The Card Counter - Review

 

Every director or writer, no matter how long they're in the industry, has that one film they will forever be known for. Sometimes this is a good thing and sometimes it's not. It can lead to a feeling that they’re always trying to recapture lightning in a bottle and it can sometimes feel like they’re constantly putting new spins on the same idea, creating new interpretations in the process.

Paul Schrader (“Taxi Driver,” “The Last Temptation of Christ”), whether you know the name or not, might just be one of the most recognizable voices in modern cinema. After his big break writing films like “Taxi Driver” and “The Last Temptation of Christ,” he’s had a long career both writing movies such as “Raging Bull,” “Bringing Out the Dead,” “Rolling Thunder,” “Mishima,” and “American Gigolo,” as well as directing movies like “American Gigolo,” “Hardcore,” “Patty Hearst,” and “First Reformed.” Clearly, he has a very particular style and vision; one that is on full display, for better or worse, in “The Card Counter.”

Starring Oscar Isaac (“Inside Llewyn Davis,” “Star Wars: The Last Jedi”), “The Card Counter” follows William Tell, a grief stricken former military man who travels the country playing poker after he taught himself to play cards in prison. Along the way he picks up a couple other characters, Tiffany Haddish (“Girls Trip,” “The Last O.G.”) as La Linda, a financial backer for a group of card players and Tye Sheridan (“Ready Player One,” “Mud”) as Cirk, a young kid whose father knew William when they were in the military.

For better or worse, Oscar Isaac’s performance is the reason to watch “The Card Counter.” Schrader is definitely experimenting a bit with camera techniques and some pacing elements, but for the most part everything in the film pales in comparison to Isaac’s commitment to his role. It’s almost as if Schrader found this real person and just surrounded him with actors, as the quality of Issac’s performance makes everyone else seem weaker as a result.

Haddish is doing a fine job most of the time, but some line deliveries give the impression that she’s straddling the line between serious dramatic work and parody of a serious dramatic work. She does a good job in what’s likely her most dramatic role to date, but it isn’t one-hundred-percent convincing and there are a few moments where the cracks show through.

Sheridan is more of a mixed bag. It’s hard to tell what exactly he’s going for, and while he can match Isaac’s intensity and skill when the moment requires it, there are numerous times where it feels as though he’s phoning it in; it's like he’s going along for the ride to all these different casinos just to give fifty-percent of an effort.

While Schrader’s films have never been exceptionally subtle, they’ve ridden the line between the two many times before. And while “Counter” has more than its fair share of unique or well executed ideas, the first time you see William’s hotel room routine is genuinely chilling. However, after decades of making these kinds of movies about tortured, violent men, it just doesn’t have the same effect it once did. Some of the monologues from Issac and imagery such as having the former military man go up against an America obsessed man in a red white and blue tank top who chants “USA” feels extremely on the nose.

Schrader has shown that he can still make excellent, affecting movies, just look at “First Reformed.” But “The Card Counter” feels like more of a phoned in experience. It's not a bad film by any means; it's shot well by cinematographer Alexander Dynan (“First Reformed,” “Dog Eat Dog”) and the cool, chilled musical experience from musician Robert Levon Been helps to set the film’s atmosphere perfectly. It's the kind of movie that’s so cool and cold you expect to pull the blu-ray off the shelf with frost around the edges.

It’s just not as compelling now as it would’ve been in decades prior. Issac’s performance is excellent, and the film’s overall atmosphere is compelling. But Haddish and Sheridan are more spotty in their roles, and overall it seems like the kind of movie that’s just been done numerous times before, not just by Schrader himself. It’s a good movie, just not a great or particularly memorable one. 3/5

Malignant - Review

 

All hail James Wan. The man who may have single handedly brought modern horror to the grisly, overly franchised state it currently rots in will forever be remembered as a singular vision, whether you like it or not. That does mean that, when he gets to do something original, he and his team go absolutely balls to the wall with energy and ambition. Nowhere is there a better example of that than “Malignant.”

Annabelle Wallis (“Peaky Blinders,” “Annabelle”) plays Maddie, dealing with some terrifying visions after suffering a miscarriage and the death of her abusive husband. Eventually the police and Maddie’s sister get more involved and to describe any further than that would be to rob the film of its biggest and juiciest asset.

Wan, who cut his teeth directing the first “Saw” and became a household name with projects like “Insidious” and “The Conjuring”, clearly loves the art of suspense. Yet, “Malignant” displays it differently than in his past films. It's only tangentially a horror movie, skewing closer to a mystery thriller by the end, but Wan lets the suspense hang thick. Its focus isn’t to scare, rather to intrigue. The film’s biggest asset isn’t horror or actors, it's the many twists taken throughout its 110-minute-runtime.

“Well,” you might be thinking to yourself, “a well-constructed twist is great and all, but that doesn’t automatically make for a good story.” And you’d be correct. What Wan has done is brought together a cast and creative team so completely committed to the bonkers nature of what he’s constructed that you’d be hard pressed to notice. Every actor is insanely committed to delivering the batshit dialogue and plot moments with the sincerity of a Shakespeare film.

Maddie Hasson (“We Summon the Darkness,” “Impulse”) plays the insane events of the film with a remarkably straight face as Maddie’s sister Sydney. George Young (“Containment”) is an oddly calm police detective trying to investigate these murders and Michole Briana White (“Spell,” “Songbird”) is his partner, both so stereotypically detective-y that the “Law & Order” tones threaten to ring out every time the entire a scene.

Wan is clearly playing with all the toys Warner Bros has gifted him with over the years. After all, when you’re responsible for one of the most successful horror franchises in years, studios tend to let you spend $40 million creating elaborate house sets, underground Seattle ruins, and the greatest open concept police station ever seen.

Whether or not “Malignant” is any good is basically irrelevant. This is a filmmaker not so much crafting a film as playing with his favorite toys, and gleefully inviting writers Akela Cooper (“Luke Cage,” “Hell Fest”) and Ingrid Bisu (“Toni Erdmann,” “Cafeaua de dimineata”) to join in. Wan is a skilled professional in the horror genre, and it allows him to turn out some truly bonkers events and have us all lap it up eagerly. The dialogue may be stupid, and it might directly contradict itself, but the seriousness with which it carries every moment never wavers.

“Malignant” is the kind of movie that, as soon as credits roll, you want to tell your friends to see just so you can talk about how utterly insane it was. That may not directly speak to its quality, but it speaks to how memorable everything is. You can’t help but admire the craftsmanship on display, such perfection churning out such batshit ideas. It’s the filmmaking equivalent of watching a Michelin star chef being asked to drizzle his Caviar with chocolate sauce and coconut shavings. And he does, and its delicious. 3.5/5

Shang-Chi and the Legend of the Ten Rings - Review

 

As the world turns, so does another Marvel hero make their way from comics to cinema, and with “Shang-Chi and the Legend of the Ten Rings” we not only have the first new hero to the MCU since “Captain Marvel” but also the MCU’s first Asian hero, a watershed moment that should be greeted with as much enthusiasm as “Black Panther” was in 2018.

Simu Liu (“Kim’s Convenience,” “Blood and Water”) absolutely cements himself as a charismatic, ass kicking presence deserving of a lead superhero film. Even in the scenes that require more dramatic gravitas, the life and fun he’s clearly having never disappears. Likewise, Awkafina (“The Farewell,” “Crazy Rich Asians”) is also great, working as a source of comedic relief but also pulling her own weight when it comes to later film dramatic moments not immediately associated with her acting skills.

Meng’er Zhang is a steely-eyed scene stealer in her film debut as Shang-Chi’s sister Xialing and Michelle Yeoh (“Crouching Tiger, Hidden Dragon,” “Crazy Rich Asians”) delivers a great, if minimal performance as the sibling’s aunt Ying Nan. There are also quite a few scene-stealing cameos that won’t be spoiled here, but for as excellent as the main cast is, no one holds a candle to Tony Leung (“Lust, Caution,” “Hard Boiled”) as Shang-Chi’s father, the antagonistic Wenwu.

His presence is immediately felt, and he delivers the dialogue like its Shakespeare. Given his long history of acting in legendary Hong Kong films like “Chungking Express” and “In the Mood for Love,” the fact that he’s mastered the art of a simple, wordless, menacing presence is no surprise. He’s easily comparable not just to the finest antagonists of the MCU, but to the finest antagonists of the superhero genre, like Alfred Molina’s Doc Ock and Gene Hackman’s Lex Luthor.

Like Molina’s Ock, Wenwu is also not an entirely evil antagonist, hence the term antagonist rather than villain. While he occupies the side of the story opposite the hero, his motivations are easy to understand and empathize with and writers Dave Callaham (“Wonder Woman 1984,” “Zombieland: Double Tap”), Andrew Lanham (“Just Mercy,” “The Kid (2019)”), and writer/director Destin Daniel Cretton (“Short Term 12,” “Just Mercy”) go to great lengths to deliver multiple scenes that allow these characters and their emotional dynamics to be explored.

Though, this is a Marvel movie after all, and while it has more emotional downtime than most, its still an action film first and foremost. Not only does it deliver on the action, but its some of the finest of the franchise to date. Funny how much better things look when they’re edited without cutting 20 times a second. Renowned Cinematographer Bill Pope (“The Matrix,” “Scott Pilgrim vs. The World”) shoots the film following the momentum of the action instead of reacting to it, and it allows for some excellent hand to hand combat that has a smooth choreographed flow to it that is maintained even as the third act busts out the typical Marvel laser show.

“Shang-Chi” is an absolute blast but isn’t perfect. Like some of Marvel’s previous efforts, its emotionally interesting and delivers some terrific performances but wraps both of those elements in a pretty bog-standard plot. The Asian influences dress it up a bit more, with alternate universe creatures and gorgeous mystical elements, but the plot is the same “kid who wants to distance themselves from controlling parent” story that’s been told time and time again.

To his credit, Cretton distances the film from that standardized plot as much as possible using those elements, resulting in a film that’s a blast to just sit back and watch. It goes by in a flash, remaining breezy and light, without sacrificing the slower moments of emotional impact.

“Shang-Chi and the Legend of the Ten Rings” suffers from some typical Marvel issues but also bounces back with some of the best action in the entire franchise and an absolute stand-out performance from Tony Leung. It’s a breezy and extremely fun ride that doesn’t sacrifice its action for emotions or vice versa. If you never get a second chance at a first impression, it’s a good thing Shang-Chi has made a pretty damn good one. 4/5

Q-Force - Review

 

After what can charitably be described as an abysmal trailer dropped way back in June of 2021, feelings on “Q-Force,” Netflix’s newest adult animated show created by Gabe Liedman (“Broad City,” “PEN15”), it's easy to see why most were dreading its September 2nd premiere date. Exactly what the queer world needed, another show rampant with stereotypes, sex jokes, and “Gee whiz, ain’t they a gay bunch” humor. 

And then something amazing happened. Unlike Netflix’s last attempt to make a queer centric action show, 2018’s awful “Super Drags”, “Q-Force” is a delight that succeeds because of two main conceits: it takes the time to craft some truly likable and endearing characters, and, unlike other adult animated shows, it wants to be nice.

As much as “Archer” and “Bojack Horseman” deserve their critical praise, it can get exhausting for even the most devoted fans to watch episode after episode filled with barbed insults and hostile relationships. What Liedman has brought to his show is a sense of optimism. 

Sure, the team is regularly disrespected by their organization and has had a decade without a legitimate spy case, but they never let it get them down. Their reliance on each other fuels the show's unflinchingly optimistic attitude to the point that most moments don’t go by so much with laughs, but with big grins.

Like one would hope, it also has the benefit of having a cast and crew made up most mostly queer people. Liedman is an openly gay man, most of the behind the scenes crew are queer, and the cast consists of, among others, Sean Hayes (“Will & Grace,” “Sean Saves the World”), Wanda Sykes (“Over the Hedge,” “The New Adventures of Old Christine”), Patti Harrison (“Shrill,” “Together Together”), Matt Rogers (“The Special Without Brett Davis,” “Our Cartoon President”), Laurie Metcalf (“Rosanne,” “Lady Bird”), and Stephanie Beatriz (“Brooklynn Nine-Nine,” “”The LEGO Movie 2: The Second Part””).

Hayes voices Steve Maryweather, a top of his class secret agent who, after using his valedictorian speech at his graduation to come out, is quickly brushed to the side and assigned to West Hollywood without a case for a decade. There he assembles an elite team of other agents, like Deb, voiced by Sykes, the team’s mechanic and driver, Twink, voiced by Rogers, the team’s master of disguise and drag queen, and Stat, voiced by Harrison, the team’s goth loner hacker.

Eventually they’re assigned a real case and get their big break, overseen by Steve’s one friend in the agency, the enigmatic V, voiced by Metcalf, and are also forced to bring on the obnoxious and piggish Buck, voiced with tongue planted firmly in cheek by David Harbour (“Stranger Things,” “Black Widow”).

Yes, before going any further, the show’s premise is indeed similar to most other adult animated shows, especially that big one bearing H. Jon Benjamin’s involvement. If there’s anything to criticise the show for, it’s not that original beyond featuring a large cast of queer characters. Most of the plots are your standard sitcom fair and while it is consistently very funny, it has its fair share of overly done gay jokes.

The big beating heart at the center of it all is the characters and their relationships. They truly grow over the course of the show’s 10 episodes and come to form a great team. It really does feel like they’ve learned to work together and care for each other. Even Buck gets heartwarmingly redeemed and embraced as a member of the team/family by the end of things. There’s also something to be said for a show that has loving queer relationships, queer sex, and characters just existing on-screen. This isn’t the fare of a “very special episode,” this is just life for these characters, plain and simple.

It's also remarkably nice to look at. Most adult animated shows tend to have a similar, “Family Guy”-esque art style that tends to create some pretty ugly looking character designs and stiff animation. But the folks at Titmouse Canada, known for working on shows like “The Midnight Gospel,” “The Venture Brothers,” and “Animaniacs (2020)” have created a gorgeous and flowing world. The animation is remarkably smooth, with only a handful of awkward moments, and the entire thing is dressed in a retro-futuristic art style, reminiscent of the same sort of thing that inspired “The Incredibles,” making it a show that’s nice to watch and nice to look at.

There are plenty of things to praise and criticise “Q-Force” for. It definitely has its fair share of stereotypes, and the overarching plot might dabble in themes a bit too heavy than some would like. But the overall niceness of the entire affair, the great characters, and the fact that it’s clearly made for and by queer people lends everything a remarkably wonderful atmosphere. It's easy to roll your eyes but give “Q-Force” a chance and you’d be surprised at how good of a time it can be. 3.5/5

Vacation Friends - Review

 

Sometimes, you just have to roll with the punches. Sometimes you have to just deal with life as it comes. And sometimes you have to review “Vacation Friends,” the new comedy from first time director Clay Tarver (“Silicon Valley,” “Joy Ride”) which sees Marcus, played by Lil Rel Howery (“Get Out,” “Free Guy”) and Emily, played by Yvonne Orji (“Insecure,” “Spontaneous”), have their nuptials interrupted by a couple they befriended while on vacation in Mexico, played by John Cena (“Blockers,” “The Suicide Squad”) and Meredith Hagner (“Men At Work,” “Search Party”).

It's not a stretch to say that “Vacation Friends” is the perfect kind of film to stream. As much as the theatre experience can add to one’s enjoyment of a film, this 20^th Century Studios produced film going straight to Hulu isn’t that big of a deal. It's light, comedic comfort food that doesn’t reach too high or try to punch above its weight.

The structure of the film is that of a typical studio comedy. Normalcy is established and then hilarity ensues when an outsider tries to shake things up. The way “Vacation Friends” sets itself up is an interesting idea that’s done well, but lacks creativity. Instead of spending the entire film alluding to the acts of debauchery that Marcus and Emily got up to in Mexico, the film starts on their actual vacation, showing how they ran into Ron, played by Cena, and Kyla, played by Hagner. It allows them to establish some chemistry to the point where you do see these two couples become odd-couple style friends.

It means that there’s a slight bit more emotional weight to the rest of the film. While not really that engaging, it makes the rejection Marcus and Emily put upon Ron and Kyla when they show up at their wedding sting a bit more.

From that point on, the film follows a pretty formulaic sequence of gags-as-scenes that find Ron and Kyla making things awkward for Marcus and Emily in a variety of fish-out-of-water scenarios that pit their trashiness against Emily’s family and their wealth. Some of the gags hit harder than others, a mushroom drug trip sequence feels like it should’ve been cut, but the added layer of heart makes them feel a bit more cohesive.

You can really see that Kyla and Ron want to be friends with Marcus and Emily and not just make life hell. There really isn’t any malice directed at any moment during their escapades, and the film even resists the obvious temptation to go for broke with the R-rated gags. Sure there’s cursing, sex jokes, and drug jokes, but nothing ever goes off the handle like in a “Hangover” movie. It all stays within the realm of believability.

Cena and Howery have fine chemistry, with Cena continuing to show how good of a comedic actor he can be and Howery showing that, despite previous castings, he can actually play the straight man pretty well. Hagner is also good as Kyla, and there aren’t really any scene-stealers here. Everyone does their job adequately, but Orji is probably the best, with pretty much all of the material she’s given, regardless of quality, executed pretty flawlessly.

When your film has five credited writers and already suffers from a gag-as-scene type of structure, it can lead to things feeling like a bit of a drag. It definitely isn’t the most high energy comedy out there, but writers Tom Mullen, Tim Mullen, Jonathan Goldstein (“Game Night,” “Spider-Man: Homecoming”), John Francis Daley (“Game Night,” “Spider-Man: Homecoming”), and Tarver do their best to spice up the routine formula with mixed results.

“Vacation Friends” is a perfectly adequate, not particularly memorable film. The performances are fine, the jokes hit more than they miss, and there’s just enough heart to make it feel like you just spent 100 minutes well. It definitely isn’t as well executed as it could’ve been, but there’s just enough chuckles and smiles to be had here to make it worth a watch. 3/5

Reminiscence - Review

 

Just because an idea works on paper doesn’t mean it’ll automatically work in practice. More so than any film recently, “Reminiscence” is the perfect example of that fallacy. It takes an idea that has lots of potential and seems like a fascinating idea on paper and turns it into a poorly directed, predictable slog, trapping some otherwise fine performances underneath a remarkably boring plot.

Hugh Jackman (“Logan,” “The Prestige”) stars as Nick Bannister, a man living in the not-too-distant future who helps people relive their old memories to forget about the rapidly debilitating present world. He runs his shop alongside his friend Emily, played by Thandiwe Newton (“Westworld (2016),” “Crash”), and after meeting and forming a relationship with Mae, played by Rebecca Ferguson (“The White Queen,” “Doctor Sleep”), he becomes obsessed with trying to figure out what happened to her after she disappears from his life.

The biggest and most glaring issue with the film is that it simply isn’t interesting. It posits a lot of interesting ideas; a new drug called Baca, a half-flooded world, the sun has become so hot that people have become nocturnal, reliving one’s memories, but simply displays them as blandly as possible. Baca, this new drug, is just a small pill that looks like a berry, and we’re never even shown what kind of effects it has on people. The flooded world and newly nocturnal people are just excuses to shoot predominately at night. The film even plays fast and lose with the logic of these concepts, as there are plenty of scenes that take place in open sunlight with seemingly no consequences.

Most disappointingly, writer/director Lisa Joy (“Westworld (2016),” “Pushing Daisies”), making her directorial debut, takes the film’s most interesting concept, reliving one’s memories, and directs it in the blandest and most painfully boring way possible. While we do “go inside” these memories, its just regularly shot footage. Otherwise, it results in us watching a movie about people watching things. Even with this central concept, the logic is all over the place. Sometimes the footage is only first person, and sometimes it’s a full replica of events with 360 degrees of settings.

If there’s anything good to be said about the film, Jackman and the rest of the cast perform decently. Newton seems to be the only cast member who understands the type of hard-boiled noir film she’s in; she delivers her lines between swigs of whisky and seems to have one eyebrow permentantly cocked as she’s along for the self-destructive ride of Jackman’s Nick. The rest of the cast play either too serious: Jackman and Fergusson, or too silly: a weirdly cast Daniel Wu (“Into the Badlands,” “That Demon Within”) as Saint Joe.

The musical score from Ramin Djawadi (“Iron Man,” “Pacific Rim”) is fine and the cinematography is another bright spot, shot well by Paul Cameron (“Collateral,” “Total Recall (2012)”). It’s a very pretty film that looks and sounds good anytime an actor isn’t speaking. The moment anyone opens their mouths, the dialogue causes any viewer paying attention to suffer from tonal whiplash. Its utterly bizarre watching a film drenched in not-to-distant sci-fi technology and an overtly serious color pallet speak dialogue that is the stereotypical equivalent of a thick Brooklyn accent spouting “The dame walked into my office with legs from here to there, see?”

“Reminiscence” is simply not good. Taken at face value and its certainly got some things going for it. Yet, some decent acting and technical aspects can’t save a film that is just so incredibly boring to watch. It’s hard to say if a flashier version of this film would be any good, but it just feels like a story better suited to novelization. Because like the memories within the film, it’s just boring to watch. 1/5

Free Guy - Review

 

Like any great actor, Ryan Reynolds (“Deadpool,” “National Lampoon’s Van Wilder”) has his shtick. He knows what works and, for the most part, sticks to it. He has a certain goofy, self-aware charm that ends up bleeding into every project he’s a part of, whether that’s movies where it absolutely fits like “Deadpool” or “Detective Pikachu” or movies where it feels out of place, like “6 Underground.” Yet, somehow, in its own bizarre way, “Free Guy” represents Reynolds doing the most daring thing in his career since “Deadpool”: turning that shtick down a bit and transforming it into an actual character.

Reynolds is Guy, an NPC (Non-Playable Character) in an open world online video game that encourages stabbing, shooting and looting at every conceivable moment. He absolutely sells the naivete of this character, playing him with all the observational skills of Deadpool and none of the intelligence. He’s a genuinely sweet guy, and when he talks about wanting to help others and not harm anyone, you believe it. That’s the most astonishing thing about the entire film: you believe in this character who should be an absolute joke.

The rest of the cast is clearly giving 100%, even if the characters don’t require it. Lil Rey Howery (“Get Out,” “Rel”) plays Guy’s security guard buddy, Buddy with the same naivete that Reynolds does and just like him, you believe the relationship between these two. Jodie Comer (“Killing Eve,” “England is Mine”) delivers a pretty good comedic turn as both Millie and her in-game avatar. Given the actress’s long list of more serious projects, seeing her cut loose here is a pretty refreshing. Meanwhile, Joe Keery (“Stranger Things,” “Molly’s Game”), Taika Waititi (“What We Do in The Shadows (2014),” “Jojo Rabbit”), and Utkarsh Ambudkar (“Brittany Runs a Marathon,” “Godmothered”) are all playing pretty thinly developed characters to the best of their abilities. Nothing groundbreaking, but they also clearly don’t need to be.

Going back to Reynold’s performance and how well he sells Guy as a character is the best way to describe the entire movie. Its unapologetically earnest, balancing its open world video game style violence with a big sugary sweet center filled with optimism and smiles. It never sells itself out and tones down the sweetness, abandoning nearly all cynicism throughout the tight 2-hour runtime. “Free Guy” is determined not to have a good time, but to make sure everyone is having a good time. It’s hard to remember the last time a studio comedy was this good natured and big hearted, at times rivaling the good vibes of the “Bill & Ted” series, and it’s hard to see anyone but the most cynical not smiling throughout.

It also manages to be pretty faithful to its gaming roots. Writers Matt Lieberman (“Scoob!,” “The Christmas Chronicles”) and Zak Penn (“Ready Player One,” “The Avengers”) never talks down to its audience or make up technobabble to try and seem smarter than it is. Some of the terminology will likely be confusing for those who haven’t picked up a controller in years, but its refreshingly smart when it comes to its knowledge of video games and their developmental terminology. It’s a far cry from sitcoms or movies where the characters are flailing around on a controller, pressing 50 buttons in 10 seconds. It’s possible that this newfound appreciation for authentic geekiness from director Shawn Levy (“Night at the Museum,” “Real Steel”) came in his last decade or so working with “Stranger Things,” but regardless, it’s a far cry from his works like “Night at the Museum.”

Cinematographer George Richmond (“Kingsman: The Secret Service,” “Rocketman”) manages to shoot the film with a fairly standard look, but also isn’t afraid to spice things up by lingering on some of the weirder elements and throwing in plenty of dutch angles. It does have a couple of scenes with a few jarring edits and the cameos from big game streamers feel tacked on, but the film so clearly wears its heart on its sleeve that it makes it almost difficult to criticize.

It does have one larger issue that’s worth mentioning. Without getting too much into spoilers, “Free Guy” manages to be pretty creative and downright clever with its twists and secrets, and one third act reveal that gives new context to an earlier, mundane moment is downright genius. Yet, its also a movie that plays fast and loose with even its own internal logic. It does technically work, its not egregious with its bending of its own rules, and it has so much fun being itself that you likely won’t notice until the film is already over, but there are a couple of moments that are definite headscratchers even as they’re happening on screen.

“Free Guy” isn’t the most original film in the world either. Not in the same way that a sequel or remake is, there are plenty of films that it takes influence from, “The LEGO Movie” is an oddly really great comparison, but its so earnest that it doesn’t matter. The film’s message of paying attention to those around you, of caring about the little guy, and just how earnest and sweet it is will likely put a big smile on anyone’s face. Reynold’s absolutely sells this world and this character to deliver what might be the surprise of the summer, maybe the year. Its virtually (no pun intended) impossible not to leave “Free Guy” with a big grin on your face and a warm feeling in your heart. 4/5

The Suicide Squad - Review

 

Not much needs to be said about the 2016 celluloid dumpster fire that was “Suicide Squad.” While a few performances stood out and its notable for casting Margot Robbie (“The Wolf of Wall Street,” “Once Upon a Time in Hollywood”) as Harley Quinn and Viola Davis (“Doubt,” “How to Get Away with Murder”) as Amanda Waller, casting choices just as perfect as Robert Downey Jr. as Tony Stark or Ryan Reynolds as Deadpool, the film as a whole has been widely forgotten and panned from critics and fans alike.

Yet, thanks to a series of social media misunderstandings in 2018, James Gunn, the much-lauded director behind Marvel’s “Guardians of the Galaxy” films found himself out a job with Disney. And in walked Warner Bros., hoping to recapture the misfit success of the “Guardians” with their own squad of lowlifes.

That’s exactly what Gunn has delivered audiences, though not in exactly the way many would expect. “The Suicide Squad” is a lot of things, and the most obvious is an exploitation film that most closely resembles Gunn’s early works with B-movie studio Troma Films. Gore and violence are excessive, with exploding heads, severed limbs, and all manner of viscera being sprayed haphazardly throughout. It’s not for the faint of heart, and it does deliver some of the sickest moments of dark humor since Gunn’s previous R-rated feature “Super.”

Yet, this is not just a blood bath, as Gunn knows that none of this bloodshed is effective without stakes. As the death toll racks up, this is a group called “The Suicide Squad” after all, it would be all for not if we didn’t care about these characters putting their lives on the line. The film is choked full of as many heartbreaking and tearful moments of dread and death as much as it is silly exploding viscera and cartoonish violence. There’s a reason the tagline is “Don’t Get Too Attached.”

Gunn’s script weaves together jokes, character moments, and plot expertly, so that every laugh teaches you something about a character, building them and the world around them. It means that there’s really no excess to the film. It’s a lean mean adventure, clocking in at a little over two hours that breezes by. Pacing is also rock solid, despite flipping back and forth between different characters and locations almost constantly.

Gunn’s script may be excellent, but his casting choices alongside casting directors Yiniva Cardenas (“Kimura,” “Salta”) and John Papsidera (“Tenet,” “Inception”) are sheer genius. While Margot Robbie and Viola Davis as just as good as the previous film, even actors reprising their roles are given new and more interesting depths thanks to Gunn’s more assured direction and script.

Davis turns Amanda Waller from an angry boss to a nearly demented control freak, Robbie’s Quinn is the most tragically insane she’s ever been, and even Joel Kinnaman (“The Killing,” “RoboCop (2014)”) who previously played his character Rick Flag in the previous “Squad” film delivers more depth and nuance to a character who was previously just a blank faced military man.

Yet let’s not forget the new members of the Squad who make up the beating heart of this film. Idris Elba (“Luther,” “Molly’s Game”) as Bloodsport is an absolutely ruthless killer and terrible father, and Elba delivers a performance that shows just how much weight you can give a character as seemingly two dimensional as this. John Cena’s (“Blockers,” “Bumblebee”) Peacemaker will likely ruffle some feathers of fans expecting a Captain America like freedom fighter, when instead he’s a deadpan college frat boy obsessed with violence and obtaining peace by any means necessary. And he might just be Cena’s final transformation from “movie star” to “actor.” Sylvester Stallone (“Creed,” “First Blood”) voices King Shark, a big bloodthirsty teddy bear who’s clearly destined to be an adorably ruthless breakout star.

Yet, for all the machismos being thrown around, the film would be nothing without Daniela Melchior (“Ouro Verde,” “A Herdeira”) as Ratcatcher 2 and David Dastmalchian (“The Belko Experiment,” “Ant-Man and the Wasp”) as Polka-Dot Man. Yes, seriously. Dastmalchian provides the film’s most apathetic character but also delivers a sense of hidden care and good. He seems like the only person who doesn’t deserve to be there but also the only one actually wishing for death, and the inevitable growth and friendships that he establishes are both tragically funny and also legitimately heartwarming.

Melchior, in her English language debut, plays Ratcatcher 2 with a delightful sense of fun and optimism. She and Elba’s Bloodsport but heads frequently but their evolution of care as the film progresses is truly sweet and endearing. Its all to say that Gunn firmly establishes these as characters you care about, which makes the hits hit harder and the beating heart at the center of the film that much more palpable.

Cinematographer Henry Braham (“Guardians of the Galaxy Vol. 2,” “The Golden Compass”) and Gunn have given this film a distinct handheld look to everything. While there are certainly big VFX shots with overhead cameras, there are just as many small manual turns and tricks to the look of the film that give it a guerilla, hand crafted feeling. Gunn has mentioned that this film was inspired by “The Dirty Dozen,” and Vietnam war films, and if nothing else, it certainly looks the part.

What Gunn has managed to craft here, more so than ever before, is a movie that feels like it shouldn’t exist. There are rampant anti-government and anti-America plotlines, moral ambiguity at every turn, waves of gore and viscera, and just general weirdness, all coasting along on a score from John Murphy (“Sunshine,” “Kick-Ass”) that’s equal parts harmonizing choirs and shredding guitar riffs. It all somehow works and transforms what is an otherwise pretty standard plot into a big ball of creative gumption. It isn’t perfect, but it flies by so fast and has all the energy of a secretly made film that its impossible not to smile at least once.

The best way to summarize “The Suicide Squad” is a movie where death is a laughing matter, except when it isn’t. How Gunn manages to deliver that tone is anyone’s guess, but it doesn’t matter as long as it works. And work it does, as he’s delivered a film that overcomes and plot derivativeness with an absolutely stellar cast, wonderful playfulness, rock solid tone, and big beating heart underneath all the blood and gore. Its an excellent guerilla style blockbuster and easily one of the best DC outings in decades. 4.5/5

The Green Knight - Review

 

Dripping in Arthurian legend and with every line spoken in some sort of hushed whisper, David Lowery’s “The Green Knight” demonstrates a continued understanding of the power of storytelling and myth, and a further refinement of the director’s ability to balance fantasy and coming of age elements previously displayed in works like “A Ghost Story” and “Pete’s Dragon (2016).”

Dev Patel (“Slumdog Millionaire,” “The Personal History of David Copperfield”) stars as Gawain, the nephew of King Arthur who’s tasked with fulfilling an agreement with a mysterious Green Knight, played by Ralph Ineson (“Chernobyl,” “The VVitch”). This is the most basic of plot descriptions, not because of spoilers but because the film is a perfect example of experiential cinema.

What exactly does that mean? Well, Lowery has clearly put the most effort into making the audience not just identify with, but feel as though they’re going on this journey alongside Gawain. Multiple sequences play out with little to no dialogue or explanation, instead stretching the boundaries between fantasy and reality. It's hard to say what actually happens and what’s just in Gaiwan’s head, but that distinction isn’t necessary for the film to be effective.

Patel’s performance is grounded, gritty, and immature. His Gawain is a fresh faced, eager to please young knight and it further justifies categorizing this film as a coming of age story. Each character he encounters is just that, not an actor playing a role, but disappearing into a fantastical kind of character meant to further motivate him and reinforce this bizarre medieval world.

Joel Edgerton (“Loving,” “Boy Erased”) appears as the Lord of a manor Gawain encounters and maintains an authoritative presence in his brief screen time. Alicia Vikander (“Ex Machina,” “The Danish Girl”) plays dual roles with dual purposes and she manages to switch between the two effortlessly, leaving unattentive viewers none the wiser. Ineson is a commanding presence in his brief time as The Green Knight and Erin Kellyman (“Solo: A Star Wars Story,” “The Falcon and the Winter Soldier”) continues her streak of playing brief and unsettling characters that are massive standouts.

Yet, make no mistake, as fantastical as this world is, this is still an A24 picture and Lowery’s penchant for slow and methodical shots is still fully present. “A Knight’s Tale” this is not, and anyone going in expecting an adventurous medieval romp or even a twisted fantasy should know that “Green Knight” is a very deliberately paced film, content with letting shots linger for minutes and letting some scenes go by without a word spoken.

It's a stylistic choice to be sure, and it absolutely will not land with every viewer, but those who do throw their hands up and succumb to Lowery’s reinterpretation with (arguably) the first hero’s journey. It’s impeccably shot by cinematographer Andrew Droz Palermo (“You’re Next,” “A Ghost Story”) with plenty of shots that transcend what could be called gimickiness and instead end up searing themselves into your brain. They are accompanied by some truly ethereal music by Daniel Hart (“Pete’s Dragon (2016),” “The Old Man and the Gun”) to create an atmosphere of true otherworldly fantasy.

Any English major worth their salt will tell you that one of the reasons the Green Knight is green is plain and simple: he’s otherworldly. Lowery has achieved such a feat with his entire film for sure; “Green Knight” is full of sumptuous shots and excellent production design, but the actors so committed to this unsettling fantasy world and the music that underscores it all helps to create a film that’s atmosphere is likely to stay with you long after you’ve viewed it. 4.5/5

Jungle Cruise - Review

A multi-million-dollar summer blockbuster adventure film starring some pretty bankable actors based on a Walt Disney theme park ride. Sound familiar? Yes, “Jungle Cruise” will receive endless comparisons to “Pirates of the Caribbean,” but judging it as its own thing, it’s easy to recommend “Cruise” as a fun, lightweight popcorn flick: nothing more, nothing less.

Directed by Jaume Collet-Serra (“The Shallows,” “The Commuter”) and written by Michael Green (“Logan,” “Blade Runner 2049”), Glenn Ficarra (“I Love You Phillip Morris,” “Crazy, Stupid, Love”), and John Requa (“I Love You Phillip Morris,” “Crazy, Stupid, Love”),  from a story by Ficarra, Requa, John Norville (“Tin Cup”), and Josh Goldstein (“Sweet Valley High,” “American Dreams”), “Jungle Cruise” sees Dwayne Johnson (“Fast Five,” “The Scorpion King”) leading Emily Blunt (“Mary Poppins Returns,” “Edge of Tomorrow”) and Jack Whitehall (“Bad Education,” “Fresh Meat”) down a jungle river in the Amazon in search of a mystical healing tree.

Take that plot, throw in some action sequences, a mystical McGuffin, some cheesy villains, and a boatload (pun entirely intended) of CGI, and you’ve got what very well might be one of the most unoriginal adventure films in a very long time. Its not bad, by any means, but its so clear that the film doesn’t have a single original bone or story beat in its body. Have you ever seen “Romancing the Stone”? “Raiders of the Lost Ark”? “Treasure of the Sierra Madre”? Any film that involved Ray Harryhausen? Then you’ll know, virtually beat for beat, how this entire adventure will go.

That’s not to say its unenjoyable, and the reason it does end up being such a charming blast is because of those actors captaining this ship. Johnson continues his streak of being nearly effortlessly likable. A big teddy bear of a man with arms as big as tree trunks, his skipper Frank is a cynical, shrewd con artist of a captain who’s not above a bad pun or a clever moneymaking scheme.

Blunt’s Lily might be a bit too naïve for her own good, but she’s still a wonderfully headstrong and smart scientist who can hold her own alongside the adventurous escapades and big personalities being thrown her way. Most surprisingly, Whitehall keeps what could’ve easily been a one note joke character consistently likable and even gives him an arc in his own way.

Meanwhile Jesse Plemmons (“Game Night,” “Fargo (2015)”) and Paul Giamatti (“Sideways,” “Billions”) are making absolute meals of the scenery, CGI or not. Plemmons plays Prince Joachim, a German aristocrat determined to find the mystical tree and Giamatti plays what can only be described as a cross between an Italian mob boss and Colonel Sanders as Nilo Nemolato, a competitor and loan shark to Frank. Both are having the times of their lives, and, despite Giamatti only being on screen for a limited time, both are a highlight.

Visually, the film is shot fairly typically. Nothing is going to blow your socks off in terms of visuals or shots, but its all serviceable. Some of the more fantastical antagonists, such as one infested with bees and with snakes wrapping around their skeleton like muscles represent a surprising level of visual ingenuity. Its one of the few places where Collet-Serra’s background in horror films shines through, as these antagonists are truly unsettling and wonderfully designed.

However, these excellent designs make the lackluster greenscreen work stand out even more. For about half the film, everything looks fine and average. Yet there are a handful of scenes that really look bad, far worse than a film with this budget should allow. Nothing here has to be perfect, but the shoddy execution of some of these scenes, one of which is meant to be a big emotional moment, really weakens the entire affair.

Like most of these big budget popcorn flicks, what ends up really saving the film is not just the charming actors, but the little surprises. Frank’s cons show up throughout in very amusing ways that serve to spice up the adventure, and Veronica Falcón (“Queen of the South”, “Perry Mason”) appears for a short while in the middle of the film as Trader Sam and is an instant comedic highlight, bleeding charisma to rival Johnson. Even the jabs at the misogynistic nature of early 1900s English society and the overt way Lily tries to combat them come of as lighthearted instead of meanspirited.

“Jungle Cruise” is lightweight popcorn fare, plain and simple. It’s commanded by some wonderfully charming performances, some fun surprises, and great antagonistic designs. It might not have an original beat in its plot and have some shoddy green screen, but as a simple, fun adventure movie, it’s easy to recommend as a fun, meandering trip down the river. 3/5