The Inventor
SimilarBen-Hur (1959), Edward Scissorhands (1990), Metropolis (1927), Princess Mononoke (1997), Schindler's List (1993), Titanic (1997), Wallace & Gromit: The Curse of the Were-Rabbit (2005),
Watch afterAquaman and the Lost Kingdom (2023),
Barbie (2023) Doctor Strange in the Multiverse of Madness (2022),
StudioHBO Documentary Films,
The Inventor is an odd little film. It is a mess throughout, and there are many instances where I got the sense that writer/co-director Jim Capbianco did not know what kind of story he was trying to tell or who his audience was. And yet it possesses an undeniable charm, one that sticks with you. Continue Reading →
Sonic the Hedgehog 2
SimilarBring It On (2000), Die Hard 2 (1990), Die Hard: With a Vengeance (1995), Godzilla Raids Again (1955), Hitman (2007), Live Free or Die Hard (2007), Night at the Museum (2006), Resident Evil: Apocalypse (2004),
Watch afterDoctor Strange in the Multiverse of Madness (2022), Jurassic World Dominion (2022),
In practice, most video game movies don’t have to worry about sequels. The likes of Assassin’s Creed and Warcraft failed to make anywhere near enough money to justify follow-ups. But there are still theatrical video game movie sequels here and there, now including Sonic the Hedgehog 2. Continue Reading →
Bloodshot
Vin Diesel nicely keys into more stoic shootouts, but the movie around him can't weld together its medley of genre inspirations.
As Ray Garrison aka Bloodshot (Vin Diesel) tumbles down an elevator in midair combat with Jimmy Dalton (Sam Heughan) and Tibbs (Alexander Hernandez), one may experience deja-vu. This, in some ways, is unsurprising—Bloodshot rarely seems interested in breaking new ground. However, the scene brings a deeper kind of recognition derived not just from familiar story beats, but also the visuals. The plasticine nature of these CGI constructs turns out to be a covert bit of nostalgia, smuggling Sam Raimi’s Spider-Man-level effects into a nastier superhero film 18 years later.
The extent to which this will please viewers will, of course, vary. For this critic, there’s something charming about it. This is the kind of movie comic book fans would have been nearly thrilled to see in the early 2000s: a not-quite-faithful adaptation animated by competent direction and actors willing to embrace the content without tipping into self-seriousness.
That said, it feels likely to get a different reception in 2020. The superhero film has grown so much in scope and depth so much in the past two decades. As a result, Bloodshot feels a bit unstuck in time. It’s a throwback to an era that’s passed and, depending on how inclined audiences are to take a sidelong glance at it, the film also operates as a sort of commentary. It seems to be reflecting the evolution of the action movies from their ‘80s ascendance to their superpowered present. Continue Reading →
Onward
Pixar gets back to its tear-jerking roots with an emotionally complex modern fantasy about grief, loss, and brotherhood.
Early in Pixar's Onward, lanky, nerdy elf Ian Lightfoot (Tom Holland) retreats from a harrowing day of school into his bedroom, sitting at his desk where he's effectively erected a shrine to his father. He never met his dad; the man died of illness before Ian was born. All that's left of him are a collage of photographs, which gaze lovingly at the lens (and, by extension, Ian), but without context. The only recording of his dad's voice is a rambly outtake from a tape recorder, a one-sided conversation Ian pretends to fill in with his own words. When we lose someone, especially someone we never got to have in the first place, we do what we can to emulate that experience as best we can. It may not be real, but it's the best we get. And sometimes, it can blind us to the people who are actually around us.
That's the scene that finally began to unlock Pixar's Onward for me, a film whose kitschy ads and Dreamworks-level character designs made me fear the worst for the acclaimed studio's output. Pixar's long been known for their original tear-jerkers (it's easy to forget that Inside Out and Coco are two of their best films, released only in the last five years), but their continued mining of their existing franchises for whatever narrative meat is left on the bone -- and, let's be real, toy sales -- has diluted the brand somewhat. It's pleasing to say, then, that Onward, while not Pixar's best, will absolutely hit you in those finely-tuned heartstrings.
The premise is somewhere between Zootopia, Frozen and Dungeons & Dragons -- imagine a Tolkien-esque fantasy world where the various races of the realm went all-in on industrialization and abandoned the wonder of magic for the reliability and convenience of electricity, automobiles, and urban development. (The timeline's admittedly a little janky, and the film can't quite settle on how long ago this cultural switch happened, but just go with it.) Enter the Lightfoots, a family of elves living their lives in the suburbs: the painfully anxious Ian, his RPG-loving screwup brother Barley (Chris Pratt), and their overworked mother Laurel (Julia Louis-Dreyfus). They're getting by, but the absence of the boys' father clearly weighs on them. Ian's in desperate need of courage, and Barley loses himself in fantasy games (which just so happen to recount the world's real history) to avoid the real responsibility of adulthood. Continue Reading →
The Call of the Wild
Disney continues to shuffle off Fox's remaining output with this limp, awkward adaptation of the Jack London novel.
Jack London started writing The Call of the Wild at the dawn of the 20th century after traveling through Yukon country during the height of the Gold Rush. It was in this period of blind human ambition and greed that he conceived of a story told through a dog’s eyes. The very good dog, Buck, starts as a civilized house pet before being stolen and sold as a sled dog in Alaska. There he gets passed from owner to owner, some much nicer than others, and along the way discovers that his destiny is not with humans but with the beasts of the wilderness, like his ancestors before him.
It’s a beautifully written and visceral adventure about the brutality of man, the overwhelming power of nature, and the freedom we’re capable of when we turn our back on society’s rules. On the other hand, the new film adaptation of The Call of the Wild has all the thematic weight of an Air Bud sequel.
Director Chris Sanders, who is very accomplished in the world of animated film with credits like How to Train Your Dragon and Lilo & Stitch to his name, finds himself in no man’s land in the world of live-action. In order to really dig into the book’s themes and capture the harrowing journey Buck goes through, it’s necessary to make it a brutal animated movie like Watership Down. But that would be too much for any Disney-owned studio. Instead, we get a very saturated version of the novel that relies on a CGI dog that looks like a reject from Marmaduke. Continue Reading →
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
The DCEU embraces its inner Bugs Bunny, and is all the better for it.
If you'd have told me two years ago that not only would I be looking forward to a sequel (such as it is) to 2015's murky, execrable Suicide Squad, but I'd end up really enjoying it, I'd have banished you to the darkest cell in Arkham Asylum. To be fair, David Ayer's overstuffed, underlit supervillain team-up came right at the wrong time: the product of post-Avengers superhero mania, but amidst the polarizing reactions to DCEU's so-called 'dark, gritty' approach to superheroes, it was the victim of a compromised vision of what was undoubtedly a bad idea in the first place -- reshoots, changes in tone, a final cut engineered by the house that did the trailers, etc.
The one bright spot though? Margot Robbie's semi-Gothic-Lolita reinterpretation of the Joker's moll Harleen Quinzel (aka Harley Quinn), a brash, madcap figure imbued with scene-stealing energy by one of the greatest actors of her generation. Now, with Birds of Prey, Robbie's Quinn is given a vehicle worthy of her talents, a manically gleeful girl-power anthem that's just as energetic and irreverent as she is.
As Birds of Prey (sorry, Birds of Prey: or the Fantabulous Emancipation of One Harley Quinn) begins, the Joker's broken up with Harley. Good, great, we hated Leto's version of the Clown Prince of Crime anyway, get rid of him. Luckily, Harley gets over him just about as quickly as we do, blowing up the Ace Chemicals plant, dusting herself off, and trying to start a new life as a bounty hunter/mercenary/thug for hire. But before she can get that business off the ground, she finds herself wrapped up in a scheme involving a secret diamond laser-encoded with the numbers needed to access a secret bank account with all the crime money in the world. (Not quite an uncut gem, but you get my gist.) Continue Reading →