One of the previews that screened before last night’s Boston premiere of Blade Runner 2049 was for next year’s monsters vs. robots actioner Pacific Rim Uprising, an inevitable if somewhat tardy sequel to Guillermo del Toro’s 2013 original. Based solely on this trailer, it’s evident that Uprising centers on the son of the first film’s protagonist, alludes heavily to that first film, and possibly just revamps the plot with slightly louder explosions. I was reminded, regrettably, of Independence Day: Resurgence, which gave off a similar reek of franchise desperation.
This article first appeared as a part of the Brattle Film Notes commentary series, presented by the Brattle Theatre in Boston, MA, for a special screening of Free Fire. Slight edits have been made from the original posting.
Prolific director Ben Wheatley followed up 2015’s High-Rise with Free Fire, another film about the disintegration of a boxed-in mini-society. Both efforts are similar in this sense, observing a group of strangers forced into close quarters, casting us as the voyeuristic witnesses on a direct descent away from normalcy. Both films begin methodically, High-Rise introducing a futuristic all-inclusive living complex and Free Fire peeping in on an arms deal in an abandoned warehouse. And both can only ever end one way: in chaos, loud and bloody.
But it’s still remarkable how different these two films are, despite the apparent similarities and the fact that both were crafted by Wheatley (with co-writer Amy Jump) in the span of a single year. Free Fire justifies itself in the approach, heavily drawing on Reservoir Dogs-era Tarantino to convey vital information through seemingly innocuous dialogue as much as visual staging. Words do all the work here, with snippets of conversation managing to develop characters and propel the narrative at the same time. The arms deal brings buyers, sellers, intermediaries, muscle-for-hire and assassins-for-hire into a confined space, but before the guns come out it’s dialogue that each party attempts to weaponize.
I recently watched Edgar Wright’s Hot Fuzz for the zillionth time. This was partly to assuage my excitement for Baby Driver, Wright’s latest, and partly because the discovery of a commentary track by Wright and his buddy Quentin Tarantino was too good to pass up. Usually commentary tracks feel slight, strained, straight-up unnecessary; Wright and Tarantino have a casual chat that’s nearly as bonkers as Hot Fuzz itself. The pair share a vast encyclopedic knowledge of film and music, and throughout the course of the commentary they discuss nearly 200 films — basically everything besides Hot Fuzz — and if you’re thinking someone should write out that list, well, yeah: reddit.
Their knowledge is enviable, yes, but it’s not nearly as enviable as the fact that both writer/directors manage to make movies that are unlike any other movie you’ve ever seen. Baby Driver, it should be stated at the outset, is unlike any other movie you’ve ever seen. Wright, like Tarantino, has fresh ideas that swing for the narrative fences, and like Tarantino he also has the prowess to actually achieve his vision. This time around the vision is something people are calling a “car chase musical”, which seems only half-accurate because it doesn’t quite do Baby Driver justice.
With The Nice Guys, Shane Black returns to what he knows best: two dudes (Ryan Gosling, Russell Crowe), a babe (Margaret Qualley), and some henchmen all tossed into a cauldron of bubbling absurdity.
Fortunately, my theater was fairly empty, because I laughed obnoxiously more or less throughout the entire runtime of this film. The humor is incredibly clever at times (Gosling takes cover behind a oscillating vehicle on display only to jump up and lay down a round of cover fire in the completely wrong direction after having been turned around) and at other times, hilariously moronic (continuous series of Gosling falling down/high-pitched screaming). Gosling performed at the top of his game, flaunting his remarkable comedic chops throughout, perhaps outshining the great Mr. Crowe. As described, he hits every mark and even adds his own flair to the script (classically referring the male reproductive organ as a “schphitz” or a “schphonz”).
A guy becomes ant-sized and communicates with ants to…save the world? Kind of sounds like a bad Raid commercial to me. And yet, Ant-Man, one of Marvel’s most overlooked additions to the MCU, was actually pretty enjoyable — not that this should be too surprising, I suppose, since the most likable man in the world plays the movie’s lead. If you’re thinking of anyone other than Paul Rudd, you’re just wrong.
Ant-Man is the story of Hank Pym (Michael Douglas) and his legendary invention of “Pym particles” — a type of particle that can increase or decrease the distance between atoms in order to shrink or enlarge a person or object. Pym incorporates these particles into a suit that allows the wearer to shrink to the size of an ant, while maintaining the strength of a full-sized person. This invention, however, brings danger and risk, as being able to shrink oneself is a threat to national security — if a person is too small to detect, then they can infiltrate any security system in the world. Pym decides that the risks of his suit are too big and leaves Pym Industries with his secret formula in hand. Little does he know, his young protege, Darren Cross (Corey Stoll), is intent on recreating the particles and using them for the exact purpose for which Hank Pym has shut down the program altogether.
There are two kinds of sports movies: underdog stories and everything else. The former category is vastly larger than the latter, likely because that’s sort of the archetypal narrative in any genre. The very first shot of Star Wars is a tiny Rebel ship fleeing a massive Imperial cruiser, and yet we know instantly which one we’re going to root for. In terms of sports movies this translates to Remember the Titans, The Longest Yard (not the remake), Rudy, Miracle, The Bad News Bears (not the remake), Chariots of Fire, The Hustler, A League of Their Own, Major League, Breaking Away, Slap Shot, Rocky, Hoosiers, Moneyball, and so on and so on.
One might easily claim that Jerry Maguire, Eight Men Out, The Natural, Field of Dreams, Raging Bull, and other sports movies that don’t fit comfortably into the underdog narrative are more admirable for finding a way to avoid it, but really all of the movies listed above are pretty great (but not the remakes). The question is not “in which category does Eddie the Eagle belong?” because Eddie very definitely belongs with the Underdogs; the question is whether Eddie’s story cuts it to the degree that the old hat storyline takes a backseat to the overall journey.
While Netflix has proven itself worthy of quality television in its queue of original series, Amazon Prime still has something to prove. With Catastrophe, it gets a good start.
Catastrophe, a comedy written by Sharon Horgan and Rob Delaney, stars the duo as a somewhat dysfunctional couple that gets together when Sharon (played by Sharon) finds out she is pregnant with Rob’s (played by Rob) baby after the two have a one-week stand. Catastrophe just wrapped up its second season and is getting ready for a third, so now is a great time to catch up.
- Universal has announced a Robert Ludlum Cinematic Universe, an announcement which would only be more ridiculous if they retroactively incorporated The Osterman Weekend. Dwayne Johnson will star in the first film The Janson Directive, due out sometime in between Dwayne’s other fifteen in-production movies.
- On the other end of the productivity spectrum is Terry Gilliam’s Don Quixote project, famously trapped in development hell and now (re-)reinvigorated with Adam Driver in a leading role. Stay tuned for another go at the film ten years from now.
- Comic scribe Geoff Johns and WB Executive VP Jon Berg will be supervising DC’s Cinematic Universe post-Batman v. Superman (post-Justice League, really, as that’s already in production) and hopefully doing for DC what Kevin Feige did for Marvel. Or — here’s a thought — doing something different.
- And in news unrelated to connected universes or massive franchises…just kidding. Sherlock Holmes 3 starts filming this Fall.
Just now I googled “Tom Cruise best roles”, “Tom Cruise worst roles”, “Tom Cruise best movies” and “Tom Cruise worst movies”, partially because I’m interested to see where his role as Mitch McDeere in The Firm lands and partially because my boredom has reached carrying capacity. I found, unsurprisingly, that the internet does that thing where it reaches consensus about certain things being “good” and certain things being “bad”, which in this case is sometimes inarguable (A Few Good Men = “good”, Far and Away = “bad”) but sometimes weirdly unearned, as with the endless praise heaped upon Edge of Tomorrow or Cruise’s role in Tropic Thunder. The former is a fairly fun movie and the latter is a fairly funny movie, but to say that these number among Cruise’s best seems a stretch. Again, the common consensus surrounding mediocrity doesn’t exactly come as a shock.
What was surprising, though, is that not a single article or top ten list included Mitch McDeere or mentioned The Firm at all. “Good” and “bad” are complicated, sure, and you might even suggest that the overarching opinions of the internet’s burgeoning culture commentary is at fault for this, too, as if to say “those other guys didn’t claim The Firm to be a great Cruise movie, so we won’t either.” But not a single one mentioned The Firm. No outliers buried in a list to satiate the unconfessed desire of a film blogger, no mention of Mitch McDeere even in reference to another role. It’s like The Firm never registered as a Cruise flick. Putting aside common consensus and inescapable truth (Far and Away = “bad”), that just seemed strange.
Oftentimes, we yearn for simplicity in movies. There should be good guys, bad guys, and a happy ending. Maybe it was all those fairy tales we heard growing up. Unfortunately, for those looking for the next great American fairy tale, Joel Edgerton’s The Gift is not it.
The first part of the movie plays out like any stalker-thriller movie does. Strange man comes along, takes an unusual interest in a woman or a couple, drops by often for unexpected visits, and is generally creepy (even when trying to help out). In this case, it is Gordo or “Gordo the Weirdo” (Joel Edgerton) an old classmate of Simon (Jason Bateman) who just can’t stay away from him and his wife Robyn (Rebecca Hall) after they move back to California.
It all starts out harmless enough, despite Simon’s constant insisting that Gordo is, in fact, a “weirdo” and they should tell him off. When Simon finally does tell Gordo to leave him and Robyn alone, the situation, not surprisingly, turns from creepy to dangerous.