Mar 162017
 
two reels
deathnote2017

High school student Light Turner (Nat Wolff) finds the Death Note, a book that allows the holder to kill anyone whose name he writes into it, within a set of rules. The book is watched over by the demonic death god Ryuk (voice: Willem Dafoe). After a couple successful uses, he shows the book to Mia (Margaret Qualley), the hot girl at school, who is infatuated by the power. Light chooses not just to kill bad guys, but to make it clear to the world that someone has the power to kill anyoneā€”thus frightening the world into peace. Lightā€™s father is a hard-nosed policeman that ends up hunting for the killer, working with the mysterious L (Lakeith Stanfield).

Iā€™m not a fan of the Japanese film version. It, like the manga that preceded it, has a great idea and begins well. Then it falls apart in never-ending mental gymnastics between Light, who gets progressively less interesting, and L, an annoying character. It goes on way too long focusing on the wrong thing.

This new version makes some substantial changes in Lightā€™s family as well as giving him a girlfriend whose in on it all. The best change was in toning L down. He is autistic in the original, although I wouldnā€™t say he was played that way. Here heā€™s just odd. As the story is greatly compressed (the Japanese version was two films, both over two hours), Lā€™s too-brilliant deductions now are random silliness. He just suddenly knows things. The original went on too long; this one’s too abrupt. This version is not a duel between the two smartest people on the planet, but between one teen who just knows stuff and an average if troubled teen. If done properly, that could be an interesting battle, but I kept wanting for either one of them to be cleverer. But what I really wanted was to like one of them. Mia is the only person I wanted to follow, and sheā€™s painted as a little evil.

Things pick up at the end as Light finally uses the power of the Note in interesting ways. Iā€™d have liked to see the entire move run like that. But we still have the problem of neither of the main characters being people I want to spend time with. The Mia movie would have been great. Still, the performances are reasonable, it has a few nice Rube Goldberg moments, and the basic premise is still good. It should have been better, but as this is a Netflix movie, if you already subscribe, itā€™s worth streaming.

 Fantasy, Reviews Tagged with:
Mar 082017
  March 8, 2017

The best is fun (See Part 1). The worst is more fun. Here are the nominees for Worst in Science Fiction or Fantasy cinema in 2016:

 

Worst Science Fiction or Fantasy Film:

 

Worst Animated Science Fiction or Fantasy Film:

  • Batman: The Killing Joke
  • Kingsglaive: Final Fantasy XV
  • Moana

 

Worst Performance by an Actor:

  • Eddie Redmayne as Empty Character (Fantastic Beasts and Where to Find Them)
  • Henry Cavill as Grumpy Jesus Metaphor (Bats v Supes)
  • Jeff Goldblum as Jeff Goldblum (Independence Day: Resurgence)
  • Liam Hemsworth as Generic Hero (Independence Day: Resurgence)
  • Michael Shannon as Constipated Man (Midnight Special)

 

Worst Performance by an Actress:

  • Kate McKinnon as Person Doing Improv (Ghostbusters)
  • Katherine Waterston as Empty Air (Fantastic Beasts and Where to Find Them)
  • Marion Cotillard as Woman With Random Expressions (Assassinā€™s Creed)
  • Melissa McCarthy as Melissa McCathy (Ghostbusters)
  • [BLANK] Because there werenā€™t enough women in Genre films

 

Worst Supporting Performance by an Actor:

  • Gerard Butler as King of Sparta (Gods of Egypt)
  • Jai Courtney as Racist Stereotype (Suicide Squad)
  • Jesse Eisenberg as Jesse Eisenberg on Cocaine (Bats v Supes)
  • Johnny Depp as Whatever the Hell He Was (Alice Through the Looking Glass)
  • Tyler Perry as Guy In Wrong Film (Teenage Mutant Ninja Turtles: Out of the Shadows)

 

Worst Supporting Performance by an Actress:

  • Amy Adams as Bland Damsel (Bats v Supes)
  • Charlize Theron as Whispering Person (The Huntsman: Winter’s War)
  • Kirsten Dunst as Cardboard (Midnight Special)
  • Sela Ward as Overly Dramatic President (Independence Day: Resurgence)
  • [BLANK] Because there werenā€™t enough women in Genre films

 

Worst Direction:

  • Dave Green (Teenage Mutant Ninja Turtles: Out of the Shadows)
  • Denis Villeneuve (Arrival)
  • Jeff Nichols (Midnight Special)
  • Paul Feig (Ghostbusters)
  • Zack Snyder (Batman v Superman: Dawn of Justice)

 

Worst Screenplay:

  • Batman v Superman: Dawn of Justice
  • The BFG
  • Midnight Special
  • Suicide Squad
  • X-Men: Apocalypse

 

Most Racist/Sexist:

  • Batman v Superman: Dawn of Justice for Girl Fall Down
  • Doctor Strange for White-washing
  • Ghostbusters for Twisting the Narrative for Marketing
  • Gods of Egypt for ā€œEgyptians? Ah, You Mean White People!ā€
  • The Huntsman: Winter War for ā€œHow Can We Get a Male Lead in Snow White?ā€
  • Suicide Squad for Racist Stereotype
  • Teenage Mutant Ninja Turtles: Out of the Shadows for Anti-Asian Racism and White/Turtle Power

 

Worst Screen Moment:

  • Bottle of Piss (Bats v Supes)
  • Emails (Bats v Supes)
  • ā€œIā€™m Jimmy Olsenā€ (Bats v Supes – Extended Edition)
  • MARTHA! (Bats v Supes)
  • Recorded Fart (Ghostbusters)
  • Professor X Goes Bald (X-Men: Apocalypse)
  • Third Deadshot Introduction (Suicide Squad)

 

And that’s it. This year’s nominees. Did I get it right? Well, of course I did, but feel free to voice your opinion, particularly your agreement. And who/what will win? Who indeed. This much I can guarantee: no film will sweep.

 

* This is a completely unfair nomination as I havenā€™t seen the film. But Iā€™ve seen both itā€™s predecessors and my life isnā€™t long enough to watch a third. Based on those, Iā€™m betting it would be a contender in every category.

Mar 082017
  March 8, 2017

Iā€™ve already commented on the failure of the Saturn Awards and the Academy Awards always fail. The Razzies were pretty good this year, but still missed a few things, so itā€™s time to do it right. Iā€™ll call it the Mattys. For a start, the nominees in each category will be the correct ones (canā€™t figure why others keep missing thatā€”if you donā€™t know which ones are the correct ones, you just ask me; itā€™s simple). Next, I do both a ā€œBestā€ and ā€œWorstā€ in the major categories. As already mentioned, the multiple categories of The Saturn Awards doom them, so Iā€™m just having two general genre film categories. Because of that, the Best/Worst film categories have a larger nominee list. As for Best Editing/Costume Design/Make-Up Design/SFX, these are categories best awarded by experts in those fields. No one should ever give an editing award (in film or literature) except other editors. And I dropped music because nothing is interesting this year. So first for the best, the nominees are:

Best Science Fiction or Fantasy Film:

 

Best Animated Science Fiction or Fantasy:

 

Best Performance by an Actor:

  • Chris Evans as Steve Rogers (Captain America: Civil War)
  • Chris Pratt as Jim Preston (Passengers)
  • Robert Downey Jr. as Tony Stark (Captain America: Civil War)
  • Ryan Reynolds as Wade Wilson (Deadpool)

 

Best Performance by an Actress

  • Anya Taylor-Joy as Morgan (Morgan)
  • Kate Mara as Lee (Morgan)
  • Margot Robbie as Harley Quinn (Suicide Squad)
  • Samantha Robinson as Elaine (The Love Witch)
  • Sennia Nanua as Melanie (The Girl With All the Gifts)

 

Best Supporting Performance by an Actor:

  • Dan Fogler as Funny Sidekick (Fantastic Beasts and Where to Find Them)
  • Jared Leto as The Joker (Suicide Squad)
  • Karl Urban as Bones (Star Trek Beyond)
  • Paddy Considine as Sgt. Parks (The Girl With All the Gifts)
  • Paul Giamatti as Nasty Psychologist (Morgan)
  • Sebastian Stan as Bucky (Captain America: Civil War)

 

Best Supporting Performance by an Actress:

  • Alison Sudol as Best Thing in the Movie (Fantastic Beasts and Where to Find Them)
  • Elizabeth Olsen as Wanda (Captain America: Civil War)
  • Gemma Arterton as The Teacher (The Girl With All the Gifts)
  • Glenn Close as Heartless Doctor (The Girl With All the Gifts)
  • Morena Baccarin as Perfection (Deadpool)

 

The Ewan McGregor/Obi-Wan Kenobi Award for Not Embarrassing Yourself in a Bad Situation:

 

Best Direction:

  • Anna Biller (The Love Witch)
  • Anthony Russo, Joe Russo (Captain America: Civil War)
  • Colm McCarthy (The Girl With All The Gifts)
  • Morten Tyldum (Passengers)
  • Tim Miller (Deadpool)

 

Best Film Screenplay:

  • Captain America: Civil War
  • Deadpool
  • The Girl With All The Gifts
  • The Lobster
  • The Love Witch

 

Best Screen Moment:

  • The Airport Fight (Captain America: Civil War)
  • The Bargain (Doctor Strange)
  • Deaths (Rogue One)
  • One Less Hand (Deadpool)
  • Tracking Device (Star Trek Beyond)
  • The Tree (The Girl With All The Gifts)
  • Wade Meets Vanessa (Deadpool)
  • Why You Have Children (The Lobster)

The Worst of the year will be in the next post, so take a moment to digest these.

* Yeah, yeah, I know it wasnā€™t released to theaters. Iā€™ll break my rules when I want.

Mar 072017
 
3,5 reels

High school student Taki, from Tokyo, and Mitsuha, from the country, find themselves body swapping at random times when they sleep. After a time of uncertainty and embarrassment, a greater mystery arises.

High school romances are a bit young for my tastes, so I hope director Makoto Shinkai aims for something a bit more adult in the future as he is clearly the next bit thing in anime. Your Name surpassed Spirited Awayā€™s box office record in Japan, and while it isnā€™t up to Miyazakiā€™s best works, the potential is there. Outside of Miyazakiā€™s features, I canā€™t think of a better looking anime. Nor one with superior voice acting.

It starts as a teenage comedy, with accent on the comedy. Thereā€™s the predictable jokes about breasts and each student causing the other problems as they do the wrong things for their location and gender. But a third of the way that stops and the material matures. While not exactly heavy, the comedy fades to be replaced by supernaturally-based romance. I was surprised at how emotional I found it as it delved into unfulfilled needs and longings. Shinto provides the supernatural ingredient but the desire for something more and different, as well as romance is the real magic. The film also takes on an action component as Taki and Mitsuha fight to stop a tragedy.

Thereā€™s a few logic problems that needled me through most of the film. This kind of plot would only work in a setting with little communication and less access to information. Shouldnā€™t Taki and Mitsuha have tried to call each other the first time they swapped? Or texted? Or looked up everything about each other? But instead they leave notes and stay in ignorance about each otherā€™s surroundings.

The prolonged ending drags as we know what the characters donā€™t. But the flaws are not enough to drag down what is otherwise a beautiful film.

This is a hard film to review as I donā€™t want to give away too much, as practically every other review does. If you are lucky enough to have avoided comments, I suggest you see it now as the slightest bit of research will give away far too much.

Mar 062017
  March 6, 2017

As I run awards for the DC Film Festival and the Eugie Foster Memorial Award, as well as being tangled up with the Hugo mess in the past, I tend to take awards seriously. The Saturn nominees came out recently, and they’re hardly a guide toward the best in genre film. That is, being nominated this year is not much of an honor. Ā As I think a genre Film (and TV) award is a good idea, this saddens me (well, not all that sad…but it is unfortunate).

My first thought was that everyone involved in voting had rotten taste (no “Kubo and the Two Strings” Really?), and that could be true, but that isn’t the big problem. Structurally it simply isn’t going to honor the best–not in nominations anyway. And that has to do with the categories. For a start, there’s too many.

Let’s look at the “Best Comic-to-Motion Picture Release” category. That is going to open up some strange comparisons–“A History of Violence” doesn’t really fit with “Superman.” So, a Superhero category would work better. But that wouldn’t make much difference this year–nothing to pull out, and adding “Max Steel” to those that qualify is unlikely to change anything. The problem is too narrow a category with too many nominees. Sticking with American films, there are only seven wide-released “Comics to Motion Picture” films: Batman v Superman: Dawn of Justice,Ā Captain America: Civil War,Ā Deadpool,Ā Doctor Strange,Ā Suicide Squad, Teenage Mutant Ninja Turtles: Out of the Shadows, andĀ X-Men: Apocalypse. All the nomination process did was eliminate one film: TMNT: Out of the Shadows. I’d have dumped “Bats v Supes” if ranking them all, but it is silly to argue it as neither should be there. Equally it is hard to justify Suicide Squad and X-Men on the list. A nominee list should not include almost everything out there. So either have a lot fewer nominees (three would do), or merge the category in with others. Any award is only as good as what it honors. If it honors trash, then the award is trash, and my forming a category that has to end up taking everything, it is going to end up honoring films that should not be honored.

Then there is Fantasy. There’s a reasonable number of fantasy film, so it is a workable category in theory. But the Saturn Awards has a separate Animation category that siphons off films. It has a separate science fiction category that gets Star Wars films (even though Lucas called the series fantasy). Comic book movies, like “Doctor Strange” are out of the running as well as Horror films, that also have a category. Basically, they yanked away every good film, leaving a category of weak, also-rans, including two on my worst of the year list: “Ghost Busters” and “The BFG.”

Generally I think sticking with the three main sub-genres of fantastical film (SF, Fantasy, and Horror) is a good idea, but OK, they wanted to expand a bit into action, but they are confused on their categories. The Saturn Awards has an Action/Adventure category and a Thriller category, and those two are going to butt heads (and butt into Horror as well). So not only do we again run into some of my worst of the year picks as nominees for best of the year, but we get some strange choices. “The Accountant” was a good action film, but here it is nominated as a Thriller. OK, but now I really need to know what those terms mean. More amusing is “Hidden Figures” as an Action film. You remember that scene where the mathematicians get in that shoot out. Ā Yeah, me neither. I understand wanting to recognize it, but they don’t have a category. Perhaps dumping both those categories and putting in a “Science-related” category would work out better. That would also allow for documentaries.

Like most Awards that have a popular vote (or semi-popular in this case), they don’t have the breadth of viewing to pull off the awards in general, but certainly not with so many categories. Where is “The Love Witch“? It has gotten great responses, but it pretty much just made the festival circuit, so probable these folks missed it. Where is “The Girl With All The Gifts“? Every review I’ve read of it (including my own) declares it as one of the best films of the year and one of the greatest zombie films ever. But it had a limited release, so the Saturn voters never saw it. “Kubo and the Two Strings” is unquestionably the finest animated film of the year, but it didn’t get the advertising budget that “Zootopia” did, so again, the Saturn voters missed it. These folks don’t know cinema well enough to be voting.

I tried my best to fix their voting, to put in what I’d nominate in there categories, but it just doesn’t work. My first attempt gave me:

Comics-to-Film

  • Captain America: Civil War
  • Deadpool
  • Doctor Strange

SF

  • The Girl With All The Gifts
  • Morgan
  • Passengers
  • Rogue One: A Star Wars Story
  • Star Trek Beyond

Fantasy

  • The Love Witch

Animated

  • Gantz: 0
  • Kubo and the Two Strings
  • Zootopia

And then I gave up, as I’m sticking in films that shouldn’t be nominated (Hello “Passengers“), even if they are the next best the field had to offer this year, and I can’t come up with the numbers with these categories. Fantasy comes up…sparse.

So The Saturn Awards were doomed before they even began voting. Too bad. Guess I’ll just have to do it myself.

Feb 272017
  February 27, 2017

Fi-M-Top10-DC-Comic-Films-480p30_480

With the most iconic comic book characters in their stable and a near stranglehold on pop culture heroes for decades, Iā€™d expect DC comics to have a better success record with film. How hard can it be to take characters everyone loves, and wants to love, and bring them to life on the big screen? Apparently very hard.

DC has had some winners. The modern Superhero film is due to them. They did it right, and it changed film history. But then they did it wrong. And did it wrong again and again and again. For every Superman, thereā€™s a pair of Schumacher Batman films and a Catwoman. When I ranked the X-Men films, I could say that a majority were good. When I ranked the Marvel Cinematic Universe, I could say that all of the films were worth your time and money. With DCā€¦

If the best I can say about a film is that you shouldnā€™t put in an effort to avoid it, then things are looking pretty dark, and thatā€™s as good a recommendation as I can give to two-thirds of these films. When I put Suicide Squad in the top third, this is not me singing the praises of Deadshot and his crew. It is a condemnation of Superman III and Batman Forever and Jonah Hex and Steel.

But it isnā€™t all bad, and sometimes you can have some fun with the failures. Come on, with the right crowd and a good deal of alcohol, Catwoman is a hoot.

This is a ranking of Superhero movies, so it doesnā€™t include other comic book properties like The Losers (which would not rank well) or REDĀ (which would be up near the top). It also doesn’t include the DC Animated films–where DC does much better. I’ve already ranked those here. It does include 37 films, with two of them ranked twice due to different cuts. (Many of the others, including Batman V Superman, Suicide Squad, and Watchmen, have different versions, but while the changes were, in some cases, substantial, they didnā€™t alter the overall quality enough to warrant separate placement). This ranking has been updated several times.

 

#39: Batman v Superman: Dawn of Justice

Some movies deserve a calm, reasoned examination. This isnā€™t one of those. This isnā€™t a movie. This is cultural desecration. If you love Superman, youā€™ll hate it. If you love hope, fun, joy, life, youā€™ll hate it. If you love old comics, new comics, superheroes, plots, sense, your brain, youā€™ll hate it. If, however, you are deep into emo-whining, then maybe this film is for you. It shouldnā€™t be, but maybe.

If you are hoping for anything from this bleak midwinter agony, it is that the dreariness, dullness, poor characterizations, and gaping plot holes are worth suffering through because BvS offers a true vision of life. Keep hoping. There is nothing realistic here. People do not act this way. They do not speak this way. They do not respond this way. Nothing human is on the screen.

Do I hate this film? No. As a film, it isnā€™t worth hating. As a piece of pop culture, yes, I hate it.
(Full Review)
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Feb 162017
 
one reel

Manji, a samurai warrior of great skill, kills a mob of swordsmen who murdered his little sister. Fatally wounded in the encounter, an enchantress slips him magical bloodworms that repair any wound. Forced to live when heā€™d far rather die, he is in a shack outside of town when a girl looking much like his sister approaches him. Her father has been murdered and her mother raped and abducted by the members of a new fencing school. The girl wants revenge and the grumpy warrior eventually signs on to help. This leads to a lot of duels and a lot of blood. Allegiances switch and everyone ends up fighting everyone till the body count begins to make one wonder if there is a single adult male left alive in Edo.

What if Wolverine was a samurai warrior? Thatā€™s what we have in cult director Takashi Miikeā€™s 100th film. Based on a manga, the characterizations arenā€™t layered and the story is simple. Each warrior wears a weird outfit or has a distinctive hair style or uses an unlikely weapon. And people do really stupid thingsā€”particularly children. And we get a lot of gore. Which is pretty much the point. Blood streams and splatters and limbs go flying. And no one, even the people who can grow back a hand, seem all that troubled when they lose a body part.

Between the fightsā€”and there are a lot of fightsā€”the lightly drawn characters ramble about revenge and death which was of no interest to me and I doubt to anyone else. It’s better when it is coming from the grouchy warrior than the kid I’d like to have died early on. But no one making the film cared who was saying what. Conversations are filler in a film that didnā€™t need filler. Anything that isnā€™t combat doesnā€™t matter.

As for the combat, it is exciting and bloody and fun. And then it is a little less exciting, but bloodier, and not so much fun. And then it is monotonous and dripping and unpleasant. It gets a bit more enjoyable at the end, but this movie is 140 minutes long. 140 MINUTES. For a film where the plot is, people chop up other people, this is way, way too long. At 90 minutes (including credits), Iā€™d have been smiling at the end. A 70 min version would have been great with a couple beers and fried cheese. But this thing wore me down. The only way to really enjoy Blade of the Immortal is to leave half way through.

 Fantasy, Reviews Tagged with:
Feb 152017
 
two reels

Sometime in the future, undesirables are forced into a desert south-ish of Texas. Arlen (Suki Waterhouse) is the newest resident. She is quickly captured by body-building cannibals who chop off an arm and a leg. Before they can devour more of her, she escapes and ends up in Comfort, a drug-laden party town ruled by The Dream (Keanu Reeves), that is at least as odd a place, but significantly safer. Her adventures result in her meeting Miami Man (Jason Momoa), one of the cannibals. And walking through the desert with his shopping cart, either wise or insane or both, is The Hermit (Jim Carrey).

Some films are compelling, almost forcing you to watch as you wait for the stunning, exciting moments. And some films do that without ever delivering the stunning, exciting moments. The Bad Batch is in the second category. It had my attention, but itā€™s hard to say why. Perhaps just from balls-out weirdness.

You could call this apocalyptic science fiction, but absurdist cinema is more accurate. A walled off desert wasteland is the setting, but donā€™t try to figure what that means for the characters. Normally youā€™d expect an escape attempt, but no. It isnā€™t that the characters donā€™t consider that, but that they canā€™t. That would be how a real world would operate, and this isnā€™t the real world. The cannibals spend their days, in the horribly hot dessert, working diligently on their pecs. In Comfort, a skateboarding park sits on the edge of the sand. Noodle carts are setup near outdoor photocopiers. Madmen babble and some guy works a Rubikā€™s cube. The Hermit requests a sketch as payment for information. Arlen teaches a child how to apply eyeliner. None of that makes sense in a traditional world, but then life doesnā€™t make sense, and thatā€™s the point. Things happen and there is no meaning to any or it. Even kindness and cruelty have no currency. You find your companionship and thatā€™s as good as it gets. Well, it is a message.

Reeves gives a solid performance that feels very familiar and Carrey gives the best of his career, finally toning his physical comedy down enough to work. Momoa isā€¦well, itā€™s hard to say. It beats his work in Justice League. Physically heā€™s sells it, but his accent is odd enough that Iā€™m not sure if he was high or if it was a planned part of the strangeness. Waterhouseā€™s doesnā€™t have enough energy to give Arlen life or compete with the others. They are all treated well by the camera and given some fitting music to bask in. Itā€™s fascinating.

And then it ends and so does the fascination. With the hypnotic spell broken, The Bad Batch feels empty, pretentious, and a touch silly. Did I really just watch The Texas Chain Saw Massacre crossed with Zardoz and end up with the theme of friendship is magic? Yeah, I guess I did.

Feb 142017
 
two reels

Super villain August Kuratov is back fromā€¦ somewhereā€¦ and he plans to take over the world. He was part of a cold war-era genetic experiment to make supermen. To stop him Maj. Elena Larina (Valeriya Shkirando) pulls together the other survivors of that project: rock-controller Ler (Sebastien Sisak), speedster ninja Khan (Sanzhar Madiyev), were-bear Ursus (Anton Pampushnyy), and invisible girl Xenia (Alina Lanina). These Guardians do not age, which has left them all depressed, except for Xenia, whose depressed because sheā€™s lost her memories. Theyā€™ll have to over come treachery and find their secret group power if they are going to save Moscow.

A little under a year ago the trailer for The Guardians hit the web and geekdom went nuts. It was cool beyond any superhero film and it was in Russian. There was an upright bear with a gatling gun. How cool is that? And the ninja moved like Nightcrawler from X-Men 2, but also had over-sized curved blades that cut through cars. The girl was exceptionally sexy, squirming on a table while blue lights embedded in her skin flickered. The FX looked great and the Soviet-style imagery gave it a unique quality.

OK, it had good trailers, but the film was never going to live up to them, a fact that became clearer when it came out that the entire budget was $5 million. So is it any good at all? Not really.

First, I do have to give it its due. For that cheap a price tag, it looks fantastic. The FX arenā€™t up to US blockbuster levels, but the slightly less polished work actually look cooler (ā€œcoolā€ is an important word when talking about The Guardians). Walking robots, a fleet of helicopters carrying a giant antenna, force fields, and a devastated Moscow are far more interesting than the CGI that’s on display in most Western action movies costing 15 times more. The cinematography is imaginative and there are some amazing shots.

But thatā€™s all you have. The script and editing are a mess. Iā€™m going to be generous with the dialog as the subtitles were very poor, but thereā€™s no getting around how very little that dialog accomplishes. Every character dials the emotion up to eleven, but nothing is earned. Elena has two minutes of interaction with the guardians before one starts talking of his great tragedy. Another barely speaks for an hour, but when he does, it is to suddenly related his own great tragedy. Fifteen minutes later they all announce they are best friends and Elena talks about how sheā€™s learned the meaning of friendship from them. When? Sometime off screen I guess. Thereā€™s a betrayal thatā€™s supposed to mean something, but doesnā€™t. Thereā€™s a death that is supposed to raise the stakes, but we donā€™t know the guy who died. These arenā€™t characters, just actors who occasionally over-emoted toward the camera. Itā€™s as if a half hour of character interaction is laying on the editing room floor. Maybe they did run out of money so never shot the scenes where the heroes got to know each other, laughed, joked, and formed connections, though I suspect they were never written.

With the solid FX work the action should be good, but it isnā€™t. Iā€™m sure budget was a factor, but it is still more of a script problem. Weā€™ve got an invisible girl and a speedster so thereā€™s all kinds of cool tricks that could come into play. But no, our heroes just walk straight forward and exchange a few punches with the big bad. It makes the Guardians appear weak and stupid, but far more troubling, itā€™s boring.

Thereā€™s a lot of silliness stuffed into the pictures (like their super-suits coming out of nowhere), but those many issues can be excused in a picture like this if it is exciting and gives us someone to care about. But it isnā€™t and it doesnā€™t.

My Two Reel rating is a little high, but it is interesting to see a Russian superhero film, and the FX is way beyond what I would expect, so I wonā€™t say to avoid it.

Feb 102017
 
three reels

Lockhart (Dane DeHaan), a young, unethical businessman, is sent to a mysterious Swiss wellness center to retrieve his companyā€™s CEO, but a car accident lands him as a patient. While the instituteā€™s director (Jason Isaacs) expounds on the wonders of his water cures, Lockhart finds that everything about the place is a little off and mysteries abound. The patients, he discovers, never leave, and that includes the only other youthful one, Hannah (Mia Goth), who is encircled by even greater mysteries.

Because he is best known for a pop trilogy (The Pirates of the Caribbean), people tend to miss that director Gore Verbinski is a master of composition. Thatā€™s why those films are so successful. Yes, yes, Johnny Depp was hysterical, but just look at the film. Look at the framing and the lighting and the intricate and perfectly chosen colors, and how the camera pans and where the shot pauses and where it zips along and how that movement relates to the movement of characters and ships and what those characters are thinking. I donā€™t think a living director does it better. Which would make Verbinski the best director aliveā€¦ if making a film didnā€™t involve anything else. But it does and Verbinski is better at the moments than the whole. Still, he does some pretty interesting things with those moments.

Many film critics have their film history wrong, trying to make A Cure For Wellness an homage to the Universal horror films of the ā€™30 and ā€˜40s, as it is clearly pointing backward to something. But it has absolutely nothing to do with those movies. Frankenstein and Dracula were firmly rooted in a kind of reality and in a plot-driven cinematic storytelling tradition.

A Cure For Wellness instead owes its nature to the Italian dreamscape horror of the 1960s and ā€˜70s, such as Operazione paura, where story is nice, but gothic impressions are far more important, or the colorful Suspiria where tension and atmosphere are king.Ā Everything is beautiful and everything is odd. The background is glorious mountains which juxtapose nicely with the early industrial water tanks. At times the institute is spotless and other times it reeks of infection. But the strangeness doesnā€™t start after Lockhart leaves civilization. The world it twisted from the start, which putsĀ A Cure For Wellness somewhere between a satire and a fairytale. Everyone we meet in New York is either a vicious bastard or a broken soul, but no one is happy. Thus, their wellness is in need of a cure, though not what is offered in the Swiss alps. So we slip from unpleasant dream to full on nightmare.

The last half hour still hangs to its Suspiria feel, but adds in another thread of old European cult films–call it trash cinema, but in the very best way. A Cure For Wellness dives in to the sensational and revolting in a way I found refreshing. We go from hypnotic and bizarre to lurid andā€¦ well, still bizarre, but the nightmare feeling vanishes as we wake up with answers to all the questions. The answers are not completely satisfying, and leave some substantial holes, but it was time to clear away the cobwebs.

And therein lies the problem with the film. At two and a half hours, it is easily thirty minutes too long. It needed a concrete ending because it was getting tiring. Dream stories need to be told quicker. With little to hang on to and a feeling of repeatedly starting over again, the nightmare became a bog. And Lockhart doesnā€™t help. Heā€™s unlikable from the start and heā€™s all we get as a portal. A creep like him is fine in a briefer picture or one where we are following other things, but with nothing else to connect to, heā€™s the wrong protagonist.

Jason Isaacs mashes together sympathy and buried evil while Mia Goth personifies loss and need and the unknown. Add in that atmosphere and the macabre beauty and A Cure For Wellness is a picture to see, but there is a far better film that could easily be carved out of this one.

Feb 102017
 
one reel

A group of medical studentsā€”weird Courtney (Ellen Page), rich-kid Jamie (James Norton), easily-freaked Sophia (Kiersey Clemons), cute and capable Marlo (Nina Dobrev), and superior doc Ray (Diego Luna)ā€”stop their hearts to have near death experiences. This super-charges their brains after they are revived, but then they begin having frightening hallucinations. Have they brought something back, cracked open a mystic door, or damaged their psychological health?

Iā€™ve often said that itā€™s better to remake a weak movie than a strong one, so Iā€™ll give the filmmakers of 2017ā€™s Flatliners credit in that respect. Of course the idea is not to make a still weaker movie. The original did very little with its potentially interesting premise. This one does less.

The five actors are appealing enoughā€”their characters less so, but they are functional if the story could do the heavy lifting. But the story just flops about. The final question in my description of the film is the key to Flatlinersā€™ failure: Have they brought something back, cracked open a mystic door, or damaged their psychological health? Itā€™s best if we know by the closing credits, and the film better know the answer long before that, but there is no revelations here. One by one our team members, while alone, find themselves in dark places getting visions connected to some not-that-interesting bad thing theyā€™d done. Since none of it is explained, none of it means anything. They just see scary stuff and then chat about it to no purpose.Ā That is all that happens for two-thirds of the film.Ā Perhaps if this was a character study, but that would require more than the surface level weā€™re given of these five people.

Flatliners has nothing to say and no stylish way of saying it. I didnā€™t care about anything happening and just wanted it to be over. There are worse horror film out thereā€”if this is a horror filmā€”and worse films released in 2017, but this is one of the most pointless ones.

Jan 252017
 
2.5 reels

Ordinary citizens are murdering their neighbors, believing them to be demons. and The Justice League canā€™t find a cause. Batman (Jason Oā€™Mara) teams up with the esoteric mage and anti-hero John Constantine (Matt Ryan), the magician Zatanna (Camilla Luddington), the ghost Deadman (Nicholas Turturro), and the possessed knight Jason Blood (Ray Chase) to unravel the mystery.

The good and the bad of Justice League DarkĀ are the same as that of the DC New 52 comics it is based upon. John Constantine is the draw and the guy that holds it all together. Over time he can get to be a bit of a drag and he is hard to cheer for, but his flawed personality and magic tricks can be a lot of fun. Zatanna is a more traditional hero, but an engaging one and she works well with Constantine. Their seedy world of demons and deals is a nice change of pace from ā€œthe men in tights.ā€ Both deserve their own comics and films (and have had their own comics, and in the case of Constantine, a film and a TV series), and both are even better when they can play off each other.

But two things held the comics back and equally pull down this production. Firstly, the characters donā€™t fit together. Constantine and Zatanna live in that dark world of spells. But Deadman is an old time joke character, who belongs in Sunday comic strips. The fact that he wears tights just drives home the point. Jason Blood is perfect for your next high fantasy role playing game. Sure, knights and dragons are magical, but it is a different kind of magic. I wouldnā€™t drop Doctor Strange into the middle of The Lord of the Rings, or vise-verse, but thatā€™s what we have here. Swamp Thing fits no better (yes, heā€™s pulled in for a long cameo), and the magic house AI feels like it was yanked straight out of the science fiction television show Andromeda. Batman is only in the movie because DC canā€™t sell anything without Batman. Heā€™s amusing here and there, but his normal role is taken by Constantine, which leaves him to stand around and doubt magic. The pieces just donā€™t fit together. This becomes more evident when we get to a big super-hero type fight scene. Constantine should be doing gritty, nasty little spells, not tossing power bolts.

The second is a problem that plagues many fantasy films: we have no idea what anyone can do or how powerful anything is. There are no rules. When any of the team is in trouble, they just pull more magic and win. We have no way of knowing if any situation is dangerous. Itā€™s all just flashing lights.

The story is a mystery that is tied up a little too easily, but this is a 76 minute film, so it could only get so complicated. Thereā€™s a few more origin stories than Iā€™d have liked, but they were stuck with that, or leave the characters as unknowns except to comic readers. Thereā€™s also an excrement demon, straight out of Kevin Smithā€™s Dogma. Iā€™d have thought DC had enough monsters in their comics to make swiping one unnecessary.

The R-rating is undeserved, both from the ratings board (who go a bit nuts with cartoons, wanting to warn parents of even the slightest nudge past teddy bears) and from DC who wanted it. All it amounts to is one use of ā€œshit,ā€ a few ā€œbastardsā€ and a purple magical entity that teases a curvy female bottom. These are barely worth a PG-13 and all could have been scaled back without harm to the picture, and should have been as the swearing stands out.

Justice League Dark is one of the better films DC has produced in the last few years. Thatā€™s not a ringing endorsement, but an indication of the mess that is DC. Suicide Squad was fair and both Batman v Superman and Man of Steel were as bad as Superhero movies get. Their animated films had been their strength, but the weak Son of Batman trilogy and the misguided Killing Joke have shredded that reputation. JL Dark isnā€™t bad, and for DC right now, thatā€™s a win.