fate-of-the-furious-gets-a-roomy-runtime-696x464

It’s all resting on his shoulders now!

It’s late, I know. I’m sorry. I didn’t a chance to see The Fast and the Furious 8 or otherwise known as The Fate of the Furious (I’ll refer to it as Fast 8 as we go) when it first came out. Weird time of year for me, what can I say? I’m seeing more movies now, though, and I finally got around to the latest entry in one of my absolute favorite franchises. This is a key entry, too. When Paul Walker died, everybody asked “how the fuck is this thing gonna work from now on?”. Many critics wondered whether the series would focus more centrally on Dominic Toretto (Vin Diesel) with the beloved ensemble taking a back seat. The central relationship of the series was always Dom and Brian (Paul Walker) and it seemed like there were two possible directions for this to go: try and replace Brian, or center it on Dom alone (at least for now). It looks like they decided to focus on Dom after all, and the results are just fine though that central relationship is certainly missed.

In many ways, Fast 8 feels more thematically grounded and focused than the last few. This was a bit of a surprise, and worked better than I think a lot of people might have expected given the general attitude about Diesel’s ability to shoulder a movie. I think he’s pretty good, though, and while he isn’t stretching the emotional range of Dom much here, there are a few nice subtler moments and we’re definitely seeing Dom in a new situation. With the key relationship of the series missing, Fast 8 decides to trouble the very thing that has kept the characters and the audience along for this very bizarre and now very lengthy ride: fambly.

Is Fast 8 better than the last few movies? Not really. As always, the highs are pretty high but I think this is maybe the least light-hearted of all of them and offers less of the jokes, camaraderie, and goofy warm heart the series is known for. Of course, all this stuff is still here, but this is also the entry where Fast 8 goes darker. That’s not going to work as well for some people, but I think this movie is less uneven than Fast 7 was (particularly the action). The important question isn’t even really if this movie lives up to the rest of the franchise, because of course it does, it’s more about whether it leaves you with a sense that this franchise can keep going without Paul Walker. I think it can, but I think Fast 8 is unable (and probably this is intentional) to fully get to a new stable dynamic on its own. There are seeds of it, but it’ll probably take the next movie before we see where they’re going with certain elements, which this review will explore in detail.

DOING SPOILERS A QUARTER-MILE AT A TIME Read the rest of this entry »

wonderwomantrailer213-470x310@2x

Is she with you?

Wonder Woman is good. Like, Marvel Phase 1 good. In fact, it owes such a massive debt to both Captain America: The First Avenger and Thor that the weird and often toxic fandom around DCEU and their obsession with being “better than the MCU” is even more ironic than usual. However, forgetting about those kinds of people as they so richly deserve leaves the question as to whether it should count against this movie that its creative team bothered to finally learn something from their wildly more consistent and successful counterparts at Marvel. I don’t think so. I think good superhero movies with actual shit to say is a tide that raises all the ships. I have given this current generation of DC superhero movies a lot of shit, we all have, but most of us still want them to be good.

And with Wonder Woman, there’s a glimmer of hope that they can be. People are looking for a fluke reason why Wonder Woman is good, like this success couldn’t be replicated without secret handshakes and spinning around in place an arbitrary number of times before sitting down to write the script or pick up a camera or whatever. It’s nonsense. This movie is good because it gives a shit and the people who made it give a shit. They aren’t embarrassed or cynical about this being a sincere story about heroism. They lean into it. On top of that, it’s probably one of the most if not the most culturally significant superhero movies there is. It’s embarrassing at this point, 10 years into the era of shared superhero universes, that we’re only now getting Wonder Woman. I will talk about Wonder Woman‘s feminism and its impact (including some similar ideas), but I also want to point my readers to a great piece by BMD’s Meredith Borders, who offers a nerdy woman’s perspective on the significance of this movie.

That all said, there are definite imbalances and flaws in the movie. I’ll talk about them below, but by and large this movie stands up well against the MCU, or I should probably say alongside it? Honestly, I don’t think many people would be able to make a meaningful distinction between MCU and DCEU properties using Wonder Woman as a basis. And I think that’s okay, but it may disappoint DCEU fans who are looking for something more distinguishing besides just beating Marvel to the punch on having a movie focused on a woman. Wonder Woman focuses on what works best for these kinds of movies: character, humor, symbolism, and heroism.

SPOILERS AHEAD Read the rest of this entry »

Alien-Covenant-Trailer-Breakdown-1

Feels much more like the original Alien in terms of design and aesthetic.

Alien: Covenant is getting positive reviews it just doesn’t deserve and that I didn’t expect. The negative reviews make more sense to me, though I don’t fully agree with them. I think it boils down to a collective sigh of relief that it is not nearly as bad or as stupid or as bewildering as Prometheus was. At the same time, it almost makes me miss that movie. Which, if you know me at all, would seem a completely fucking loony tunes thing for me to say. I hate Prometheus and though I tried many a time, I never made it through a rewatch. That movie just falls apart about 45 minutes into it and never, ever recovers. But, and I can’t believe I’m saying this, at least it had some ambition, misdirected and poorly executed though it was.

Covenant is not really a good movie. It isn’t terrible, though, it’s just kind of there. Like I was saying, I find myself aligned neither with the ridiculous positive reviews nor with the ridiculous negative reviews. They all make points, some solid and some not so much, but I feel squarely in the middle in terms of my critical response. This was a movie where I couldn’t summon up much ire over the parts where it did get stupid. Nor did I really feel much in those moments where something interesting, whether visually or narratively, happened.

I don’t know if Covenant could rightly be described as a boring movie, but like Mass Effect: Andromeda, it does feel like a pseudo-remake of the first one. A movie that arises not to put a bold new chapter in the Alien book, but to basically try and remind us why we liked these movies in the first place. This is a problem because it fails by playing it too safe, too conservative, and by splitting its priorities so distinctly and unimaginatively that you wind up feeling like you’re watching three different movies, stapled together so ineptly that it becomes distracting if not ruinous for the whole franchise.

IN SPACE, NO ONE CAN HEAR YOU *SPOILERS* Read the rest of this entry »

King-Arthur-Legend-of-the-Sword

Pick it up. You know you want to.

So if we take a really loose version of the Arthurian mythology, marry it to a cockney London (er… Londinium) gangster story, sprinkle in a bunch of references, some in tribute and some mocking, to other fantasy movies… this is what we get? This is what we get. The result is ridiculous and will offend the sensibilities of just about every type of nerd out there. Your history nerds will scratch their heads about everything from wardrobe to chronology to props, your mythology and literary nerds will want to know why King Arthur is suddenly Robin Hood, and your fantasy nerds might be placated by the most awesome magic sword in the history of magic swords, but their literalist tendencies will be set alight and pissed on by this movie’s utter disregard for consistent or coherent world-building. And we already know what the movie nerds think. Spoiler: they are not happy.

For my money, King Arthur is a more enjoyable movie than either of Guy Ritchie’s Sherlock films mostly because it dares to be far more bonkers and far more often at that. But it also has the same issues, including an overly dour colour scheme which mars some otherwise beautiful compositions and sequences. It also has an overly smug lead, which I’ll talk about more later. The visual issues are compounded by a really bad (in my theater anyway) use of 3D. Like, 2005 bad. This movie is so dark that many of the aesthetic details especially in CG-heavy scenes are lost. I would bet that this is not a theater issue but one with the quality of the post-processing, since many people are complaining about the uninspiring visuals of the movie. They aren’t totally correct, there’s a lot to love visually here, but the movie consistently holds itself back by being 3D for absolutely no fucking reason. When I get to see it again, it will not be in 3D and I’m hoping the visual elements register more clearly more often. On the other hand, the music in this movie is brilliant. Even the non-score anachronistic songs. Forget the term for those, but they are well-used here.

King Arthur: Legend of the Sword is overall a baffling movie. I don’t want to ruin anybody’s fun here, because this movie actually is plenty fun, it’s just that the whole thing doesn’t really come together the way you want it to. There are many elements that work well, especially when the movie isn’t taking itself seriously, but many more that do not. It’s a huge boys’ club, with almost no female characters and the few present get very little to do besides support the male hero or die trying, but it also wins some diversity points by not pretending the medieval world was lily white the way the racists like to. Some will accuse King Arthur, kind of wrong-headedly, of casting it like it’s taking place in Modern London rather than ~500CE Londinium. It’s a fascinating exercise, really, because here we have this remix, this mash-up, and who better to do that with Arthurian myth, especially with the music video sensibility that King Arthur displays, than Guy Ritchie? But honestly, did they ever stop to think if they should do it? No, they did not. They were planning like five of these. I doubt we’ll even get two.

MY KINGDOM FOR A SPOILER WARNING.

Read the rest of this entry »

Guardians-of-the-Galaxy-Vol-2-trailer-breakdown-21

Is there a more instantly iconic cast in Hollywood?

I am pleased to report that Guardians of the Galaxy Vol. 2 (I’ll refer to it simply as Vol. 2) is, as many of you have found out for yourselves over the past week, every bit as good and in some ways much better than even the first one. Vol. 1 was a great surprise and still the boldest movie Marvel has yet made. Vol. 2 doubles down on the world it created and the characters that inhabit it, losing the freshness a little (which is being overstated as a complaint) but managing to improve on those few significant weak spots the first one did have.

One of those is the way certain characters were shorted much of an arc as the plot took over the movie. In Vol. 2 this never happens and no character, and there are so fucking many of them, gets shorted. They all have satisfying arcs, even Kraglin (Sean Gunn), wisely depending on interactions with each other. For people who like Marvel movies and fans of The Fast and the Furious franchise, this will feel familiar. It’s in pairings, parallels and polar opposites, that juggling so many characters and arcs becomes possible. Vol. 2 pulls this off with aplomb and manages to weave through tonal shifts, some of which are pretty shocking and risky. A stronger commitment to the sadness and loss hinted at in Vol. 1 is also demonstrated here, giving this goofy space movie an emotional core that is hard to find even in serious dramas. If I could compare that to something, it’d be a Pixar movie, where they definitely understand that the juxtaposition of light heartedness, humour, and fun against deeper, darker, and unresolved feelings provides a strong base for engaging drama and characterization. Not only this, but James Gunn managed to infuse this one with some pretty heavy existential and philosophical weight, which I’ll get to later on. I didn’t expect that.

All the way back when testing revealed that Vol. 2 was the MCU’s first movie that scored 100s (whatever that means), the hype has been real. There’s already a pretty misguided mini-backlash against this movie, fixated on gags that don’t quite land or the way the second act dismisses the overarching plot in favor of briefly becoming a shaggy hangout movie, but this stuff seems nitpicky to me. At the same time, I totally understand just how hard it is to deal with a movie as anticipated and hyped up as this one was. Your mind always wants to find that one thing wrong with it, so I take these nitpicks as a great sign personally. If the worst someone can say is that the space fruit ripeness joke feels a little forced then this is one helluva movie, right? It so is. Read the rest of this entry »

mass_effect_andromeda_wide_art_back_2

Oh boy. Buckle your seatbelt, dear reader. This is gonna get… massive?

I bought my 360 back in 2007 to play Mass Effect. I was blown away by the character creator demos, was becoming a fan of Bioware thanks to KOTOR and Jade Empire, and was just primed and ready to go. What followed from there is probably one of the all around best video game franchises of all time, and certainly the most consistent set of games Bioware has ever created. Mass Effect 2 is probably one of the greatest games of all time. Unfortunately, they had some trouble sticking the landing and bringing the trilogy, which was ambitious as all get out, to a satisfying close (for most people). Bioware has always been a responsive company (some would say reactive or reactionary) and they were quick to try and fix issues. I think that history will be kind to Mass Effect 3 and I know I’ve softened on its narrative issues after a few years and playthroughs.

I’m not sure what history will make of Mass Effect: Andromeda. All I know is that I have a fucking lot to say about this game and I know that I’m gonna miss and leave out tons anyway. This game is a very mixed bag and because I played¬†Horizon: Zero Dawn just before, I was inevitably let down here. So it’ll probably wind up being mostly bad news as I catalogue and process the laundry list of complaints I have about it. This game is the definition of death by a thousand cuts. For a lot of players who picked it up at launch, Bioware will never be able to recover that critical first impression even as they scramble to fix glaring issues that by all rights should not have been present at the launch of such an expensive and anticipated game, one which also had a five year development cycle. But having said all that, I still found a lot to enjoy. Major missions are very satisfying and there are many memorable moments in the game. While¬†Andromeda mostly gets by on those bits where it does the familiar very well, I do look forward to playing it again once it’s been patched a bit more.

I will break this review into sections for ease of reading and so that you, reader, can focus on elements you maybe care most about. Most people play Bioware games for the story, and I’ll start there, but please don’t ignore the section on Technical Issues because I promise you that some of that shit will rob you of enjoyment and it’s best to be forewarned about it. Also note that I won’t really be discussing Multiplayer as a I barely got into that (it’s been a buggy mess with major connection issues) and it’s not the reason I play Mass Effect or Bioware games anyway.

It may go without saying but there will be spoilers to follow…

MASSIVE SPOILERS (hehe)

Read the rest of this entry »

MV5BZGJmMzkxNzYtYjFjYS00MzVmLTk4NzgtM2U2YmY0OGYwM2Y3XkEyXkFqcGdeQXVyNjczOTE0MzM@._V1_

No one will accuse this movie of not looking great.

Ghost in the Shell as a 20 years removed live action adaptation of a seminal anime film is at once completely unnecessary and completely inevitable. We live in a weird period where the tropes and signifiers of the cyberpunk genre are everywhere we look. It makes a sort of sense that the most influential pieces of that history are being reclaimed and re-positioned for modern audiences. Not only is Ghost in the Shell a thing that happened, but Blade Runner is getting a sequel, shows like Incorporated also pay direct homage to and update the William Gibson and Margaret Atwood cyberpunk vision for the 2010s. But when you watch Marvel movies or the CW superhero shows, the technological gimmicks as well as many of the technological themes stories address (artificial intelligence, human enhancement, etc) are also present.

This is because we kind of live cyberpunk now, we’ve got all the big elements: sketchy corporations accruing more and more power, poorly understood technological progress unevenly distributed and always dovetailing between transcendence and frivolity, and a world where high-tech gadgets and cybernetic crime, warfare, and identity are taken for granted.

So what time could be better than now for an adaptation of Ghost in the Shell? This movie’s historical and iconographical relevance is only rivaled by its failure to address another cornerstone of our times: the latter days of white supremacy in an increasingly global context. Make no mistake, Ghost in the Shell is a very political film but it accomplishes this accidentally and becomes a “useful fool” in the discourses of identity politics, racial/cultural hegemony, and the gyre of entertainment representation. Now, maybe you’re not interested in all that shit. Read the review anyway, because I’ll be getting into the more technical stuff that works or doesn’t first. If you’re looking for a quick summary of the kind I usually put here, let’s say that Ghost in the Shell is… okay. Too much of the narrative is simplified or compromised, and while the imagery and action is beautiful and memorable it also frequently feels cheap outside of the really great practical effects and props that are sprinkled throughout the movie. It also has pretty rad music, though they should have used the ’95 theme more.

//SPOILERS//follow.review Read the rest of this entry »

MV5BMmM0MGJkOTktYjViYi00ZmFkLTgwNmItNTE4YjBmMTM1NmE0XkEyXkFqcGdeQXVyNjEwNTM2Mzc@._V1_SY1000_CR0,0,1502,1000_AL_

This movie will totally prey on your irrational fear of triangles.

The Void is a movie where it is best to go in without knowing too much. However, to make sure the right people see this I will say up front that if you like cosmic horror (Lovecraft and/or Stephen King) and John Carpenter’s horror classic The Thing you are primed to love this. It was made for you.

Beyond its horror pedigree and fairly game achievement of its ambitions, it is interesting to note that The Void is a partially cowdfunded film. That’s pretty cool to think about since not only are practical-effects driven movies like this one fairly rare nowadays, crowdfunding proves there’s both an appetite for them and the potential for more to be made.

Jeremy Gillespie and Steven Kostanski wrote and directed the hell out of this film. It has a fairly simple, straightforward premise that unfolds into truly eerie territory. One of the best things about it is that it gets at ya fast and often, spending only the minimal time on set up before getting into the good stuff. If you’re tired of horror movies that wait too long to show some monsters or tip the hand of weird shit going on, you’ll like the way this one is structured.

THERE ARE SPOILERS… IN THE VOID.

Read the rest of this entry »

kong-skull-island-halong

The sense of scale in this movie is just masterful.

I really, really didn’t like 2005’s King Kong and it was really the beginning of my reappraisal of Peter Jackson as a filmmaker (George Lucas 2.0). I only saw it the one time and while people have reassured me that it’s got redeeming qualities, and I’m sure it does, I have never had the desire to revisit it again.

Kong: Skull Island on the other hand? I think I’ll be rewatching this one a ton. For one thing, it’s fucking gorgeous. So well designed and beautifully shot. It’s an obvious course-correction after Godzilla 2014’s very mixed bag, and this might not sit well for fans of that movie, but I loved it. Mostly what this means is that Kong has a diverse cast of human characters that are fleshed out to varying degrees and have charisma and meaningful arcs (for the most part). Godzilla had one dude who just kept being inexplicably there for everything. Kong simply does it one better by paying a little more attention to the humans and also by making sure Kong is around early and often. It maintains the somewhat distant perspective on Kong that Godzilla had with its titular beast, but I actually kind of like that. It’s better if humans are sort of watching this big ape-god and arguing among themselves about its true motives and traits. It gives it a slight tinge of cosmic horror, where even with all the jawing about it we’re pretty sure no one really ever understands these great monsters fully.

In most ways, Kong plays like a very old fashioned adventure movie. It has a playful sensibility with tons of visual gags and a critical attention to small details that helps it pull off that swashbuckling tone. It feels like the cover of a 60’s Hollow Earth novel come to life, right down to the action figure hero and heroine. I was not expecting something with this much scale and confidence from Jordan Vogt-Roberts, whose previous movie Kings of Summer is one I really liked but is almost laughably smaller in every conceivable way. Still, Vogt-Roberts might owe a debt to Gareth Edwards but he very much makes his own mark in the Kaijuverse that they are trying to build. I think he’s the best bet for bringing together that inevitable movie where Kong and Godzilla throw down. Read the rest of this entry »

5-12-2016-10-59-19-am-0033.jpg

This movie is totally hollow.

Over time, an unofficial rule of this blog developed and it is that I don’t typically go back and review movies from a previous year. There are always way too many and not enough time in the current year so I usually concentrate on what I’m seeing in theaters. For Assassin’s Creed, I am going to make an exception. Because I’m mad at it. It is so, so bad and the worst part is that it’s kind of regular type bad (it’s a lazy, shallow mess) rather than interesting or ambitious type bad. If all a video game movie can hope for is to be some shade of bad, I’d prefer the ambitious and bizarre bad of Warcraft to this any fucking day.

About the nicest thing you can say about this movie is that it’s occasionally gorgeous and very occasionally has some interesting ideas or revisions of the Assassin’s Creed “lore” as we might know it from the games. I played those games in the halcyon days before Ubisoft decided to make it an annual release and drive anything good about it to the merry land of tedious repetition and stagnant innovation. Still, I was cautiously optimistic about this movie because the trailer was stylish and there’s some solid talent both behind and in front of the camera. I was one of the people who liked Justin Kurzel and Michael Fassbender’s previous collaboration, 2015’s Macbeth adaptation. If Kurzel could bring his grit and eye for imagery to a video game movie, all the better. And he did, sort of, which is why there are shots in Assassin’s Creed that are great and might even trick some viewers into believing it’s ever more than some pretty packaging for a completely boring, by the numbers plot-driven vanity project. And it does feel like a vanity project for Fassbender.

All that being said, Assassin’s Creed is what I called “regular type bad” so at the end of the day, its many sins will be glossed and forgiven by people with an investment in what it offers: the elusive and fleeting thrill of seeing moments from a video game brought to life in a movie. There’s also that people probably genuinely want this movie to be way better than it is, that will fill in the yawning gaps it leaves everywhere (but especially with characterization, of which there is almost none) with dismissive “they explained that” statements. And yes, this movie explains itself a lot, right from the half-assed opening text, but it rarely if ever does anything else. Read the rest of this entry »

Categories

Previous Posts

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 91 other followers