Folks, move along; there’s nothing to see here! John Lee Hancock’s extremely average homicide thriller The Little Things (C-) pairs Denzel Washington and Rami Malek as investigators of a string of murders, and a beguiling Jared Leto is getting some inexplicable awards buzz for playing a strange guy who may be connected to the killings. Far from his top-shelf performances, Washington does get to milk some anguish and obsession in some moody moments as he chews up the scenery of the urban atmosphere. Malek is both miscast and underwritten as it’s rather unclear what he brings to the table in the search for the serial killer. Leto limps and uses a strange look and affectation to create a memorable supporting performance, but he’s not really much of a character either. The film overall cribs from much better neo-noirs, and if it gets any comparisons to Se7en, it should subtract a few numerals. After a poorly paced procedural, the payoff isn’t really all that interesting either. These three acclaimed actors deserved a much bigger and better thing.
An alternately frenetic and mellow dharma about the haves and have nots of India, Ramin Bahrani’s The White Tiger (B+) follows a mesmerizing Adarsh Gourav as a clever servant driver in his endeavor to out-caste his lowly station. In his breakthrough lead role, Gourav charismatically carries viewers into a journey through religion, rags to riches and even revenge. Early on in this panoramic genre hopper, the film postulates that the only way out of poverty is via crime or politics; and the subsequent juxtaposition of slum dogs in ascent and lap dogs in downward spiral is a whirling wonder to behold. Rajkummer Rao and Priyanka Chopra Jonas are effective foils as the upper class couple considered the masters over the protagonist’s fate. One fateful bon-pyre of the vanities sparks a veritable Vaidikas of incredible surprises. Bahrani impressively nails the execution in this downright Dickensian literary adaptation filled with both destitute denizens and opulent oppressors. The emotional camerawork and pulsating hip hop score effectively follow the complex story archs through a triumph of tonal shifts. A breakout lead, deeply flawed characters, biting comedy, sharp social commentary and gripping moments of intimacy and action help propel this film into a dark date with destiny.
Talk about a throwback: raiders of a lost artifact are romancing an ancient stone capable of granting its owner worldwide domination, but despite a few footloose flashdances of frivolous fun and a flurry of war games capable of shifting the def con, this comic strip bonanzarama devolves quickly into an aggressively tone-shifting eclectic boogaloo. Patty Jenkins follows up her original solemn Wonder Woman with an off-the-rails sequel, WW84 (C), set in the excess of the eighties, and it’s largely a lasso of lunacy. The DC Universe settles in D.C. as the protagonist quietly works in the museum antiquity business while side hustling with crime fighting on The Mall and at the mall. Despite her gorgeousness and swell stunts, Gal Gadot looks like she has a migraine for most of the movie as her plucky naiveté transforms into full warrior mode. She’s still the best thing about the film and adds pomp, pageantry, grace and grandeur to even the most throwaway lines. Kristen Wiig fares poorly as an underwritten friend turned rival (it’s like her SNL “Penelope” character says, “I can be a CGI character too, and mine is a fierce cat!”). Pedro Pascal is also adrift as a villainous megalomaniac whose intentions vary scene by scene. It’s like you get two villains for the effect of one. Only Chris Pine in an extended cameo retains a bit of dignity. Nearly everything earthbound in the story including a prolonged wish fulfillment conceit is a relative dud; but when characters take flight, including in the famous invisible jet, the film mildly soars. Action sequences, more infrequent than expected, largely deliver on the storyboard. But most of this anticipated blockbuster is a clunky cacophony, and even nifty nostalgia can’t save it.
One flew over the vulture’s nest of scavenged characters, themes and effects in the long shelved X-Men universe spinoff exhumed for theatrical release during uncertain times, Josh Boone’s The New Mutants (C-). In a clinical facility, a quintet of teens are observed by Alice Braga’s one-woman headmaster/clinician and must battle metaphorical and literal demons while coming of age and discovering disturbing superpowers. Some characters get some standout moments with Maisie Williams and Anya-Taylor Joy getting the best showpiece sequences. Protagonist Blu Hunt and the male characters barely register. What feels perfectly perfunctory and average for much of its running time actually gets quite silly for a while before introducing a beastly spiritual cousin to Gozer of Ghostbusters at its denouement. Tonally discordant and thematically jumbled, this film made in 2017 is a self-fulfilling prophecy of its own lack of urgency.
For those who believe “there can be only one” in immortals movies (thanks, Highlander!), a new super-heroic quintet has arrived to demonstrate that long-living mercenaries come in multiples. These world-weary soldiers of particular fortune with powers including regenerative healing abilities get spectacular spotlight in Gina Prince-Bythewood’s The Old Guard (B+), a successful new action/fantasy film chronicling an unlikely revenge mission. Charlize Theron is in glorious badass mode with KiKi Layne in fine form as her paramilitary protégé. The sterling ensemble including Mattias Schoenaerts and Chiwetel Ejiofor is all up for the task. The fight choreography is superb in a series of riveting action sequences. Surprising is how moving the quieter scenes are depicting the deep bonds between these destiny-bound misfits including suffering throughout the ages. The film teaches some tough lessons of faith and fortitude. The graphic novel-inspired storyline and contemporary Dustin O’Halloran/Hauschka score are propulsive. Credit Prince-Bythewood for commandeering an energetic globetrotting enterprise with hope for a new action franchise springing eternal.
Worse than modern Disney flops Tomorrowland, BFG and A Wrinkle in Time combined, Kenneth Branagh’s Ireland-set Artemis Fowl (F) is an unmitigated disaster, a hopeful tentpole blockbuster and young adult franchise starter completely devoid of magic and wonder. Banished to the phantom zone of a Disney+ debut after COVID-19 shuffled the studio’s theatrical releases, this misbegotten fantasy is a moribund and completely incoherent bore. At its center is a listless titular performance of a boy genius by newcomer Ferdia Shaw, who is all dressed up with nowhere to go and presumably was instructed to play the part as a boring adult tax accountant. When the boy’s father (Colin Farrell) goes missing, the tween must battle with a variety of elves, fairies and goblins, grapple with unpleasant performances by the likes of Judi Dench and Josh Gad and parade through undistinguished low stakes landscapes. At an hour and a half running time with exposition in narration form for its duration, the film teases what happened before and after but forgets to furnish much of a coherent plot within. Even while free to Disney+ subscribers, it should be skipped.
Issa Rae and Kumail Nanjiani have such spectacular comic and romantic chemistry as the central couple in Michael Showalter’s The Lovebirds (B-) that they deserve a better movie next time they collaborate. It’s clear even in the cold open introductory credits that this brilliant duo possesses charisma in spades with hilarious banter and priceless reactions. The plot is super obligatory as the twosome is unintentionally embroiled in a murder mystery. As their quest to clear their names takes them from one extreme circumstance to the next, they must figure out how they, and their relationship, can survive the night. Along the way, they crib from diverse sources ranging from Wayne’s World to Eyes Wide Shut with reckless abandon. Each preposterous sequence is improved by Rae and Nanjiani’s daft delivery. It’s a breezy fun time, a comedy/action confection with modest levels of sophistication hiding in the routine madness. This comic couple is definitely one to watch.
Cathy Yan’s bubblegum-hued crime saga Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (B-) is another origin story in the DC Extended Universe and follows Margot Robbie’s Harley Quinn as she joins forces with Jurnee Smollett-Bell’s Black Canary and several vigilantes to fight Gotham City crime lord Black Mask, played by Ewan McGregor. The film is chock-full of throwaway gags, gallows humor and cartoonish violence with a tinge of sisterhood power, but it’s rarely as sharp as it needs to be. Yan scrambles the enterprise with flashbacks, animation and witty title cards, but often it feels like a magic trick to disguise a threadbare story. Although McGregor is miscast and not menacing enough, the women in the film are marvelous. Robbie is wonderful as the devil-may-care antihero, and Bell is a sonic sensation. The stunts and wall-to-wall action should please fans of the genre; it reaches mightily but doesn’t quite take the flight it promises.
J.J. Abrams returns to the helm for the final entry of the legendary Jedi v Sith sequel cycle, Star Wars Episode IX: The Rise of Skywalker (B), a populist pretzel twisting space and time to conclude a myriad of loose plot points while pouring on salty nostalgia in generous doses. This space opera saga finale works best when its trio of next-generation heroes Rey, Finn and Poe embark on snappy adventures together, less in a murky subplot involving a villainous blast from the past and even less in its introduction of new characters to an overstuffed narrative. Abrams scores a propulsive and often thrilling first hour and gets the humor right with fan-pleasing quips and gags but finds himself a bit tangled when trying to shoehorn the late Carrie Fisher’s unused footage from past movies into cogent current conversations and striving to make sense of some lapses in lineage for its dueling family trees. Visually, the film is splendid, with a few epic tricks up its sleeves including a pretty Bollywood planet and a deft lightsaber battle on the high seas. There are some clever treasure quests, stunning revelations and a few generally poignant moments, sometimes bookended by an occasionally soggy and somewhat schizophrenic salmagundi. In trying to please his fanboy/fangirl constituencies, Abrams is all too likely to replace originality with more origins. The film is indeed haunted by ghosts, some of the high-spirited variety and others fossilized or zombified with creaky bones of a lumbering legacy. It’s a testament to the acting chops of Daisy Ridley as protagonist Rey and Adam Driver as her frenemy Ren that they acquit themselves admirably amidst some mumbo jumbo logic. The over four-decade series has likely outlasted its ability to surprise, but its mirth and myth making factory still thrills. This frenzied film hyperdrives to a generally smooth landing.
James Mangold’s ‘60s-set Ford v Ferrari (A) is a triumph, precision tuned with grit and grace and a combination of spectacular acting and “how did they do that?” practical action effects. Matt Damon and Christian Bale punch up everything fueling their winning screen personalities as the real-life racing team tilting at windmills to help America’s iconic automaker gain a shot at victory against Italian racers in the rigorous 24 hours of the Petit Le Mans. Mangold accomplishes a magnificent feat for historical drama by finding surprises around every turn. The film features an excellent ensemble, a cracking screenplay and stunning art direction and should please those who and aren’t typically enamored by car chase sequences. Damon’s character’s genuine swagger and boldness against the odds and Bale’s imaginative ingenuity plus a tender subplot with his family balance the film and anchor its action. Some of the best moments evoke the sheer wonder of boys and their toys as the central duo wrestles – sometimes literally – with the Herculean task they’re undertaking. It’s a tribute to friendship and teamwork and breaking out of conventions. The film is high-concept when it needs to be but possesses enough nuance to temper its ambitions. It’s a sterling entry into the American cinematic canon and deserves to be feted as year-end accolades are awarded.
This is the ultimate story of “the other.” Todd Phillips’s Joker (A-) flips the script in what is ostensibly an original origin story about one of Batman’s most notorious villains. Masterfully played by Joaquin Phoenix, the titular antihero fashions a fascinating and occasionally heartbreaking portrait of a desperate and marginalized loner. The bleak period atmosphere of a dystopian 1981 in Gotham City (essentially a struggling New York) evokes the crime, corruption, gang and peep show filled mean streets of vintage Scorsese, but the real action is interior as Phoenix’s sad clown and wannabe stand-up comic falls deeper into delusion and paranoia. The film’s graphic and nihilistic spirit will be tough for some audiences, but it’s an indelible and engrossing experience built on a complex character. Frances Conroy is effective as his ghastly mother, and Robert DeNiro is smartly cast as a late night talk show king of comedy who mocks the lead character via the airwaves. Zazie Beetz is a warm presence as a kindly neighbor and object of either affection or obsession. The swoop of stardust music with sweet tunes such as “Smile” and “That’s Life!” are juxtaposed against a loony, lost landscape. Phoenix gives a signature performance, high praise after the powerful legacy of Jack Nicholson and Heath Ledger’s takes on the character before him. He’s got the ticks of A Clockwork Orange and the tolls of Taxi Driver mixed with his own blend of American Psycho. He’s also got some of the creepiest dance moves since Buffalo Bill put the motion in the basket. This is gripping, immediate and eminently watchable material, with descents and detours into madness beyond expectations.
One of the film industry’s most notorious writer/directors slows his roll into leisurely paced comedy and doesn’t quite succeed until things get violent. He’s clearly better at the Spaghetti Western than The Decline of Western Civilization. Quentin Tarantino’s Once Upon a Time…in Hollywood (B-) explores how movie stars are always one step away from their big break, whether because of talent, typecasting or breakout performances or, more commonly, because they join a celebrity entourage or get invited by famous neighbors to a cocktail. It’s no coincidence that two of the biggest stars in the world – Leonardo DiCaprio, portraying a boozy actor in career decline, and Brad Pitt, playing his stuntman and designated driver – steal the show with wile and charm. They deliver a lot of yummy tapas in the movie, but it doesn’t add up to a fully satisfying meal. Pitt is the charismatic one here, with a cadence and style he has honed before in the auteur’s revisionist history universe; quite frankly, he’s really good in his every sequence and has uncanny chemistry with an animal co-star. With a less interesting and underwritten character, DiCaprio lacks intrigue and consistency. He’s ironically at his best in a “movie within the movie” when his character is actually acting. The discarded duo of cowboy and fighter with a backdrop of a classic industry in upheaval almost seems like the makers have Toy Story 2 on the mind. Tarantino is, of course, endlessly fascinated with movie lore, so he includes in his spotty ‘60s pastiche some gorgeously filmed milieus and commentary about the transition of the Golden Age of Hollywood to something much different. He eschews many of his usual flourishes, and without a better style to replace them, they are missed. Subplots with Al Pacino and Margot Robbie build on the film’s themes but don’t ever become center stage in a captivating way. Boy, are there some great set pieces and play sets, including a Hollywood Hills home, two insider Mexican restaurants and a former Western movie backlot inhabited by Charles Manson acolytes. It’s a film full of imaginative notions not fully realized. Like a grindhouse double feature, this feels like a talky two hour character study followed by a thirty minute short in which those characters actually get to do what we’ve been wanting them to do all along.