely to have such an enjoyable escapist romcom from the Asian perspective. This is one of the best times I’ve had at the movies this year.
Note: The film opens wide August 15, 2018 after buzz building sneak previews. #CrazyRichAsians #GoldOpen
Bo Burnham’s Eighth Grade (B+) is so knowing it hurts. The comedian turned writer/director’s darker than expected feature debut is a canny you-are-there coming of age story. It follows a painfully shy middle schooler, magnificently played by Elsie Fisher, who struggles with the everyday challenges of her final days of classes on the precipice of a hopeful metamorphosis before high school arrives. A framing mechanism of the girl’s confident YouTube explainer videos pairs nicely with the awkward foibles of her altogether unremarkable real life. A highlight of her retreat into the social media void is a montage amusingly underscored with Enya’s “Sail Away.” Josh Hamilton, a Gen X staple, helps make an endearing film even more human as her resilient single father, who delivers an encouraging fireside chat that may move some to tears. The astonishing young Fisher’s raw, unglamorous turn as the protagonist anchors the film; and even when some of her character’s actions are head scratching, her every move is extraordinarily authentic. Burnham presents an assured filmmaking style with some brilliant point of view shots steeped in incredibly poignant milestones: trying to fit in at a pool party, holding “food court” with older kids, sitting through sex ed class and making small talk on a first date. It’s occasionally comic with an unsettling tone; few profound details evade Burnham’s candid camera. This is one of those low plot, high feel movies. It finds its heart as it finds its way.
Tagged with: Comedy
, Coming of Age
Posted in 2018
Alas sometimes these super sequel troopers leave you feeling like a number two. Ol Parker’s Mamma Mia! Here We Go Again (C+) has a lot working against it: soundtrack of ABBA B-sides as opposed to the first film’s greatest hits, a largely missing Meryl Streep (whose credibility helped elevate the preceding film to its guilty pleasure status) and the lack of the musical whodunit propelling the original’s narrative. Still, many of the songs soar with giddy delight (“Waterloo,” “Angel Eyes and “I’ve Been Waiting for You” are favorites), and it’s fun to see the assorted cast of characters cavorting on a lovely Greek Island once more. Lacking a consistent or cogent new plot, Parker goes full Godfather II with flashbacks to Streep’s younger self lovingly played by Lily James. She’s good, but neither she nor present-day Amanda Seyfried can quite heed the script’s S.O.S. It’s all rather obligatory but watchable, and both a spry director and a game ensemble give their all with the paltry lot they’ve got. Thank you for the music; no thank you for the cash grab.
Tagged with: ABBA
Posted in 2018
I suppose you can’t make too much of a Marvel-ous mountain out of an ant hill. Peyton Reed’s Ant-Man and the Wasp (C) is an exercise in low-stakes water treading, with a few clever miniaturization sight gags and funny throwaway jokes from Paul Rudd and Michael Peña to punctuate the perfunctory proceedings. Michael Douglas and Evangeline Lilly are a bore as the father-daughter scientist team in what becomes a primary subplot. Reed aims for casual cool with a protagonist who’s not particularly smart or engaged, and the director’s resultant product is a pretty disposable entry into this universe of superheroes. Average effects, villains and action sequences seal the fate of a film that peaks after the fanfare opening with some nifty ways the hero is filling time during house arrest. Any of them would have made more interesting activities than sitting through this ho-hum film.
Oakland is woke-land for a duo of friends looking to flip the script on clean living and justice in Carlos López Estrada’s Blindspotting (A-). Daveed Diggs of Hamilton and Rafael Casal parlay rap, poetry and spoken word into a creative indie about two blue collar bros trapped in conflicting narratives after a late-night shooting. The humor is sweet and the drama sobering as the co-stars (also co-writers) address race, identity and gentrification in a brisk and frisky production. The film’s frantic pace, bubblegum colors and lyrical landscapes lure viewers into an eccentric and exquisite singular urban atmosphere. Diggs is superb and rises to the challenge of one iconic sequence in particular that truly tests the charismatic chops he showcased on NYC stages. Casal channels a young De Niro as his fierce foil, balancing rage and tenderness in grand doses. Wonderful actresses Janina Gavankar and Jasmine Cephas-Jones are highlights in the supporting cast, balancing all the testosterone in some clever conversations. A split second or two that are too on-the-nose, including split screens, threaten to make some of the motifs a bit too obvious; but overall, it’s a stunner. Come for the buddy comedy, and stay for the message. Despite the timely topics and hefty themes, it’s optimistic and will become a talked-about touchstone.
A hit at Sundance, the film was the opening night presentation at the Atlanta Film Festival. It premieres everywhere July 20, 2018.
Blindspotting review published 4/13/18
Refinery29, the leading digital media and entertainment company for young women, today announced a new partnership deal with NEON, the award-winning studi responsible for the release of I, Tonya, Sundance- and Spirit Award Winner- Ingrid Goes West, and the recently released Three Identical Strangers. NEON will join forces with Refinery29 to identify, purchase and co-distribute films that align with both companies’ missions to work with rule-defying storytellers that continue to challenge the audience. This partnership marks Refinery29’s first foray into feature films, further expanding the breadth and scope of the company’s video and entertainment business, allowing it to reach new and existing audiences wherever they are consuming premium content. As Refinery29 continues to see growth and success with its current slate of entertainment offerings — including Shatterbox, the award-winning
Assassination Nation, Photo courtesy of Sundance Institute.
short-form video initiative created to support female filmmakers — long-form feature films is a natural evolution for the company, and another opportunity to celebrate raw innovation and emerging talent within the industry. The first films distributed by NEON and Refinery29 will be Assassination Nation and Little Woods. Assassination Nation, which will debut September 21, is directed by Sam Levinson and stars Hari Nef, Odessa Young, Suki Waterhouse and Abra, along with Bella Thorne and Maude Apatow. Little Woods was awarded the 2018 Tribeca Film Festival Nora Ephron Award and is written and directed by Nia DaCosta, and stars Tessa Thompson and Lily James. Past films reviewed on this site by NEON include I, Tonya, Colossal and Beach Rats.
As both writer and director of Incredibles 2 (A), Brad Bird’s mastery of the animated form is on display in delirious grandeur. Far surpassing his original film in wit, creativity and subtext, the auteur has delivered one of the most engaging films of the year. The retro comic book style provides a delightful backdrop for adventure and comedy, with an onslaught of fun flourishes appearing like cinematic confections from whiz!bam!pow! frame to frame. It’s a message movie in superhero disguise, of course, with much to say about gender and workplace, societal obsession with technological screens and protecting equal rights of individuals with unconventional origins. And the sequences with the superbaby discovering his new powers are comic gold. The film is fun from start to finish and showcase’s the filmmaker’s maturity and evolution. Hollywood will be hard-pressed to showcase a more satisfying sequel blockbuster this year.
Tagged with: Action
Posted in 2018
Ari Aster’s suspense drama Hereditary (B+) is a stunner, upending many expectations of typical horror movies for something even more raw: delving into the experience of losing loved ones, exploring compartmentalization of pain and unearthing abnormalities lurking in one’s family tree. The film deserves comparisons with The Shining and The Exorcist and showcases a master performance by Toni Collette as the troubled mother of two (Milly Shapiro and Alex Wolff, really effective). Gabriel Byrne is ho-hum as the family dad (someone needed to be the straight man, I suppose), and Ann Dowd is superb as a neighbor in grief. The film is a slow-burn downer of the first order but splendidly cinematic, and it builds to quite a crescendo. The production values, from art direction to music, build a brooding mood. The film relies heavily on Collette to sell some far-fetched sequences of spiritualism and to take her character way out on a limb. She delivers in spades. From the first moments set in miniature dollhouses to an epic denouement, the film gets bigger in its ambitions. Fans of the original Friday the 13th may even find echoes in its origin story. This is recommended for aficionados of great drama, and I hope horror fans will like it too.
More dignified than a King Friday XIII proclamation and more vulnerably raw than a question from Daniel Striped Tiger, there’s a new film that eases in like a little red cable car straight into your heart with vast implications worthy of deep contemplation. Morgan Neville’s documentary Won’t You Be My Neighbor? (A) about the life and times of perhaps the greatest communicator to children ever to walk the earth, Fred Rogers, is just the balm moviegoing audiences need in these polarized times. A lifelong Republican and ordained Presbyterian minister who pioneered public television with a slow-burn, puppet-laden, multiethnic broadcast platform speaking to every kid’s intrinsic self-worth makes for a most unlikely subject of multimedia analysis. The film plunges viewers head-first into Mister Roger’s unusual neighborhood with a mission to move adults in a giving and harmonious spirit evocative of the utopia he created that so enchanted a generation of youth. Fueled by interviews with those who knew him best, rare footage and flashbacks and poignant animated vignettes plumbing the subject’s own frightened boyhood, Neville guides us through what made the man, who passed away nearly a decade and a half ago, born for his creative crusade. Breakthroughs with cast members and with children comprise the most lovely moments; expect to ugly cry with utter joy. Cultural milestones from the Vietnam war to racial integration to the 9/11 disaster all shape formative moments of teaching for Rogers, whose full life was a rather unconventional museum-go-round of a sermon for humanity. The film is a sunny, hopeful reminder to maintain our personal honor, civility and song in the face of life’s most arduous challenges. Give this film a speedy delivery into your soul as soon as you can.
Tagged with: Documentary
Posted in 2018
A profile in courage, consistency and living life with purpose and passion, Betsy West and Julie Cohen’s documentary about Supreme Court Justice Ruth Bader Ginsburg, RBG (A-), is a stand-up-and-cheer portrait of an unlikely cultural hero. Diminutive and soft-spoken, she is hardly the most obvious person to have captured the cultural zeitgeist or to be the subject of a full-length cinematic treatment, but Ginsburg’s story sneaks up on you like the cadence of pioneering gender equality law cases she argued in a rich history in front of and behind the bench. The filmmakers do an expert job showcasing the sequences of legal cases that mark milestones in RBG’s legacy as well as her recent history of provocative and pointed dissent. We also get to witness intimate family portraits with her beloved fellow lawyer late husband, with grandkids and young people and immersed in her hobby of attending spectacular opera. The film also shows the joy of an unlikely friendship with conservative firebrand Antonin Scalia; if those two could get along, nearly anyone can find common ground. The film relies occasionally on very scarce archival footage and suffers sometimes from lack of access to the moments we may want to witness most (alas, no cameras in room for the big cases). But its fondness for its subject and its illumination of her life and times indeed reign supreme.