Showing posts with label comic books. Show all posts
Showing posts with label comic books. Show all posts

Saturday, December 3, 2016

My Day with Film (Saturday, 12/3/16)

Saturday, 12/3/16


Dear Diary,

I'm close to landing a stint as an intern on the set of a new indie thriller shooting in Louisville this week and next. I've been in touch with some great people and now just waiting on approval from the Assistant Director staff. More to come on that in the days ahead.


James Wan is directing the AQUAMAN movie starring Jason Momoa for Warner Brothers. It's part of the whole Justice League / Batman v Superman movie universe. The official release date has been announced for that film: October 5th, 2018. That's the exact day my baby sister turns 21. Damn, I'm getting old.

I just saw an article from Indiewire which said that Johnny Depp, David Lynch and J.K. Simmons recently joined THE BLACK GHIANDOLA, a short film directed by Catherine Hardwicke, Sam Raimi and Ted Melfi. It's about a young man risking everything to save the girl he loves after his family is killed by zombies. The kicker is that the short was conceived and co-written by young Anthony Conti, a teen battling stage IV adrenal cortical cancer. It makes my heart happy to see all this A-list talent coming together to turn this kid's filmmaking dreams into reality. I hope to see the finished product someday.

In other news, I think you'll be pleased to know that GUARDIANS OF THE GALAXY, VOL. 2 looks even better than the original. Marvel just released a brand-new trailer which you can (and should!) check out here:


Baby Groot is poised to steal this entire movie.

Lastly, I'm trying to decide what movie to watch tonight. I have at least one episode of BLACK MIRROR to get through, but after that I'm not sure. Yesterday BLACK MIRROR had me in the mood to watch my Criterion disc of David Fincher's THE GAME, so maybe that'll be the one.

Until tomorrow,

BC

Friday, May 27, 2016

"X-Men: Apocalypse" Review


WARNING: This post may contain spoilers... unless you've seen an X-Men movie before.

Bryan Singer returns to bring us the third film in the X-Men: First Class trilogy; a film which, in title alone, promises to be the biggest X-Movie yet. And with the promise of so many fresh faces, surely X-Men: Apocalypse would be something special, right?

Right???

Wrong.

X-Men: Apocalypse is the biggest cinematic letdown of the year so far. It isn't entirely devoid of all merit, but the shocking lack of both action and stakes, as well as an empty blowhard of a villain, make this a middle-of-the-road superhero movie and easily the most underwhelming X-Men film since X-Men Origins: Wolverine

Seeming to backtrack once again from the ending of Days of Future Past, X-Men: Apocalypse takes place in the mid-1980s, so one can't help but wonder why Patrick Stewart never went back to warn James McAvoy that they'd eventually be pitted against an Egyptian god capable of decimating the entire world with little effort. The story here is that the world's first mutant, En Sabah Nur a.k.a. "Apocalypse" (Oscar Isaac), awakens after being preserved underground for 5,000 years. Back then, the Egyptians worshiped him because of his abilities. In the '80s, he comes to find that too much has changed, including the fact that nobody worships him anymore. To him, the only logical thing to do is cleanse the earth of mankind and "build a better world" where everyone will kneel to the might of En Sabah Nur and his "four horsemen." Since Pestilence, War, Famine and Death are no longer by his side, he recruits powerful mutants like Storm (Alexandra Shipp), Angel (Ben Hardy), Psylocke (Olivia Munn) and Magneto (Michael Fassbender). From here, Apocalypse can be seen preening for the rest of the movie. On the other side of the coin, the X-Men have some bushy-tailed recruits of their own, including Cyclops (Tye Sheridan), Nightcrawler (Kodi Smit-McPhee), Jean Grey (Sophie Turner) and Quicksilver (Evan Peters). They join mainstays Professor X (McAvoy), Beast (Nicholas Hoult) and Mystique (Jennifer Lawrence) in an effort to prevent yet another extinction-level event.

This is pretty standard superhero formula, and the script by Simon Kinberg (responsible for two different ends of the X-spectrum, including X-Men: The Last Stand and X-Men: Days of Future Past) does precious little to deviate from that. That said, Magneto gets a bit of a fresh facelift as we pick up with him trying to live a normal, peaceful life in Poland. He has a wife, daughter, and steady job as a metalworker of all things. Fassbender gives another committed performance and has one of the best scenes in the entire franchise when Erik faces the consequences of revealing his powers during a workplace accident that would've killed a man without his help.

For the most part, however, nobody else in the cast is given strong material to work with. The performances aren't awful; there's just nothing here to make anybody in particular stand out. This is an ensemble packed with loads of exciting talent, and it will be awesome to see future installments with this cast. But there was nothing here that made me go "Man, I LOVED ______ ! I can't wait to see more of him/her in the next one!" Sure, Quicksilver gets a couple more great time-freezing sequences but nothing that lives up to the one in the Pentagon kitchen in DoFP. I will say that it would be ill-advised NOT to use Munn's Psylocke in a Deadpool sequel since she's basically Wade Wilson's female counterpart. She hardly gets to do anything in this movie anyway, so using her elsewhere might bring the fulfillment that fans (and the character) deserve. Perhaps more devastating than the actual apocalypse itself is the fact that Oscar Isaac's talents are essentially reduced to rubble along with everything else. En Sabah Nur, a guy who's supposed to single-handedly wipe everything out, ultimately does nothing with it. He destroys Cairo, and part of New York City, and sends the world's nuclear payloads to outer space, but in the grand scheme of things, he accomplishes literally nothing aside from getting a few mutants to listen to his incessant monologuing about how the world will soon fall and rise again in his image. Isaac could've made him an intriguing character, but it seems Kinberg failed to write him that way. We get no sense of stakes with his "evil" plan, and there's barely a shred of evolution for any of the characters. For the ones that do really change like Magneto, who actually makes an effort at a normal life, it feels like we've seen it all before. Characters like Magneto, Mystique and Professor X have shown shreds of various characteristics, both good and bad, in these movies for years now. So when Mystique takes on a role as a leader of the X-Men, Magneto flip-flops from good to bad to good yet again, and Storm moves to the good guys' side, it doesn't really feel like anything new.

The last major disappointment here is that the film suffers from Star Wars prequel syndrome - too much talking, not enough "doing." If Singer, Kinberg, and apparently Apocalypse himself had their way, humanity would end simply by talking everyone to death. There is one cool action scene mid-way through that doubles as an exciting cameo, and then there's the climactic fight scene which lasts maybe 10 minutes. That's it. Something isn't right if the X-Men are supposed to be facing their single biggest villain yet, and it all blows over like a dusty fart.

X-Men: Apocalypse earns a couple points for at least doing something interesting with Magneto and for Michael Fassbender acting the shit out of it. There are a handful of fun character moments, but that doesn't make up for a rote villain and a story with no sense of stakes or purpose. You should know already if you're going to see this movie or not, but my recommendation falls at the lower end of "average."

C-

Friday, April 29, 2016

"Captain America: Civil War" Review


This is it. The superhero film you've been waiting for is finally here.... for the most part.

Captain America: Civil War lacks the cohesiveness of its direct predecessor but still manages to be one of Marvel's better films to date. Now overseers of the franchise, writers Chris Markus and Stephen McFeely (along with sibling directors Anthony & Joe Russo) weave a yarn that proves they understand how to make all these characters work inside of the same 2.5-hour run time. Joss Whedon proved it could be done in the first Avengers movie, and now that he's moved on, the Russos have crafted a more urgent Avengers sequel than Age of Ultron.

At the end of the last movie, the Avengers lineup looked a bit different. As such, Cap (Chris Evans) appears to have led these "New Avengers" on several missions between the end of Age of Ultron and the start of Civil War. It appears the core lineup is now Cap, Black Widow (Scarlett Johansson), Scarlet Witch (Elizabeth Olsen), the Vision (Paul Bettany), and Falcon (Anthony Mackie) with Iron Man (Robert Downey, Jr.) and War Machine (Don Cheadle) joining in occasionally.

We pick up with the team in Lagos where they appear hot on the trail of Crossbones (Frank Grillo), one of Cap's classic nemeses from the comic books who was teased towards the end of Winter Soldier. During the operation, Scarlet Witch makes a foolhardy move that accidentally claims the lives of several innocent civilians (although, to this reviewer, the Avengers have appeared to do far worse damage before). This act proves to be the final straw to the United States government who feel some type of way about having their team of super-powered operatives making a mess of the entire world (see just about every "phase two" MCU film). The "Sokovia Accords" are passed as legislation requiring all super-humans to register with the United Nations or face retirement. This divides the Avengers in two, with #TeamIronMan in favor of the new law and #TeamCap looking to continue operating without oversight in order to eradicate evil wherever it may lurk rather than where the UN says it does. The greatest superhero clash in the history of movies ensues.

Although this reviewer is part of the minority which enjoyed the hell out of Batman v Superman, Marvel's superhero battle is every bit as satisfying as one could hope. Those disappointed in the marquee fight in DC's movie should be pleased with Civil War. Although it'd be great if the MCU films took a cue from their Netflix counterparts and gave the stunt choreography more room to breathe, a few sequences here aren't entirely masked by quick cuts and camera movement. The "money" fight scenes look incredible and contain some of the hardest-hitting action of the franchise. That said, it never gets quite as brutal as Daredevil or Jessica Jones.

By now, fans are eagerly anticipating the arrivals of Black Panther (Chadwick Boseman) and Spider-Man (Tom Holland). Rest assured, they are both perfect. Civil War left me wanting to watch Ryan Coogler's Black Panther solo movie immediately, while our now-third cinematic Spider-Man proves to be the most comics-accurate of the bunch. If you originally balked at the idea of yet another rebooted Spider-Man, wait until you see Civil War. This is the breath of fresh air we never knew the franchise needed.

So, what's wrong with all of this? Well, Civil War just has so many important characters to stuff into each scenario that it just ends up feeling like a more bloated version of Winter Soldier. This is, by and large, a Captain America movie in which the real emotional conflict can be nailed down to Cap's ongoing struggle to bring his pal Bucky / the "Winter Soldier" (Sebastian Stan) "back to the land of the living," as they say. Enter Iron Man on the other side of the aisle, and you have an interesting exploration of the costs of friendship and brotherhood. Basically, this is what you get when you explore indie-film themes with a $200 million budget.

In the end, Civil War doesn't quite shake things up for the MCU like Winter Soldier did. For that, the film comes off as a bit of a disappointment. It's a worthwhile journey despite feeling fundamentally like another stepping stone. Still, these characters are great, the performances are stellar, and the action is as satisfying as billed. Though it may not be the perfect "savior" for the genre that some are saying, Captain America: Civil War demands your attention. Not to be missed.

B+

Friday, April 15, 2016

"Midnight Special" Review


Indie auteur Jeff Nichols (Mud, Shotgun Stories) makes the leap to studio filmmaking with Midnight Special, a bold, new sci-fi adventure that's a little bit Bonnie & Clyde crossed with Close Encounters of the Third Kind.

In the film, Roy (Michael Shannon) and his friend Lucas (Joel Edgerton) are purported to be armed fugitives who have kidnapped a small boy. Turns out, that boy is Roy's son Alton (Jaeden Lieberher), and Roy has stolen him away from a religious leader (Sam Shepard) who alienated Roy and adopted Alton as his own son. Roy and Alton once lived on a ranch in Texas run by this cult whose entire theology centers around Alton and his unique abilities. As Alton's health begins to deteriorate, the conflict becomes a race against time, federal authorities and religious fanatics who all want to exploit the boy for different purposes.

The film itself is deliberately paced but consistently engaging. Nichols' indie roots are felt throughout the production in the choices he makes with the narrative and the characters. Despite B-movie ingredients, this is a very intimate, grounded production which values human emotions and interactions over extraneous visual effects. It doesn't feel "slick" or polished like last year's indie sci-fi darling Ex Machina. Midnight Special feels gritty in the way Nichols' previous work has, but it never gets overbearingly dreary. Alton is the key to maintaining a subversive sense of childlike wonder and discovery for the audience, and both Nichols' direction and Lieberher's performance deliver on that despite the external forces bearing down on the protagonists.

The most distressing part of this whole production is that Shepard's character is underused, and one gets the sense that much of his role was relegated to the cutting room floor. How do you get Sam Shepard for your movie and then hardly use him? Hopefully he'll get his due diligence in the Blu-ray deleted scenes.

Some audiences may also find fault with the way the film ends. While it's refreshing that things aren't exactly tied up in a bow, the climax sees Nichols perhaps overplaying his hand with "the big reveal." If you saw 10 Cloverfield Lane, the payoff feels similar; not completely void of merit but perhaps a little more than necessary. As a whole, though, Midnight Special is a unique sci-fi adventure that's worth taking, especially for indie fans.

(F.Y.I. - Midnight Special is NOT based directly on the folk song, although a new cover version is used over the end credits.)

A-

Tuesday, March 22, 2016

"Batman v Superman: Dawn of Justice" Review


Remember over the past year and a half how butthurt everyone on the Internet was towards everything Batman v Superman? From Ben Affleck's casting as Batman to Wonder Woman's brown outfit to the poorly-edited trailer revealing Doomsday last December, it's been a rocky road for the Man of Steel sequel to everyone on the outside looking in.

Well, the official word is finally in, folks: Batman v Superman: Dawn of Justice is a good movie. So good, in fact, that the R-rated Blu-ray should be a confident purchase ahead of Suicide Squad this August.

Unlike its predecessor, BvS tells an engaging story that actually seems to take precedent over the huge set pieces and visual effects. Writer Chris Terrio (Argo) may just be the best asset Warner and DC have at this point. He joins David S. Goyer (Man of Steel, the Blade series) on the screenplay.

The film picks up precisely where Man of Steel leaves off. We see Bruce Wayne (Affleck) rushing into Metropolis to try and save friends and employees from the Wayne Financial building which collapses as the fight between Superman (Henry Cavill) and General Zod (Michael Shannon) transpires. With scores dead and one of America's greatest cities razed, Bruce and many others fear for the world's safety if Superman's powers are left unchecked. Still, most of the world sees Superman as a figure of hope, perhaps even a deity. Leading the crusade to govern this "god" is Senator June Finch (Holly Hunter) of Kentucky. She works closely with Lex Luthor (Jesse Eisenberg) and is instrumental in allowing Lexcorp to import a rock of kryptonite from a wrecked ship in the Indian Ocean. All the while, Batman puts his detective skills to the test as he tries to understand his rival and the larger universe he represents. Circumstances eventually force Batman and Superman to confront each other one-on-one in a showdown for the ages. When a larger threat arises, the two set aside their differences and are joined by Wonder Woman (Gal Gadot) for one last titanic struggle. Miraculously, it's one that doesn't put as many innocent bystanders in jeopardy. Thank God.

There's a lot going on, but somehow it all feels pretty well-balanced. Credit the writers and director Zack Snyder's confident hand in juggling the action and characters in service of the larger story. There aren't many instances where it feels as if we're going on an unnecessary tangent, a la The Amazing Spider-Man 2. It's probably safe to assume that the 3-hour "director's cut" will have more self-indulgent sequences, but for now we can't judge the whole film on what we haven't seen.

Not all of the heavy emotional beats land how they should, and overall the tone may be too dark for those more accustomed to the lightheartedness of Marvel's films. However, BvS still has more emotional complexity than most everything Marvel has produced this side of Netflix.

If you're curious about how the apparently dubious casting decisions panned out, cautious optimists should be pleased. Affleck is a better Batman than Christian Bale, and Gadot surprises as Wonder Woman despite little screen time. Although, I'm more curious than confident to see how she handles her first huge leading role in Patty Jenkins' solo feature in 2017. Eisenberg is terrific but not as Lex Luthor. His squirrelly mannerisms and boyish voice would make him an excellent Riddler. He's tough to buy as Lex despite a committed turn.

I was concerned that there would be too many important characters vying for screen time and that nothing would ultimately make sense in BvS.

I've never been so happy to be proven wrong.

After seeing the film, Warner Brothers' spotty marketing may, in fact, be the stuff of genius. Lex Luthor himself couldn't have hatched a better scheme: temper expectations just enough so that the audience can be nothing but pleasantly surprised, and if they're let down, then it's not a far fall.

After all, hindsight - or is it X-ray vision? - is 20/20.

B+

Monday, February 15, 2016

"Deadpool" Review


After years in development hell at Fox, the "Merc with a Mouth" finally has his own live-action movie! And they finally did right by the character. You may recall that Ryan Reynolds first played Wade Wilson in 2009's X-Men Origins: Wolverine, but whatever abhorrent movie monster they turned him into for the final act was most assuredly NOT Deadpool.

Eww, no.

As a result of the public's violent outcry for an honest portrayal of Deadpool, Reynolds, along with writers Rhett Reese and Paul Wernick, championed the character and the idea of an R-rated, stand-alone Deadpool film. After some "leaked" test footage went viral, Fox couldn't put the movie off any longer. They finally took a risk on what is essentially an R-rated X-Men movie. The character of Deadpool has always been synonymous with crude, scatalogical humor, crass language, fourth-wall breaking and graphic violence. Thank our lucky comic-book stars that none of that is lost in 2016's Deadpool.

Probably the film's most contrived aspect is that it is, at its core, another basic superhero origin story. The big difference is that Deadpool is well aware of its own trappings. First-time director Tim Miller and his writers use these basic pieces to present a character and his world so in-tune with the source material that this becomes a superhero movie that actually feels refreshing. 

Eww, yes.

Explaining the plot in-depth will give too much away because of the way Deadpool himself toys with the structure of the film. For example, he stops in the middle of the opening action scene and narrates to us how we got to the current situation, which happens to be a thug impaled on his dual katanas "like a fucking kebab." Deadpool's words, not mine. Through this detour, the character's backstory and stakes are established. We learn that the opening action scene is one important moment in a larger revenge narrative.  

As crass as Deadpool is as both a character and film, its lightheartedness is infectious. It's impossible to hate the way this story is treated when the character is played with so much enthusiasm and loyalty to its roots. Kudos to Reynolds for working tirelessly to do this character right and for finally pulling off a superhero role. It's been tossed around that this is the part Reynolds was "born to play." Deadpool fits his comic sensibilities and his physicality so perfectly that it's hard to argue otherwise.


As a film, Deadpool will never win any awards and may never be considered a "masterpiece" by anyone's standards. However, this is a film that knows exactly what it has to be and pulls it off without any glaring flaws. Believe it or not, Deadpool, Fox's R-rated super-gamble, is the first must-see movie of 2016.

A+

Monday, January 25, 2016

Sundance 2016 - "Yoga Hosers" Review


Kevin Smith follows up Tusk with part two of his "True North" trilogy: Yoga Hosers. The Colleens (Lily-Rose Depp, Harley Quinn Smith) are sophomores in high school who love their smartphones, their band, and practicing yoga. They hate working at the Eh-2-Zed convenient store, Winnipeg's go-to shop for artisanal maple syrups. When their plans to attend a senior party backfire, the girls team up with bumbling "manhunter" Guy LaPointe (Johnny Depp) to destroy the evil lurking beneath the store.

Your tolerance for this kind of film depends on what you think of Canada jokes and late-period Kevin Smith. It's no secret that the guy loves his daughter and wanted to give her a fun vehicle for her first leading role, but the man was high as a kite when he wrote this script. That said, I was grinning ear to ear from start to finish. Maybe it was the margaritas beforehand, but I left wanting to watch the forthcoming part three, Moose Jaws, immediately.

Yoga Hosers is only slightly less messed up than Tusk, which made it easier to devour the nonstop manic hilarity this time. Clever quips, sight gags and cameos pick up the slack by the time we quit laughing at the millionth utterances of the long-O's in "oot," "aboot," and "sorey" (sic "sorry").

Perhaps both the younger Depp and the younger Smith need a project with more meat on it before we all start taking them seriously as rising stars, but they navigate this material like pros. They're perfect fits for the Colleens. The older Depp solidifies LaPointe as my favorite of his post-Captain Jack Sparrow characters. From the shifting moles to his occasionally cross-eyed glare, every nuance is hysterical. 

I don't trust the people who came out of Yoga Hosers thinking poorly about it. The older Smith, in his pot-addled state, miraculously managed to weave subtexts about chastity, feminism, and the flaws of Gen-Y into a colorfully original script. I promise you've never seen these subjects explored the way Yoga Hosers presents them.

Again, your enjoyment depends entirely on your suspension of disbelief and tolerance for Canada jokes. However, one should expect nothing less from this stage in Smith's career. Come prepared for an absurdist blast.

A-