04.27.24
by

The Fall Guy

Colt Seavers, a down-and-out stuntman, must find the missing star of a new blockbuster film he’s doubling on, while (hopefully) winning the director (and his ex-girlfriend)’s affection back.

David Leitch continues to be a leading voice in action movies with his creative and passionate voice for action and comedy that often turns out star-studded and visually appealing. Much of the film’s charm comes from Ryan Gosling’s brilliant turn as Colt. Like his Oscar-nominated Ken in Barbie, Colt is a sad shell of a “cool guy” who’s too evidently madly in love. Gosling’s comedic timing is at the lightning speed of his Ken, or Holland March from The Nice Guys, and his big personality infuses Colt with a foolishly endearing heart. Emily Blunt also gives one of her most entertaining performances of late as the romantic lead, and Winston Duke is also loads of fun as Colt’s best friend and the film-within-a-film’s stunt coordinator, while Aaron Taylor-Johnson, Hannah Waddingham, and Stephanie Hsu also round out the stellar cast. Waddingham in particular is very extravagant but delightful as Gail, the producer of the film Colt’s working on.

The most clever and thrilling part of The Fall Guy is that Leitch makes the movie stunt-filming scenes as high-stakes and exciting as the actual action scenes of the film. The great scale, dedication, and sound effects make shooting an action movie stunt feel like the incredible, hard-achieved feat that it really is. Additionally, the lightspeed humor feels effortless thanks to the writing, editing, and the cast’s delivery. The lively soundtrack does have a few generic and overused selections, but it’s not enough to sink this smooth romantic action comedy where all the different genre pieces play off each other pitch-perfectly. The director’s career as a stunt coordinator is made evident by the love and tribute to the stunts community here, in this blockbuster that’s hilariously pleasing and greatly worth the big screen price of admission.

04.24.24
by

Civil War

A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.

Alex Garland is often not one to shy away from dark images as they unfold, but there’s something particular about the violence in Civil War, as if you’re peeking at something you’re not supposed to, only it’s happening in your own yard. Garland seems to have something to say with the “action” here that’s proven itself in reality too much not to struck a chord when it’s depicted way — Americans being just a few disagreements (and arms) away from completely tearing each other apart. What began this second civil war in America is none of our concern, rather the ease at which we’ve turned on the very fabric of democracy. Bloodthirsty militias and anarchists seem too familiar a sight, though we’re following this dystopian war through a group of journalists. Kirsten Dunst gives a powerful performance, as she reveals the most about her character in the quietest of moments. Wagner Moura also gives the film a lot with his charismatic, knowledgeable, and authoritative presence among the protagonists. Cailee Spaeny is notably wonderful as the ambitious younger photographer on the journey who’s horrified responses to what unfolds in front of her are probably how we’d react to, let’s face it. Stephen McKinley Henderson is a fantastic presence as well who adds a lot with his wisdom and charm to each of Garland’s projects that he’s in.

Though Civil War is minimal on exposition as to the larger politics of this war — rather we get an idea of the state of the nation through smaller moments and remarks — the action is incredibly harrowing and graphic. The sounds of gunfire and combat roar through the speakers, and blood is a “loud” reality and consequence. It all plays out without the “cool” sort of filter many Hollywood action movies have, rather it’s an unfolding of sheer chaos and carnage through intentionally amassed manpower, in the way that Children of Men and Sicario throw you into uncontained, senseless warfare. Best of all, the climactic battle at the center of the third act is exhilarating and ends in the most Alex Garland rug-pulling way possible for a film with this subject matter. Fans of Garland’s daring and mature work be interested in the punch he packs here, but for anyone who’s simply looking for an action film — this one’s singular and profound but does not hold back, and when it’s untamed, it’s at its most engrossing.

04.19.24
by

The Ministry of Ungentlemanly Warfare

Guy Ritchie’s latest action film is loosely based on true, mostly encrypted stories, in which the British military recruits a small group of highly skilled soldiers to strike against German forces behind enemy lines during World War II.

Guy Ritchie seems to be racking out more movies than some of his fans will be able to keep track of, but among a slew with varying qualities, this one may end up being looked back at as one of his most entertaining films ever. Ritchie imbues the screen with an Inglorious Basterds-like irreverence to its Nazi-killing action. The WWII battles are swiftly edited and have action sequences that’ll make you cheer with glee at the bad guy body count and the different ways they get killed by the titular heroes. Henry Cavill leads the pack with a similar irreverence he gave Ritchie’s The Man From U.N.C.L.E., but with an even rougher edge to his badassery. The ensemble of Eiza Gonzalez, Alan Ritchson, Henry Golding, and Cary Elwes all give the film a liveliness that makes up for a lack of uniqueness to them, as well as a menacing Til Schweiger who maintains a strong presence. Unlike last year’s Operation Fortune, the film’s witty humor matches the extra wicked energy the director is known for, but it may lack character depth for some viewers. Most of the characters have little substance besides “recently incarcerated” or “they’re crazy”, but their outlandish personalities make up for that in the case of this film. The soundtrack choices aren’t always on-point, but the Western-inspired music usually adds to the film’s sharp direction. The film also doesn’t manage to always balance the different moving plots seamlessly, as Ritchie sometimes can’t help but indulge too much in his trademark banters which can sidetrack, but ultimately culminates in some strong tension in the third act. The Ministry of Ungentlemanly Warfare perhaps achieves what Matthew Vaughn’s The King’s Man failed to do — turn covert misfit spies into World War heroes and make the journey feel exciting and earned on the way. Ritchie is no stranger to the approach he set out to achieve here, but he manages to balance out his quirks with an excellent style, an interesting mission and cast of characters, and a rewarding catharsis when the action and comedy hit their peaks, as you might not want the fighting to stop out of sheer Ritchie delight.

04.18.24
by

Back to Black

Back to Black chronicles the life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time.

It may feel like a step up from recent music biopics like Elvis and I Wanna Dance with Somebody, and may be on par with something like Respect and not quite at the glory of Rocketman. Marisa Abela is great as Winehouse, bringing the young music-loving girl to the screen in the start and the mess of an unstable addict she becomes later in life. But what’s most unbelievable is Abela’s singing which completely captures the one-of-a-kind grandeur of Amy’s voice. There are times when Abela completely disappears and you simply feel the singer alive in front of you. Eddie Marsan gives one of his most memorable performances to date as Amy’s father, while Lesley Manville also brings a lot to the movie as her grandmother. When Jack O’Connell comes in, however, as Amy’s love interest and eventual husband, the film falls into messy melodrama that sinks the runtime and falls into the same traps that many of these biopics suffer from when channeling the artist’s pain and troubles. Winehouse’s journey through love and addiction is filled with cliches, but is empathetic enough for us to forgive her shortcomings. The film also does a great job of incorporating her songs into the film, and best of all, it manages to have its audience actually interact with the subject as a tangible person, rather than just a larger-than-life legend. The more minimalistic approach to the musical biopic gives Back to Black a strong start, but you’ll also have a few too many instances of deja vu, though we’ve certainly seen it done worse. It’s watchable enough for non-fans of the late singer, but for some, it might not stand out among similar films with similar beats that have come out far too recently.

04.14.24
by

Ghostbusters: Frozen Empire

The Ghostbusters have reestablished themselves as the heroes of New York City, but the city soon faces its greatest threat yet when an ancient artifact unlocks a destructive force.

Ghostbusters: Afterlife was a solid tribute to the heart of the original film. This sequel has all the ingredients with none of the direction. The cast still has that charming energy, particularly the Spenglers played by Carrie Coon, Finn Wolfhard, and McKenna Grace (with Paul Rudd stepping into the new stepdad role). Grace is the most interesting part of the film, but her role as the protagonist is watered down by an overabundance of characters. Dan Aykroyd, however, is very enjoyable in his role, as is Ernie Hudson, but the film tries to balance too many of these people, and the original cast ultimately was only there for fan service in a lesser way than the last film. Not to mention, Kumail Nanjiani is usually a standout in any film, but his character here is uninteresting, save for a few laughs. The action has some fun a bit of a retro vibe, with solid SFX editing as well, but the film’s runtime wanders through C-level subplots and the pacing lacks a consistent excitement. When we finally get to the villain, its yet another faceless ancient giant with apocalyptic intent, and the visual effects of the ghosts are also quite lacking. Ultimately, the film settles for a lot of the same, but its the sluggish pace that makes it a lot hollower and not as lively or meaningful as before. This may just be another instance of a beloved franchise going on for one too many films.

04.05.24
by

Monkey Man

An anonymous young man unleashes a campaign of vengeance against the corrupt leaders who murdered his mother and in turn, soon finds himself empowering the poor and victimized of Mumbai.

Monkey Man is proof that no matter how overdone a simple revenge story is, it can always feel fun if the right filmmaker elevates it through energy and style. And Dev Patel’s directorial debut proves that he’s capable of making not just a fun action film, but one with lively world-building and interesting characters. The action is bloody and jaw-dropping, with rewarding long takes and soundtrack choices that elevate the fights. But most importantly, when the action isn’t there for a long time, I always found myself engaged in the story. Similar to John Wick, it also doesn’t romanticize its hero, rather just empowers him to do the wrong things for the right reasons, justifying his ends rather than his means, which gives the film even more of a ruthless edge. The long takes may feel dizzying for a moment, but soon work in the film’s favor to create some exhilarating carnage. The incorporation of Indian culture and mythology, as well as MMA in the film also give the film plenty of life. Patel’s performance is committed and shows once again how much he can command an audience when he’s front and center, and his direction gives the film a vibrant yet patient style. Unlike the majority of the year’s action films so far, it treats its audience like intelligent adults. Monkey Man‘s greatness isn’t just through the expert fight choreography, but also through strong character and mythos development. Other action films this year so far like Road House and Argylle were simply missing that nuance and restraint with its heroes and villains that makes this film one in which we don’t feel talked down on, no “fake-out deaths” or “exposition dumps”, but rather a stylish build to the excitement that lets you breathe, yet still takes action movie fans on a thrilling ride that ends on a satisfying high note.

03.29.24
by

Godzilla x Kong: The New Empire

Two ancient titans, Godzilla and Kong, clash in an epic battle as humans unravel their intertwined origins and connection to Skull Island’s mysteries.

We’ve heard of way too many franchises overstaying their welcome lately, but it’s been a while since a film of this scale has failed so spectacularly to answer the question of why it was made. Godzilla vs Kong culminated the MonsterVerse in a battle between two famous characters we’d never seen on-screen before. This is the exact same movie, but without any of what made parts of that movie tolerable. Story, logic, and sense are all but myths in this movie that never quite finds the answer as to what that punch or special offering is that the last film didn’t have. Godzilla and King of the Monsters had massive visual scale, making the human damage and stakes feel wide and consequential, and as a result, the monsters felt huge. Kong: Skull Island had a fun pace and was a visually striking survival action film on an island. But now, the look feels so artificial, the stakes are unclear and boring, and the progression of the story, characters, and locations are exhausting. The visual effects are unconvincing and as a result don’t give you that large, adventurous feel, and the actors feel like they’re wandering through a Warner Bros. studio, struggling to keep this thing together. Rebecca Hall is a great actor to lead a film where the CGI extravaganza comes first, but even her character feels like she has no idea how to make sense of her dialogue. Dan Stevens delivers a fun Crocodile Dundee-esque performance as a Titan veterinarian, and Brian Tyree Henry is the only truly entertaining part of the film as a conspiracy theorist-turned-world-saver after the events of the last film. Not even Godzilla seems able to find himself a place in this film, as his progression throughout the film is probably the lamest thing that can happen to a titular character in a monster movie of this size.

Films like Godzilla x Kong: The New Empire are either made or broken by the visual and cinematic experience, and how they make use of being a grand adventure with enjoyment and spectacle, but what we’re left with is a film with neither of those things. The exposition and plot threads are bland and inconsistent with the franchise, the villains are incredibly underwhelming, and worst of all, it does nothing to differentiate itself from the previous installment. Perhaps bringing back Adam Wingard to direct was the film’s first and greatest mistake, as the stylistic approach of the last film simply wasn’t sufficient for a sequel. What worked when the MonsterVerse began was that these are gigantic events, disaster/monster movies where unbelievable Kaiju rampage the Earth, the stakes and conflicts are to be taken seriously, and the principles of the humans and their relations with the Titans guided the script and the fate of the world. Now, they’re no different than the Transformers movies, where creatures created by computers move across the screen like athletes and are treated like Marvel superheroes with devices and powers, as the structures around them go down like Legos. The worst part about a franchise like this is when it can’t excite; when it’s never been clearer that the best and coolest stuff has already come in past films, and when it’s repeating itself like the only reason it truly has to exist is every blockbuster saga’s greatest curse: studio box office ambitions.

03.23.24
by

Kung Fu Panda 4

This is a franchise that’s stood the test of time in the world of modern animation, and Jack Black has always been the core of why Po has resonated with audiences for so long — and perhaps the main reason this film manages to entertain at all. Though Kung Fu Panda 4 still has a vibrant and silly energy, it no longer manages to up the ante as each of the past installments did. Though Jack Black is always a huge delight as Po, and possibly one of the best animated franchise leads we’ve ever been graced with, the film often struggles to justify its existence because Po’s journey and growth doesn’t feel as natural and potent as it did in the other films. His struggles to embrace change and pass down the mantle of Dragon Warrior don’t feel fleshed out or as vital to his path. Awkwafina also gives one of her more memorable voice performances and is a great pairing with Black. It’s fun to see Viola Davis as menacing and cunning as she is here, but we don’t spend enough time with the Chameleon to buy her motives and for her to resonate with us. Her characteristics ultimately feel derivative of Lord Shen and Kai from the other movies.

The film embraces the faster pace and editing that worked in the third movie, but the editing decisions sometimes feel even too cartoonish and take you out of the moment. The animation is still lively, but looks a little simplistic compared to the beautifully detailed skies and characters in the last two films. There’s also a side plot that didn’t need as much time as it got, and some inconsistencies with the rules of this world of kung fu that may clash with the rules from the other films. The explanation for the Furious Five’s absence also feels tacked on and too evidently a behind-the-scenes thing. The action and looks are always fun, as is Jack Black being so committed to bringing us all joy and laughs. Is it a fun time in the Valley of Peace? Sure. But it’s clear that the franchise may be out of things to say as it feels we’ve reached the epilogue chapter here.

03.01.24
by

Dune: Part Two

In the second part of Denis Villeneuve’s adaptation of the classic sci-fi novel, Paul Atreides seeks revenge against the Harkonnens, who slaughtered most of his House Atreides, and liberate the native Fremen of the planet Arrakis while joining them and learning their ways, all while the fate of the Imperium lays in the balance.

The first Dune from 2021 may have been one of the most stunning blockbusters in recent memory, but this extraordinary sequel puts everything in its predecessor — and almost any action movie I’ve ever seen — to shame. Picking up shortly after the first film, the drama is heightened, the world-building is bombastic, and the sound and visual experience is a one-of-a-kind theater trip. Visceral is such an overused term these days that it wouldn’t do Dune: Part Two justice; you feel how wide this universe spreads and the history of the different conflicts and races that inhabit it. And once you’re brought into this fictional world, you’ll never want to leave, as the nearly 3-hour runtime flies by and every plot development is fascinating. Beyond Villeneuve’s imagination, Greig Fraser’s cinematography is the real MVP here. The beauty within the uncertainty of the desert planet is captured in such a scope that it demands in IMAX viewing, and the different planets all contribute a symbolic and gorgeous aesthetic. Timothee Chalamet takes us on the next step of Paul’s journey: his desire to adapt and fight and his fear of allowing power and faith to corrupt him. He proves that he’s always been a movie star that’s here to stay, and Rebecca Ferguson’s Lady Jessica also takes really interesting directions that make you see her role in the story, and of her son’s, in a murkier way. Zendaya also becomes a lot of the heart here as Chani, one of the franchise’s most noble characters, and Josh Brolin is always terrific as Gurney, while Javier Bardem puts his soul into the role of Stilgar, whose faith drives him towards Paul and Jessica. Austin Butler may be the standout, however, as Feyd-Rautha, whose deranged and sadistic presence create a nail-biting character and a powerful young man who has fully embraced his disturbed nature.

Though Dune: Part Two ups the ante with its visuals and performances, its the powerful script and heightened emotional stakes that make this experience what it is. The film explores questions as to how faith and hope can be exploited, and if the urge for power truly corrupts whoever gets a taste of it. Though you may find yourself trying to guess which paths these characters will take, there’s also lots of unexpectedness and the film’s most intense moments took my breath away. You understand so deeply the dynamics of this galaxy and its cultures, and how much lays in the balance. The exhilarating scale and exciting, constantly developing pace only works because of the passion behind each character and story thread: passion to lead, rule, fight, love, honor, avenge, or secure a future. These moral greys form the dark and poetic drama that’s impeccably guided by frame-worthy shots and booming sound. Never have I felt so deeply that I didn’t want a film to end, as once you’re sucked into this marvelous world by Villeneuve, you’ll never want to go home. We’ve rarely seen emotion and grandiose like this in action movies so flawlessly convert to a magnetic cinematic experience. The Empire Strikes Back comparisons are worthy but also a little humbling; this reaches the bar that The Lord of the Rings: The Return of the King set for sci-fi/fantasy epics. It’s a show-stopping galactic saga that unleashes its ambition and magnitude onto you in a way that will entrance and thrill whoever buys a ticket. It’s a spectacle that sets the bar so high for whatever else is to come in blockbuster filmmaking, and like the unreal visuals and scale of Avatar: The Way of Water, needs to be seen on a massive screen, to be transported with other people, and watch a story unfold that you’ll never forget.

02.22.24
by

Drive-Away Dolls

In Ethan Coen’s latest road crime comedy, Jamie has just broken up with her girlfriend, while her best friend Marian needs to relax. In search of a fresh start, they embark on an unexpected road trip to Tallahassee. Things quickly go awry when they cross paths with a group of inept criminals.

Leave it to (one of the) Coens to excellently capture yet again this style of crime films that they popularized in the first place — sharp dialogue, exaggerated violence, and crazy mishaps and coincidences that drive the plot forward. Margaret Qualley and Geraldine Viswanathan shine and are wonderful together as two women who want to be young, have fun and score some girls while they’re at it. Viswanathan in particular is terrific as the shier of the duo who’s also the source of some of the film’s funniest moments. Beanie Feldstein is also very funny — as she always is — in a prominent supporting role, not to mention a few A-listers pop their heads in for some great appearances.

Drive-Away Dolls is really carried by its quirky style is purely and unapologetically fun; nothing more, nothing less. But Ethan Coen is such an expert at making films that are fun with this amount of cleverness and delight that it’s no surprise. The two leads’ wise-cracks and chemistry together are so lovely and irresistible that there isn’t a dull moment with them on-screen, though the hypersexualized nature of the film’s plot, especially the second half, may turn some viewers off. The last act does feel very rushed and doesn’t conclude the story between these two women as smoothly as I wish it had; it’s almost like the movie was begging for just another 10 minutes to end things in a more vindicating way. But for Coens fans, this queer buddy comedy isn’t one of their best, but absolutely ridiculous and hilarious with two memorable lead performances and not much else we could wish for from the crazy style and cast.