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”).
Continue reading The Nice Guys (2016)
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.
Continue reading Ant-Man (2015)
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.
Continue reading Eddie the Eagle (2016)
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.
Continue reading The Gift (2015)
Today is May 11th, 2016, the 132nd day of the year. In those just-over-100 days a small little company called Disney — heard of it? — has made more money than any single company has any earthly right to make. Not since the Dutch East India Trading Company has a multinational firm held such widespread influence. Disney’s always been a successful company, sure, and even if they had fiscal years of lesser oomph they always had sheer name recognition to fall back on. In a bygone era every kid knew about Disney; today, though, we’re headed toward the era where every kid knows only Disney.
If that post-apocalyptic fever dream of a world seems far-fetched, consider how many of the blockbusters busting the block this year were preceded by that little star making an arc over the Magic Kingdom. Zootopia, for example, which is an animated film about talking animals, is currently hovering above the $930 million mark at the global box office. It is already the highest-grossing animated Disney film ever in China, surpassing even the likes of Frozen and The Lion King, and is in general doing work at the box office as few animated films have done before. Ever.
Continue reading The Jungle Book (2016)
When the film adaption of John Green’s The Fault in Our Stars went from thickly bound pages to the glowing awe of the big screen in 2014, teenage girls everywhere swooned and sighed as, “Okay,” took on a whole new meaning. Green’s other novel-adapted movie Paper Towns didn’t receive quite as much anticipatory swooning, but also doesn’t require quite as much emotional investment — and that’s okay.
Paper Towns stars Nat Wolff and Cara Delevingne as a boy in love, and the girl who steals his heart, respectively. However, this is not so much a love story as it is the story of being young, of being innocent, of making the most of the moments of youth you have left before you stumble your way into noncommittal adulthood. And it’s good, it really is.
Continue reading Paper Towns (2015)
Frantic is such the quintessential Roman Polanski movie that you’ll swear you’ve seen it before. As with Repulsion, Cul-De-Sac, Rosemary’s Baby, The Tenant and What? before it, Frantic subsists entirely on a sense of dread that grows steadily following an initial oddity. The tagline is “Danger. Desire. Desperation”, which could easily be the tagline for a sizable cross-section of Polanski’s filmography. That said, only one of those three words — “Desperation” — actually feels accurate within the context of the movie, and even the title Frantic is a bit misleading. This isn’t the only kind of film Polanski is capable of, but the series that do fit the mold are less frantic and more foreboding, less manic and more pulsating, less overtly dangerous and more subtly sinister.
And a lot of them concern an American Abroad, a topic which for some reason seems to lend itself particularly well to the horror genre. Films like Jeopardy, The Bird with the Crystal Plumage, The Girl Who Knew Too Much and Hysteria derive a palpable sense of dread from the American Abroad in much the same way; the films based on Patricia Highsmith’s Ripley books and tense thrillers like Straw Dogs and Sorcerer benefit from the same fish-out-of-water vibe, too, while others like The Yakuza use the trope even more explicitly. Of course the whole American Abroad thing is also a hallmark of shitty potboilers like Deception or the slightly-better Lizzie McGuire Movie. Did you know there’s a movie called Shaft in Africa? There’s a movie called Shaft in Africa.
Continue reading Frantic (1988)
I’ll be the first to tell you that I’m a sucker for movies that I watched as a kid. You can tell me as many times as you want that Matilda and Harriet the Spy are half-assed attempts at cinematic okay-ness, and I’ll still argue with you that they’re some of my favorite movies ever. I’ll also be the first to admit to you that, despite knowing that My Girl is one of the movies that fits into this 1990s kids-classic genre, I’ve never actually seen it until this week. Sure, sure, I knew the basics — romance between children, tragedy strikes when child dies, etc. — but I’d never actually watched the film. However, when it popped up on my Netflix queue this week I thought, “You know what? Let’s give it a shot.” Turns out a shot was all the kid would have needed to survive the damn thing.
Before I get into this review, let me preface it by reiterating this: I understand that it’s nostalgic. I understand that people love it because of its emotional resonance, because it brings you back to your youth, to a simpler time when movies didn’t have to be elite, they just had to be entertaining (and hey, what’s wrong with that, really?).
But let’s talk about it.
Continue reading My Girl (1991)
Hitler is back. This is the premise, plot, and entirety of Look Who’s Back. There is essentially nothing else — certainly no explanation of why or how the actual Adolf came to awaken in a playground in modern-day Berlin, certainly no plot wherein he has to find his way back to the ’40s or continues time traveling and attempting to conquer Future Berlin after Future Berlin. He’s just back.
This, of course, is elementally terrifying. The man is known worldwide as the incarnation of Evil, as a man intent on power and privilege, as not a man at all. The Return of Hitler is actually not an uncommon film narrative, admittedly not usually depicting the literal return of the human being but his figurative return in one form or another. American History X and any other neo-Nazi-led drama inexorably deals with the resurgence of Hitler’s ideals; it’s not just drama for the sake of drama, either, as documentaries like Skokie: Invaded But Not Conquered prove. The subject of that film is a guy named Frank Collin, but he’s really a thinly-veiled pipsqueak version of Hitler himself. These unfortunate reincarnations are very real, and they are very dangerous, and they are very scary.
Continue reading Look Who’s Back (2015)
My favorite movie in the Mummy franchise is The Phantom, but hardly anyone else seems to agree with me. “Nay,” says Naysayer, “you’re mistaken — Phantom is a superhero movie.” Though Naysayer’s rationale is increasingly appropriate such that one can visit a cinema and blindly say that’s a superhero movie and usually be correct, the film adaptation of the long-running Phantom comic strip seems much more at home in a category with The Mummy, Pirates of the Caribbean, Tomb Raider, Romancing the Stone and all of the other Indiana Jonesey flicks that muster at least a small degree of fresh fun. When asked to think of a superhero movie, it’s doubtful The Phantom leaps to mind. Is archaeology adventure an acceptable genre label? We know Naysayer’s answer.
But this was 1996, long before the homogenization of the superflick under the all-encompassing tyranny of the Shared Universe Model. Maybe in 1996 there was nothing at all to blink at: Phantom, a comic-strip costumed vigilante, is up on the screen saving people and slamming evil. This is a superhero. Maybe today there’s just a more rote formula for such a thing, and maybe calling Phantom otherwise is an act of desperation.
Continue reading The Phantom (1996)