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 premiered everywhere July 20, 2018 and is now available for purchase or rental.
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 super-baby 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.
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.
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.
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.
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.
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.
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.
A bit more subversive at times than expected while still fun for the family, Jake Kasdan’s Jumanji: Welcome to the Jungle (B) is ostensibly a riff on The Breakfast Club if detention were actually a fantasy forest of video game characters and its ensemble of aimless teens transformed into avatars on a quest for their inner heroism. After a sluggish start, the film gains its footing once the characters start learning life lessons in and around thrilling action sequences involving animal stampedes, helicopter chases, encounters in exotic marketplaces and a subplot involving a stolen jewel. The film makes compelling use of its gaming conceits as characters discover their powers and vulnerabilities and preserve “lives” for the moments that matter. As far as characters go, Dwayne Johnson and Nick Jonas fare best with charisma in spades, and Jack Black sinks his teeth into the role of a female teen diva learning to care about others while adapting to her new male body functions. Kasdan finds the fables behind the fun and makes sure the escapism leaves everyone a wee bit wiser from the journey.
After the original film showcased the fresh sounds and culture of collegiate a capella and the sequel amped up girl power in glorious fashion, Trish Sie’s Pitch Perfect 3 (C-) squanders the goodwill the musical comedy franchise has engendered with a denouement that temporarily turns the franchise into a head-scratching thriller before briefly returning to form for a tepid final bow. The Bellas are missing their fellas (would it have been too much to bankroll a Skylar Astin or Adam DeVine cameo?) and end up on a USO road show with a contrived competition, but thankfully the funny and talented Anna Kendrick and Rebel Wilson rise above the material. It seems they’d be fun just laughing together in a blank room. The film’s fictional bands don’t feel rooted in reality, the military subplots feel underdeveloped; and, as maestro of the film’s obligatory contest, DJ Khaled is so bad at playing himself that perhaps Christopher Plummer could have stepped in. John Lithgow’s character is a shark jumper in human form, and “Fat Amy” develops so many new superpowers, I half expected her to “Force project” herself through time and space. Of course the joy of these films is largely discovered in the quality of the musical sequences and droll comic lines, and there are enough here for fans to complete the viewing of the trilogy. There are also some occasional inside jokes that land like sweet lozenges amidst the hastily assembled script’s sore wanderlust. The series went from throw down to throwaway fast, but long live any entry into that adds Britney Spears and George Michael covers into its canon.
Alexander Payne pushes more buttons than audiences may expect in his new human miniaturization movie; it’s par for the course for the midwestern provocateur. This skilled writer/director blends physical pratfalls, witty wordplay, social satire, wicked parody and almost every conceivable flavor of comedy for the deliriously inventive and surprisingly highbrow Downsizing (A-). Matt Damon is in full sad-sack mode as a nebbishy Nebraskan hoping to please his materialistic wife (Kristen Wiig) by signing them up for an experimental planned community in which citizens are shrunk to live in dollhouse-sized McMansions in a sunny country club suburbia called “Leisureland.” Christoph Waltz shines as a wee rogue defying the new community’s evolving rules, and Hong Chau is a revelation as a compact freedom fighter and humanitarian heroine. Both get absolutely delicious dialogue commenting on class issues prevalent in the upstairs and downstairs of even the tiniest of houses. Two of the film’s themes – to look closer and to take good care of the part of the world that you can affect – are developed to staggering impact. A few central plot points are jettisoned or careen off course a bit as the stakes are raised beyond simply the fates of the film’s pint-sized protagonists. There’s so much more to this comedy/drama/sci-fi hybrid than meets the eye, and it is heartily recommended for the intellectually adventurous.
Writer/director Greta Gerwig’s coming of age dramedy Lady Bird (A) is witty and wise and recognizes the nuances and power of mini revolutions afoot in the life of a teenager. Saoirse Ronan is sensational as the titular protagonist, a high schooler who feels trapped in the first world problems of life in Sacramento. The plot centers largely on the pivotal final two semesters of Lady Bird’s senior year as she tests her wry, unconventional outlook against the backdrop of cliques and friendships, parochial rules, drama club, college applications, counseling and school dances. The rhythm of fights with her tough mom, played masterfully by Laurie Metcalf, anchors many of the film’s most poignant moments. These actresses are spectacular at depicting the tempestuous mother/daughter dynamic. Lucas Hedges is also fantastic as Lady’s first love. Gerwig nails the tone and observational humor of episodes that build up to unexpected life lessons. Filled with a blissful Jon Brion score and subtle reference checks to Steinbeck and Sondheim, the film represents an auspicious debut for a talented actress trying her hand behind the camera. Gerwig and her uncanny muse Ronan have created a funny and tender work of utter joy. Moviegoers will enjoy watching this Bird fly.