Once Upon a Time... in Hollywood - Review

 

Quentin Tarantino sure does love his revisionist history. That fact shouldn’t be too out of the blue for anyone who has any knowledge of his previous films. “Django Unchained” and “Inglorious Bastards,” two films most argue are Tarantino’s best, are known for injecting a bad-ass good guy wins in the end style to their historically based plots.

He dips his hands into the cookie jar of silver screen history this time with “Once Upon a Time… In Hollywood,” a film focusing on the exploits of washed-up fictional actor Rick Dalton, played with a thick accent and thicker bravado by Leonardo DiCaprio (“What’s Eating Gilbert Grape,” “The Aviator”) and his best friend and stunt double Cliff Booth, played with stone-faced wit and charm by Brad Pitt (“Fight Club,” “Ocean’s Eleven”).

The pair’s bond and friendship serve as the film’s main emotional hook, and they work excellently off each other. The comradery that oozes from their drunken hangouts or drives around Los Angeles feels every bit as authentic as it should. These are two actors simply at the top of their game, chewing through a delightful script and turning it into gold.

Margot Robbie (“I, Tonya,” “The Wolf of Wall Street”), as little as she is used, delivers an ethereal performance as Sharon Tate. The way she floats through each scene, a giant smile on her face and a warm glow about her, makes Tate feel otherworldly, like some unobtainable goddess and succeeds in adding to the film’s over-the-top stylings. The rest of the ensemble is great, with bit-part characters like Julia Butters’ (“American Housewife,” “13 Hours: The Secret Soldiers of Benghazi”) Trudi Fraser, Margaret Qualley’s (“The Nice Guys,” “The Leftovers”) Pussycat, Timothy Olyphant’s (“Deadwood,” “Go”) James Stacy, and Dakota Fanning’s (“Coraline,” “Ocean’s 8”) Squeaky all standing out in a talented and packed roster.

Tarantino has always set himself apart from his contemporaries by creating vivid, fleshed out worlds filled with brash characters and situations and “Hollywood” is no different. It’s set on the death of the golden age of Cinema in 1969. Cowboy stars are in and out of the industry every day, and the delivery of an anxious, drunken former leading man in Dalton is an engrossing one. Even during chunks of the film where not much technically happens, Tarantino keeps the audience’s attention firmly planted on Dalton and Booth.

This could be accredited purely to their performances, but the script is possibly the best of the year as well. Dialogue bubbles with a genuine nature and slides across pop culture and movie references and Hollywood vernacular. It’s one of those films where it’s just a joy to sit and listen to characters talk to each other. One sequence involving a hitchhiker and Booth may just one of the best singular scenes of the year so far.

It’s a good thing too because unlike in most of Tarantino’s other films, there’s not much else to keep audience’s attention here. There’s little to no action here to speak of, apart from a few fistfights. Numerous times, the camera just lingers on a character driving around, following them up and down streets and parking in their garage before resuming the action of the film.

Scattered is the perfect way to describe it. Some sequences go one for minutes at a time, not adding anything to the overarching story, but surviving purely on their entertainment value. This is a supremely enjoyable film, one that is engrossing to watch, yet has so much extra fat that could easily be cut off. The long scenes of characters driving, extended sequences of fictional TV shows, long flashbacks within imagined moments. There are even two scenes, just two, that have Kurt Russel’s character narrating over them for no apparent reason.

It’s the definition of self-indulgent, as many of these moments seem to exist simply because Tarantino wanted to film them. Yet Tarantino walks a fine line; it’s never annoying while you’re watching it, only after the fact when thinking on it.

For as much as Tarantino talked about it, there’s a lack of Manson family in this film. Sure, they’re there as characters and do pop up throughout, but it isn’t the through-line plot that many likely expected it to be. That might just be because there doesn’t seem to be a plot at all. Until the last 45 minutes, the entire film seems to just be a series of loosely connected moments of movie stars having mid-life crises.

This is made increasingly frustrating as the film’s last 45 minutes is unquestionably its best; the pacing picks up to create a tense set of circumstances that finally brings the puzzle-piece nature of the plot to its full potential, complete with an ending that feels both entirely intentional and woefully uncomfortable, that will likely be divisive and debated for years. It’s a shame that puzzle-piece plot thread wasn’t enacted through the entire film.

It’s all still well-acted to a T and has some of the best production design and writing of the year, though. It’s just an irksome issue; if everything in the film is excellent, and the lack of a true plot only really becomes apparent when thinking back on the film, instead of during it, is it something that it should be criticized for?

This leaves “Once Upon a Time… In Hollywood” in a very tricky spot. It is one of the best acted and best written films of the year, with knock-out production values. Brad Pitt could easily see an Oscar for best supporting actor, and yet the at times extreme self-indulgence and lack of any true plot, especially given how much things ramp up in the last 45 minutes, hurts the overall product. It doesn’t detract from the fact that this is an excellent and supremely enjoyable film experience. It’s just a very messy, scattered one as well. 3.5/5

The Farewell - Review

 

There’s been a tendency recently to advertise films as the next big thing. Either the grittiest drama or the most emotionally draining horror, and not even independent films have escaped this marketing tactic. Which is why, even amongst its low budget counterparts, “The Farewell” is so gloriously refreshing.

As the film itself says, the plot is based on a true “lie,” and writer/director Lulu Wang pulls from real-life experiences to write a powerful family drama. At times, it's difficult to see which genre “Farewell” would belong in, but that’s not so much a sign of tonal problems as it is a sign of Wang’s brilliant script and deft directorial work.

Instead of allowing this tale to be confined to the restraints of comedy or drama, she instead lets the story breath in that happy middle ground that so closely resembles real life. Most scenes are joys to watch, simply to become better acquainted with the cast of characters Wang and her team have brought to life.

Awkwafina (“Ocean’s 8,” “Crazy Rich Asians”) delivers a star-making performance as the film’s lead, Billi. Her role is fairly understated, but she knows exactly when to deliver the emotions in exactly the way a scene requires. The balance between burnout mid-30s loser and loving favorite grandchild is maintained precariously, and it should set Awkwafina at the front of many best actress lists for this year.

Meanwhile, Zhao Shuzhen is the definition of a scene-stealer as Billi’s grandmother Nai Nai. The wit she brings to each scene is a highlight and she proves to be endlessly charming throughout. Tzi Ma (“Rush Hour 3,” “The Man in the High Castle”) and Diana Lin (“The Family Law”) also do wonderful work as Billi’s father and mother, respectively, delivering honest and tough portrayals of parents trying so hard to do what’s best for the family.

Everything in the film is shot with a gorgeously simplistic style by Anna Franquesa Solano (“Buck Run”) and underscored by top-shelf musical compositions from Alex Weston (“H.”). The production design and level of detail in this tale are all top-notch, as the entire film glows with a kind of familial warmth that is rarely achieved, even by the best films.

The genre-bending that goes on throughout the runtime of “The Farewell” may end up being the film’s weakest aspect. The real-life tonal balance that is maintained here is excellent, but it results in a film that is less startling, rock you to your core experience, than it is an extremely well-made piece of comfort food cinema.

While there are themes of familial love, where one truly belongs and growing with or against tradition, none of these themes takes over the film. Rather, they fill out the background and character’s motivations and allow the centerpiece of the film to remain warm and caring. This doesn’t mean these themes are worth thinking about or are done poorly though.

It’s just clear that “The Farewell” knows what it is from the start; this isn’t a deep, heady drama with gallons of melodrama and long shots meant to give the audience time to ponder. This may actually be the exact opposite of that. This is a frequently amusing, wonderfully told familial tale. One with stellar performances from the entire cast, and scene stealers around every corner. Sure, it may be film comfort food. But that’s entirely different from junk food. This is warm, healthy, good for you, comfort food that will leave you smiling and wanting to share the recipe with the world. Comfort food just like grandma used to make. 4.5/5

Alita: Battle Angel - Review

 

After multiple release date delays, years stuck in pre-production hell, and multiple directorial changes, “Alita: Battle Angel” has finally made its way into theatres. An adaptation of the classic manga series and a passion project for director Robert Rodriguez (“From Dusk Till Dawn,” “Sin City”) and co-writer/producer James Cameron (“Titanic,” “Avatar”), does “Battle Angel” live up to its long and impressive pedigree?

It would be hard to summarize the basic plot of “Alita,” although, not for an expected reason. While the first act feels incredibly truncated, the rest of the movie feels overly long, like its try to stuff four movies worth of ideas into one. Its easy to imagine a two-and-a-half-hour or three-hour version of this film with far better pacing and plot structure.

As it stands, there’s a very standard story of revenge, independence, and love, with a sports subplot thrown in for good measure. It feels very choppy, almost like important scenes were shot, and then cut out at the last minute for time. There’s a lack of explanation for this world, and while it doesn’t require a textbook’s worth of information, it definitely needs more worldbuilding that the few short scenes given here.

While it might not be explained well, the world does look incredibly gorgeous. Practical effects and sets blend almost seamlessly with the computer-generated ones. Bright sunlight streams through sequences that radiate with color and neon screens. The sequences during a sport called “MotorBall” are especially impressive and wildly entertaining.

Alita herself, a full computer-generated character, manages to straddle the line between too real and not real enough. From the intricate carvings on her arms to her rubberized skin, gleaming with sweat during her many fights, the realism is staggering.

Visuals can only go so far though, so it’s a good thing Alita has an actress as talented as Rosa Salazar (“Bird Box,” “The Maze Runner: The Scorch Trials”). She is the film’s highlight, imbuing Alita with a wonderful optimism and kick-ass attitude that draws audiences in almost immediately. Her acting range also means that in the smaller moments, where Alita reflects on who she is, there is no tonal shift. You may not see her real face, but Salazar still commands the screen.

The supporting cast, however, is a mixed bag. Christoph Waltz (“Inglorious Bastards,” “Django Unchained”) does about as well as he can with an underwritten father figure for Alita, and his wife, played by Jennifer Connelly (“Labyrinth,” “Requiem for a Dream”) just seems like the writers forgot about her halfway through production.

Mahershala Ali (“Moonlight,” “Spider-Man: Into the Spider-Verse”) fairs just barely better than Connelly, as the bland villain Vector. Keean Johnson (“The Fosters,” “Nashville”) meanwhile does a relatively fine job as Alita’s love interest Hugo, even though the film completely betrays his character arc by the end.

Out of everyone though, Ed Skrein (“Deadpool,” “Game of Thrones”) is clearly having the best time. While his villainous Zapan isn’t the most interesting character in the film, Skrein completely delivers a cheesy, over the top committed bad guy who’s just fun to watch be bonkers.

There’s no better way to describe the film as a whole. It has a sort of spit-fire spirit, mixed with a white-hot sense of style and bizarrity that makes it a simple fun time, even as the plot disintegrates around it. Alita herself basically carries the film thanks to her spirit.

It’s goofy and nonsensical, but also incredibly sincere, with a rock-solid emotional core. It’s characters genuinely care for each other, even though they may not be terribly well written. It does end in a kind of anti-climactic way, clearly setting up a sequel but just barely providing enough emotional resolution and third act confrontations to classify as an ending.

That manages to life “Alita: Battle Angel” just above mediocrity. It’s sense of action, gorgeous visual style and wonderful characters and beating heart at its core don’t surpass the plot and structural failings, but they at least make them tolerable. Not a great film, “Alita: Battle Angel” definitely doesn’t win the day. But damn if she doesn’t put up a fight. 3.5/5

Spider-Man: Far From Home - Review

 

How does one follow the end times? Well, director Jon Watts (“Cop Car,” “Spider-Man: Homecoming”) and writers Erik Sommers (“The LEGO Batman Movie,” “Ant-Man and the Wasp”) and Chris McKenna (“The LEGO Batman Movie,” “Ant-Man and the Wasp”) decided to follow the end times with a vacation, taking one of the Marvel Cinematic Universe’s smaller scale heroes on a globe-trotting adventure with “Spider-Man: Far From Home.”

Tom Holland (“In the Heart of the Sea,” “The Lost City of Z”) continues to be his charming self as the MCU’s version of Peter Parker. Holland has cemented himself in the role now, thanks to successful supporting roles in recent Avengers films and his own solo feature. He’s almost reached Chris Evans or Robert Downey Jr. status, with the personality of his Marvel hero becoming almost inseparable from his real-life personality, apart from his British accent.

This isn’t a bad thing though as, like with the previously mentioned Evans or Downey, it makes his chemistry with the rest of the cast flow that much smoother. Whether it’s chatting with his best friend Ned, played by Jacob Batalon (“Every Day,” “Spider-Man: Homecoming”) or acting adorkably awkward around his crush MJ, played flawlessly again by Zendaya (“euphoria,” “Spider-Man: Homecoming”), Holland’s charisma and chemistry are effortless.

Double for Jake Gyllenhaal (“Prisoners,” “Donnie Darko”), who is clearly having a blast as Quentin Beck aka Mysterio. This is nothing short of an actor loving the role they’ve been provided, giving a terrifically fun performance in more ways than one. To say any more would be to spoil what is the biggest and best character in the entire film.

Samuel L. Jackson (“Pulp Fiction,” “Attack of the Clones”) returns as Nick Fury, doing his typical thing as the secretive one-eyed leader, and Cobie Smulders (“How I Met Your Mother,” “They Came Together”) reprises her role of Agent Maria Hill as well. Thankfully, Watts managed to give her more to do in this film than in the entire last decade or so of the MCU. The same goes for Jon Favreau’s (“Iron Man,” “Chef”) Happy Hogan who, in addition to some great scenes with the disappointingly sidelined Marissa Tomei (“The Wrestler,” “The Big Short”), gets the most exercise he may ever have seen in an MCU film.

Where this film shines is in providing a natural point of growth for Peter’s journey after the events of “Homecoming” and the previous Avengers films. Whereas most of the MCU sequels have blown up the scope of their stories, “Far from Home” still keeps it as small scale as it can. Even when the bigger action scenes and threats are taking shape, it still feels like something a friendly neighborhood Spider-Man can handle on his own.

This, in turn, helps everything feel far more natural for these high school age kids. While much of the simplicity of the High School setting is gone, the intricacies of the friendships still play a huge role here. Not as big as in the previous movie, but they’re still essential.

The larger scale of this film does mean that most of the more practically done sequences from “Homecoming” have been eschewed in favor of larger, more CGI laden scenes. They’re still excellently done, with some great execution and a heavy lean towards multiple viewpoints throughout.

However, Watts can’t maintain peak control of the entire film. The first act, mostly until Mysterio arrives, contains some uneven pacing and weird edits that make it the weaker chunk of the movie. It also contains the largest chunk of jokes that don’t all really work. They’re fine, most get at least a slight chuckle. But the comedic moments that really shine, don’t pop up until the latter half of the film.

By the time the third act comes around, though, the film has done a full swan dive into the deep end of the weird pool in the best possible way. Some of the sequences, or “nightmares,” are incredibly well done and perfectly balance the emotional weight with the bonkers nature of what’s happening.

“Far from Home” also manages to balance its tone remarkably well. Especially on the heels of “Endgame,” Watts and his crew have delivered just the right balance of amusement and threat to make this a solid viewing experience. This is made even more impressive as the darker themes of truth and the perception of it come into play, yet still don’t feel out of play with the rest of the film. It may not be the same emotional gut punch as the past few Marvel movies, but it's still able to resonate when it needs to. The third act revelations that come into play pop up more as moments of obviousness than profound revelations, but they get the job done effectively nonetheless.

“Spider-Man: Far from Home” is an excellent adventure for New York’s friendly neighborhood wall-crawler. While its start is a little rocky and it’s not as downplayed as the first, it still excels in delivering an enjoyable summer movie experience with tons of great chemistry and charm. Tack on some intriguingly dark underlying themes and some true shakeups for the entire MCU by the end, and it’s easy to see why Spidey’s latest is another, albeit shakier, super adventure. 4/5