The novelty is gone but the jokes spring eternal in David Leitch’s sarcastic superhero sequel Deadpool 2 (B-). Ryan Reynolds is again charismatic but keeps company with some pretty average associates in this low-stakes installment. Encounters with some characters in the X-Men and X-Force orbit and stories about time travel, paternal instincts and doing hard time all mutate in a plot both threadbare and overstuffed. It’s vulgar, fun and watchable but a pale follow-up to its predecessor. The comedy is better than the action, and the whole meta enterprise was better the first time around. See if for the in-jokes and knowing nods to sequel-dom.
Review of the first Deadpool here.
A witty, bittersweet dramedy about the coping mechanisms a third-time mom uses to reconnect with her best self when her rich brother underwrites a “nighttime nanny” for her, Jason Reitman’s Tully (A) is a master class in characterization, with star Charlize Theron and writer Diablo Cody delivering at the top of their games. Opposite an equally mesmerizing Mackenzie Davis as the new partner in parenting, Theron gives a gloriously lived-in depiction of motherhood full of acerbic humor and grim pathos. The film defies conventions in a variety of ways and will become a much talked-about entry into this exciting director’s canon, even as some of its best spoilers will give viewers reason to see it early. Reitman does gorgeous work showcasing headstrong characters, and this one is no exception. He also chooses just the right music to underscore his plucky and poignant sequences. Empowering and unexpected, this sleeper indie should be on any film fan’s watch list.
Note: This film was screened at the Atlanta Film Festival and was released wide theatrically in May 2018.
Disney and Marvel pull off a friendly merger, a team retreat and a shocking spinoff in the perfectly adequate but unremarkable Avengers: Infinity War (C+) directed by Anthony and Joe Russo. The Avengers team of superheroes works with the Guardians of the Galaxy in an attempt to thwart baddie Thanos (a solid Josh Brolin under all those prosthetics) from amassing all the Infinity Stones. There’s fun banter of one-upmanship between Chris Hemsworth’s Thor and Chris Pratt’s Starlord and a solid running joke about Rocket Racoon’s species, but the plot and action sequences are a long uneven slog. Many characters are missing in action. We get far too little Black Panther, for instance. It all feels more like corporate synergy than sensational.
Tagged with: Action
Posted in 2018
Have you heard? A popular new film genuinely nails how fiercely parents will fight for the safety of their offspring. And the fact that the ultimate fight is staged in near-silence brings great power and resonance to the proceedings. John Krasinski directs, co-writes and stars in A Quiet Place (A), a taut and surprisingly tender thriller following a family who must live life in silence while hiding from creatures that hunt by sound. In career best performances, he and Emily Blunt are astonishingly effective as the protective parents, and the child actors are good too in a world they make very believable. There’s an urgency and economy to every sequence, whether horrific or heartfelt, and a lean logic to the film’s dystopian, supernatural milieu. It’s a rare mainstream movie of undeniable craft and nonstop upping of the ante, especially with the built-in limits about how sound is muted or conserved for much of the film’s breakneck duration. The filmmakers get very creative with ways for the characters to communicate, from sign language to subtitles to knowing glances. There are also psychological underpinnings that elevate the movie to master status. It’s a great cinematic offering with scares and heart whether you generally like horror films or not.
Blockers (C+), Kay Cannon’s film about a trio of parents trying to thwart their teenage daughters’ prom night sex pact, chokes before the comedy deal is sealed. John Cena, Ike Barinholtz and Leslie Mann fare better than the teenage actors in a movie too full of pointless pratfalls, distracting detours and unnecessary supporting characters to ever fully gel as either zany physical farce or surprisingly endearing schmaltz. Geraldine Viswanathan is the one standout believable teen and gets a few of the film’s best one-liners, and a better movie could have been built around her character. Otherwise the goofball gags of this blueballapalooza don’t penetrate the surface level.
Tagged with: Comedy
Posted in 2018
Steven Spielberg’s Ready Player One (B-) includes several moments of such unmitigated bliss that it’s a shame the full picture has a sloppy aesthetic, a cluttered and overlong story and utterly one-dimensional characters. It’s such a pop culture bonanza that it sometimes feels more like an incidental Comic-Con documentary than an actual feature film with a plot we’re supposed to relish. The intrepid director has a recent track record of rallying in the final sequences (“Didn’t you have a great time?”) but it’s a long slog cribbing plot elements of Wizard of Oz, Willy Wonka, Tron and more to tell the futuristic story of a teen trying to unlock three clues in a virtual reality game to win a life-changing fortune against evil corporate raiders of their own lost arc. Tye Sheridan and Ben Mendelsohn are wasted in the roles of the central players, with only T.J. Miller and Olivia Cooke getting standout moments as a wry animated bounty hunter and a spry revolutionary, respectively. There’s a wall-to-wall sense of nostalgia that culminates in a horror movie homage that is by far the best sequence. Otherwise the CGI is ugly and overwhelming and the action hollow with an undeveloped emotional core. This film should have been a magical sensation, but its user experience needed a bit more polishing.
Tagged with: Action
Posted in 2018
Greg Berlanti’s Love, Simon (B) is quietly revolutionary as a first mainstream teen coming of age movie featuring a gay protagonist, but the struggle with identity extends beyond its titular character to a somewhat milquetoast story and screenplay topped with a dollop of vanilla tone. The film is largely fun and occasionally quite moving, and its buoyant charm lies primarily on the shoulders of Nick Robinson, extremely likable and in almost every frame of the film as Simon. There’s a bit of mystery about the email pen pal at the center of the plot, but mostly the story centers on Simon and his group of friends coming to grips with teen romantic entanglements. Some characters are drawn too large and others underdeveloped in a movie that wants to be John Hughes-ian but rarely yields to its inner mania. It’s all a glorious first step for Hollywood movies but could have been made more memorable in the hands of a more creative filmmaker. Much like Philadelphia received some flack for sugarcoating its story in the first mainstream trailblazer to address the AIDS crisis, Berlanti’s film stays mostly in a safe lane to showcase coming out in the modern age. Expect the film to spark some changes of heart even as it clings to a pretty by the book formula.
This mystical journey of meditation qualifies as a downward-facing dog. Despite tinges of uplift, Ava DuVernay’s adaptation of A Wrinkle in Time (D+) is a folly from the get-go, an interminable bore of pretentious drivel wrapped in a semi-shimmery package. Featuring bland line delivery rivaling George Lucas’s intergalactic prequels, inconsistent effects that miss the mark of even sub-Krull intentions and a meandering plot overestimating the cinematic drawing power of mathematical mind tricks, this sci-fi fantasy makes Disney’s similarly askew Tomorrowland look like a real people mover. Out-of-her-depth child actress Storm Reid can take no shelter or solace in the company of her adult co-stars as she is visited by three spirit guides (Oprah Winfrey, Reese Witherspoon and Mindy Kaling, each vying for “most cloying”) to help rescue her astrophysicist dad (Chris Pine, stripped of his usual charm) from interplanetary exile. Only child actor Deric McCabe shows some signs of life as a strange and sometimes sassy li’l bro, and frankly a little of him goes a long way. This film is ultimately a chore of the first order, tripping over its own tesseracts and leaning into a laborious labyrinth with very few joys aside from occasional Sade music. Substituting new-age banter for action or substance, the film feels like a fever dream by Enya, and I just wanted to sail away. Bottom line: Know that you’re special, and you had the power in you all along; and you can spend two hours saving your world in a different way.
Tagged with: Family film
Posted in 2018
A nihilistic murder mystery posing in pretensions and occasional droll droplets of gallows humor, Cory Finley’s Thoroughbreds (C-) neglects consistent character development in the service of a nifty premise. Olivia Cooke is a revelation as a young woman incapable of emotion, and she becomes the perfect partner in crime for a differently depressed rich teen (Anya Taylor-Joy, also good in her role) motivated to slay a wicked stepfather. The men in the film don’t stand a chance, especially Paul Sparks as the diabolical daddy who doesn’t get to do enough evil to justify the trouble. The late Anton Yelchin is charismatic in an underwritten role as a would-be third conspirator. The set-up is elegant, but ultimately the structure crumbles under the women’s feet while they continue to act the hell out of their parts. Like the central character, the film is not funny or absorbing enough to justify getting to know it.
Tagged with: Action
Posted in 2018
Welcome to candyland for moviegoers who won’t be sorry for taking a risk on a new film that blends clue upon clue with sly takes on the game of life. Although it lingers a beat longer than it should, John Francis Daley and Jonathan Goldstein’s Game Night (B+) arrives on the top of the leader board for the genre of comedy mysteries. Along with clever plotting and lots of genuine laughs, Jason Bateman and Rachel McAdams make a delightful romantic duo as a highly competitive and witty couple with overarching anxiety blocking their ability to conceive. When Bateman’s larger than life brother (a funny Kyle Chandler) crashes a weekly charades party with a real-life murder mystery, the stakes just get higher and higher. Jesse Plemons is hilarious as a mopey cop next door who keeps being left out of the festivities. Billy Magnussen and Lamorne Morris are also a riot as supporting players in the shenanigans. Except for a few off-color jokes, it’s largely good old-fashioned fun. Roll the dice and check it out.