Tag: movie reviews

The Old Guard Review

There’s a grounded Unbreakable vibe that permeates parts of Gina Prince-Bythewood’s The Old Guard. In a cinematic universe where comic book adaptations are hurled at us every couple of months, this R-rated Netflix pic manages to frequently feel fresh and captivating. There’s a less is more spirit as the screenplay (from Greg Rucka based on his own graphic novel) sets the table for inevitable sequels. That’s not to say there aren’t a fair share of shoot-em-up video game style battles. There are and they’re a cut above some others.

Andy (Charlize Theron) leads a group of fighters as we open on their assignment to rescue abducted young girls in Sudan. Her teams consists of Booker (Matthias Schoenaerts) and Joe (Marwan Kenzari) and Nicky (Luca Marinelli), who are also a couple. Their assigner is CIA contact Copley (Chiwetel Ejiofor). If Danny Glover’s Roger Murtaugh complained about being too old for his job (he put it another way), he should’ve met this squad. The quartet is immortal. Andy can’t even remember her age (we’re talking thousands of years) while the others mark their existence in centuries. They’re not famous like The Avengers and the modern world makes it trickier for them to stay inconspicuous. The group can be riddled with machine gun fire and bounce back within a few seconds. That makes them, of course, lethal weapons.

Their latest gig turns out to be a double cross involving pharmaceutical company CEO Steven Merrick (Harry Melling). We know he’s bad because his company logo is often ominously panned to before he lays out his plans. They involve capturing the immortals to study their priceless DNA. Merrick only has profit on his mind even if that means locking up his subjects with his private army guarding them. His associate Copley’s reasonings are a bit more noble.

The eternal foursome becomes a quintet with American soldier Nile (KiKi Layne). After her tour of duty ends violently, she miraculously recovers and confounds her coworkers. Andy and team come to the rescue as they must explain her new undying circumstances (she’s the first new member of the exclusive club in over 200 years). With Merrick attempting to prescribe their captures, the well-choreographed action sequences commence.

Rucka’s script weaves in occasional flashbacks of Andy’s past that reveal other associates. It turns out nothing may last forever even though our main warrior probably fought alongside Alexander the Great and Genghis Khan and partied with Keith Richards. These callbacks to history succeed in elevating anticipation for future installments.

If there’s as flaw in The Old Guard, it’s the most common of its sort. Melling’s villain isn’t exactly fleshed out. We’ve become used to the antagonists being a weak link. The preachy tone about the industry he works for can sometimes come across as clumsy and there’s the lingering knowledge that these heroes have likely fought far more interesting foes.

Yet I welcomed the approach of letting the vast backstory of the main characters have gradual reveals that are surely still formulating. Some origin stories play like the duller forward to more enticing chapters. That’s not the case here and with the talented Theron leading the charge, The Old Guard could turn out to be an enduring title in the 21st century’s preeminent genre.

*** (out of four)

The Flash Review

Just as “Nuking the Fridge” has become shorthand for introducing unwanted material in a beloved franchise (courtesy of Indiana Jones and the Kingdom of the Crystal Skull) – “Waving the Baby” may enter the lexicon thanks to The Flash. You’ll see what I mean in the opening scene of the DCEU adventure. There’s shoddy visual effects accompanying the term that may produce unintended laughter. That said, I kind of warmed up to this initial action sequence with Ezra Miller’s title character given a save the day assignment from Alfred the Butler (Jeremy Irons, reprising his role from Batman v Superman: Dawn of Justice and Justice League). Like much of the first half, it’s light and quirky and (despite their offscreen troubles) Miller shines in a dual role. There’s genuine moments of intended laughter too. The second half is where this becomes overbaked and the frequent surprise cameos don’t save it. It’s a countdown to continued mediocrity after a sturdy start.

The Flash’s alter ego is Barry Allen and he’s assisting Ben Affleck’s version of the Caped Crusader (and others) as we begin. He’s doing a bit of the grunt work while his Justice League teammates handle cooler assignments. Barry’s mom (Maribel Verdú) was murdered when he was a youngster. His dad (Ron Livingston) was wrongly convicted of the crime and is imprisoned with an appeal on deck. The possibility of time travel is introduced giving Barry a potential green light to undo the childhood trauma and save his family. We know through countless features that going back to alter the future never works as intended. By the way, there’s some enjoyable reference to Back to the Future and additional 80s classics.

Before we know it, Barry/The Flash is stuck in a multiverse situation with a younger and not as scientifically gifted version of himself. In this world, Affleck doesn’t don the Batsuit. Instead we are given the chance to witness Michael Keaton back in the role for the first time in over 30 years. His Bruce Wayne is long out of the limelight, but the Barry’s visit to his Manor might get him to repeat iconic line readings once again.

There’s less memorable character reappearances in the alternate reality. Michael Shannon reprises his turn as General Zod from Man of Steel as does Antje Traue as his second-in-command. If you weren’t clamoring for that bad guy’s comeback, I get it. He was a weak nemesis a decade ago and he is again. This isn’t really Shannon’s fault, who’s a gifted performer in plenty of other films. He simply doesn’t have much of a role to flesh out. If comic book movies are as solid as the villains, The Flash is offtrack.

Of course, weak villains have been a staple of the DCEU and MCU and other factors often rescue them. For awhile, that’s the situation. Miller excels with the comedic timing and dramatic beats. Given that the initial hour plus focuses on the older and socially awkward Barry teaching dumber but happier Barry how to become a superhero, there’s plenty of entertainment value. Then it goes and clocks in at nearly two and half hours. Keaton’s return is welcome at first. Gimmicky? Sure. Sasha Calle’s debut as Supergirl is underwritten though her performance is promising if she’s given screen time in future entries.

The latter portions of The Flash are interchangeable from about every other genre experience. We’re talking loud, messy, and dull battles. By then, it doesn’t much matter that Keaton is in uniform or Miller’s performance is impressive. They’re drowned out by effects. The multiverse happenings (and we do see plenty of alternate realities with familiar faces) are becoming standard procedure thanks to Doctor Strange and Spider-Men. Barry’s familial dynamics are also well covered territory.

I’d have no trouble recommending The Flash if it stopped after about 75 minutes. Unfortunately it keeps running and the time remaining alters a universe in which it is ultimately satisfying.

**1/2 (out of four)

Champions Review

In Bobby Farrelly’s Champions, we see glimpses of the gross-out humor that made the director and his brother Peter hugely successful filmmaker in the 90s. The co-maker of Dumb and Dumber, Kingpin, and There’s Something About Mary throws up puke, flatulence, and sex jokes, but it takes up limited screen time. This high concept dramedy is more centered on the heart than a fart (forgive me) and some of it scores. This also occasionally feels so desperate for our affection that you feel obliged to pet it, rub its belly, and tell it what a good movie it is.

Marcus Marakovich (Woody Harrelson) is a basketball coach whose skills aren’t being put to their best use. He’s an Iowa based assistant in the minors after squandering larger opportunities due to his hair-trigger temper. When his big mouth gets him canned yet again, he drinks his sorrows away and ends up with a DUI offense. The judge, in lieu of a lengthy jail sentence, assigns him to instruct a team with intellectual disabilities for 90 days.

The sports cliches follow as the hard-hearted Marcus’s outlook on life eventually is softened by his players who call themselves The Friends. One of the players is Johnny (Kevin Iannucci), the brother of his coach’s one-night stand turned potential love interest Alex (Kaitlin Olson). His primary character trait in the beginning is that he refuses to shower. The screenplay (co-scribed by Farrelly) doesn’t spend much time exploring the lives of these teammates. That might have been a worthwhile approach. For example, more airtime for Madison Tevlin’s forthright and self-confident Cosentino might have benefitted the picture. Same goes for Joshua Felder’s Darius, who’s the strongest player yet refuses to suit up for his legally bound coach (his reasons make good sense once revealed). Their performances make the absolute most of what they’re given. Unfortunately that’s limited.

Those character’s subplots could have turned into rewarding larger ones. We’ll never know. Champions is more focused on Marcus. He pines for NBA exposure instead of riding the pine in menial tutorial positions. Ironically the feel-good story of the Friends gets him closer to his goal as ESPN takes notice of his legally decreed assignment. Harrelson is no JV performer and he brings his A game to a script that never fully coalesces. He has a winning chemistry with Olson and their romantic interplay is a frequent plus.

A remake of a 2018 Spanish title, Champions isn’t offensive unless you count a short shot of projectile vomiting (there’s nothing approaching what we saw in the aforementioned Farrelly tales). I didn’t really find its treatment of the Friends objectionable either and that’s refreshing considering the filmmakers have a fine line to walk. On the other hand, there’s a fair share of mediocrity to deal with. For all the moments where the formula works, there’s a nagging feeling that this could end in the cast doing a dance routine to something like “Tubthumping” by Chumbawumba. Ahem, spoiler alert…

**1/2 (out of four)

John Wick: Chapter 4 Review

No franchise has seen more actors submit headshots to get their heads shot than this one. Nearly a decade has passed since the puppy of John Wick (Keanu Reeves) was offed by Russian mobsters in the 2014 original. Much less time has expired onscreen as we arrive at Chapter 4. In the features that have followed, the world building continues to grow as the squib games ramp up.

As a quick reminder, Wick was a legendary hitman mourning his wife’s death from natural causes in 2014. When the condemned criminals caused the demise of his very good boy, it triggered a thirst for revenge still not quenched. The storyline also veered into unexpected and violently enjoyable directions. This includes The Continental, stylish hotels across the globe that cater to nefarious types. The Wick world also established its own set of rules for how these characters behave. It’s all set in a cinematic universe where law enforcement is on permanent break and an all-powerful syndicate The High Table calls the shots.

Ultimately it’s an excuse for long take battles where Keanu and his friends and enemies (and in some cases frenemies) find fresh ways to shoot indistinguishable baddies in the head. This can be monotonous but director Chad Stahelski and his team of technicians and stunt persons more often impress with their inventive set-ups.

In 2019’s Chapter 3 – Parabellum, Wick was left for dead by the High Table and rescued by underground crime lord the Bowery King (Laurence Fishburne, still having a ball). Our title character is in heavy revenge mode as the travelogue takes him to Morocco on horseback and then New York City, Japan, and Berlin. His back is always against the wall as the reward for his killing is $20 million and increasing.

The main player tasked with extinguishing Wick is Caine (Donnie Yen), a blind former Table assassin reluctantly returning to employment. His lack of sight causes creative ways for him to accomplish goals. Every time a bell rings around him, a henchman gets his wings (you’ll see). His hirer is the arrogant and ruthless Marquis (Bill Skarsgård), making for a delightfully smarmy addition. Skarsgård nailed the role of Pennywise with his demented sideways glances in the It double feature. Now he has another memorable villainous turn. Ian McShane’s Continental manager Winston (last seen putting a bullet into Wick) is more supportive this time. Shamier Anderson turns up as a skilled bounty hunter waiting for the price to be right before taking Wick out. In keeping with the franchise’s canine connection, he has a dedicated pooch who enacts cruelty to would-be tormentors. The dog’s presence also humorously reveals that even hotels for the underworld must adopt a policy for emotional support animals.

I have a tough time ranking these movies over the others. It sort of feels like one long movie. This one feels a bit longer because it is. Chapter 4 probably doesn’t need to clock in at three hours, but the action sequences continue to wow and this edition has the best adversary. As long as they continue to stay this solid and stylish, my policy will be to support them.

*** (out of four)

Shazam! Fury of the Gods Review

For about the first hour of Shazam! Fury of the Gods, the stakes feel about as high as ordering a cheesesteak. I guess given the setting of Philly, maybe that’s something to be taken seriously. In the second half, the Phillies Stadium and I assume the Liberty Bell and Independence Hall are in danger of being decimated Independence Day style (or countless comic book action flicks).

With nearly the entire team returning including director David F. Sandberg, part 2 of the DC Comics property is unwieldy in its tone. The happy-go-lucky vibe of Shazam! and Zachary Levi’s enjoyable performance made it worth a view. It was also, to be fair, mostly forgettable and clearly worked better as a one-off.

You may recall (or not) that high schooler Billy Batson (Asher Angel) received the abilities of Shazam from Djimon Hounsou’s wizard in the 2019 original. This gave him the form of Levi’s red caped superhero yet it did not grant him wisdom beyond his teenage mind. Billy/Shazam still managed to outwit Mark Strong’s mad scientist with the help of his foster care siblings who were also soon bestowed with superhuman strengths. That includes brother Freddy Freeman (Jack Dylan Grazer as younger and Adam Brody in grownup spandex form) and he has a unique love interest

Anne (Rachel Zegler from West Side Story) is the new girl at school who looks amazing for her age. She’s actually Anthea, the centuries old daughter of Greek god Atlas. Her other sisters are Hespera (Helen Mirren) and Kalypso (Lucy Liu) and they are determined to reclaim powers taken from them ages ago. The Daughters of Atlas look far apart in age. Lucy Liu’s middle child is the Jan Brady of this bunch as she’s got the most up her sleeve. Young Anne (she’s only 6000 it’s revealed) is the sweet one who might not be bent on world destruction after all. And despite Mirren’s presence, the trio’s motivations aren’t particularly spellbinding. Once again we have a comic book adaptation where the villains are a weakness. The MCU and this DCEU are frequent offenders.

Four years ago, it was easier to root for Levi’s charming underdog of a title character. Gods just never clicks and average CG and action sequences keep the mediocrity intact. Standard wizardry is ordered in this follow-up. The result is that I could have done witout it (spelling error intended, Philadelphians).

** (out of four)

Evil Dead Rise Review

There’s one shining moment in Evil Dead Rise due to a bloodily gushing elevator and plenty of moments that are indistinguishable from other gory possession tales. That’s somewhat of a letdown for this franchise that is known for its demonically goofy trilogy that began the careers of Sam Raimi and Bruce Campbell over four decades ago. While some of its boo moments stand out, Rise falls short of its immediate predecessor which “re-imagined” the series a decade ago with Fede Alvarez directing.

The 2013 Dead iteration left a lot of the previous movies humor on the cutting room floor and Rise keeps that up. Lee Cronin takes over the directorial reigns and the mayhem moves from a cabin in the woods to an about to be condemned Los Angeles apartment complex. Ellie (Alyssa Sutherland) is a newly single mom to teenagers Danny (Morgan Davies), Bridget (Gabrielle Echols), and youngest child Kassie (Nell Fisher). They’re among the last denizens of their building slated for demolition. Beth (Lily Sullivan) is Ellie’s sister who is a guitar technician (according to her) or a groupie (according to her more responsible sibling). She drops in to visit to share some news (she’s preggers), but an earthquake shakes up and delays the announcement.

This act of nature also leads to the discovery of a Book of the Dead tome locked away in a vault. As with previous volumes, the reading material causes wicked forces to possess those near it. Ellie is the first to fall prey to its devilish influence.

Besides the Shining elevator material that would not be advisable for those with hemophobia, there’s also the grisliest use of a wood chipper since Fargo. The picture’s connection to its own franchise is mostly in name only and the fact that they all feature chainsaws. Its makeup effects and choreographing of red splatter is first-rate. You could say the work of the technicians behind Evil Dead Rise is just fine. I suspect, due to its lack of originality, it’ll have less groupies than the others.

**1/2 (out of four)

Air Review

The corporate intrigue in the muted boardrooms of Ben Affleck’s Air unfolds in Beaverton, Oregon. That’s the headquarters of Nike as a select few proceeded to break the dam of sports marketing and fit it to what it is today. It happened during the loud (fashion and otherwise) decade of the 1980s as a 3rd pick rookie out of North Carolina sought a shoe deal.

Michael Jordan was that draftee in 1984 and his sneaker endorsement selection is assumed to be Adidas (Converse is the other market leader at the time). Nike, while pacing first in the market for running shoes, is third in hoops apparel. Sonny Vaccaro (Matt Damon) is the marketing exec who sees the future in MJ and shoots for a deal that his colleagues have understandable skepticism about. They include CEO Phil Knight (Affleck), who ironically spends many a conversation sans footwear, VP Rob Strasser (Jason Bateman) and Howard White (Chris Tucker), who’s still with the company today. There’s also the matter of convincing the Jordan family and mom Deloris (Viola Davis) is a fierce yet fair negotiator. Sonny’s deliberations with Jordan’s agent David Falk (Chris Messina) are far more profane and a frequent highlight.

Of course we all know how this turns out whether you’ve laced up Air Jordans or not. Yet the story behind the shoe, complete with frequent needle drops from classic music of the era, is worth putting on. Affleck and screenwriter Alex Convery provide a sturdy structure for this goodwill tale of the hunt for Jordan’s contract signature.

The script’s most surprising decision is to sideline #23 himself. There is no actor cast as Jordan and he is seen only from behind or in archival footage. It turns out to be a wise play. For starters, he may simply be too iconic and someone playing him might’ve been a distraction. Most importantly, Air is about the eventual business of MJ and not the man himself. There’s a ten-part ESPN Films documentary, with its subject seemingly in control of that material, that still does an impressive job covering him. Keeping Jordan at arms length and as an enigma makes sense in the confines of the film’s aims.

The actors provide worthy assists. Standouts including Bateman (he’s got a great scene where he explains why he doesn’t want to lose his job if negotiations go south), Messina, and of course Davis. Close buddies Damon and Affleck, as we witnessed a quarter century ago, continue to have a snappy chemistry.

Air rises above being a trivial pursuit of a corporation fattening its bottom line. Yes, one could argue that’s the eventual outcome, but this deal also gave future athletes more skin in the game. It’s all packaged in a winning formula featuring the aura of the ultimate competitor.

***1/2 (out of four)

Renfield Review

When it comes to the quality of humor in Renfield, the ska’s the limit. There are lame jokes about how ska music sucks. The impression I get from this horror comedy is they could’ve let Nicolas Cage vamp as Dracula for an hour and a half and it would’ve been better. It wouldn’t take much as this is a mighty, mighty letdown.

Renfield (Nicholas Hoult) has been the servant to Cage’s Dracula for over 100 years and he’s finally ready to hang it up. The decades old duo now reside in subterranean New Orleans. The famed vampire depends on his employee for victims to gorge on. The more innocent they are (he requests a busload of cheerleaders or group of nuns), the more power he has. Renfield, meanwhile, stays nourished by feasting on bugs. His emotional nourishment comes from a 12-step group focused on co-dependency.

If this concept sounds like a clever angle on this oft told story, it is. Director Chris McKay and screenwriter Ryan Ridley can’t figure out how to make it enjoyable. Much of the runtime takes the light away from Cage, whose performance is easily the strongest. Instead we get a yawn inducing main plot teaming Renfield up with Awkwafina’s determined bayou cop Rebecca. She’s trying to bring down the Lobo crime family led by matriarch Bellafrancesca (Shohreh Aghdashloo) and hotshot son Teddy (Ben Schwartz). That storyline is filled with wretched overacting (not the glorious kind that Cage brings) with the Lobo’s as the worst offenders. There are shades of Eddie Murphy’s middling (but better) Vampire in Brooklyn in the Mob business. Awkwafina, on the other hand, underplays her part. It’s almost as if she’s not there. The script barely attempts romantic sparks between her and Renfield and there’s a family dynamic involving her FBI agent sister that is completely tacked on. I suspect her sibling might have had a larger role in the original draft and was cut. Hoult is a talented performer in need of a sharper role.

The action sequences are sloppily shot and edited though if it’s spurting blood you want, your thirst might be occasionally quenched. Cage is game and provides some laughs, but he’s trapped in the rubbish. Does this come off as a giant missed opportunity? No doubt.

*1/2 (out of four)

The Pope’s Exorcist Review

There’s a moment in the third act of The Pope’s Exorcist where we hear the internal monologue of a main character in the throws of their demonic experience. It got me thinking that might make for a compelling and fresh angle in a genre made famous 50 years ago with Regan and her backwards turning head. I have accurately described it as a moment. It’s over before we know it and reminded me a little of what Tom Hardy hears in Venom after his symbiotic takeover. With Russell Crowe having a ball in Julius Avery’s horror thriller, Exorcist has a few quirky moments that I appreciated before it reverts to the tropes we’re familiar with.

The screenplay’s peculiar nature is evident in the first scene. We are introduced to Father Gabriele Amorth (Crowe), who served as the Pope’s go-to exorcism guy for decades beginning in the 1970s. That’s in real life, folks! You can look it up on Wiki and it’s a fascinating read. I’m sure Amorth’s books are as well. He claims to have performed 100k+ of the purification rituals. The opening sequence finds Amorth in 1987 transferring the evil vibes to a pig, who is then violently transferred to breakfast.

Crowe proceeds to ham it up around the nuns and his superiors in Vatican City as he awaits the next assignment. Many of his fellow priests think he needs a demotion. The head pontiff (Franco Nero) believes otherwise and he’s soon riding his Vespa to an abandoned abbey in Spain.

That’s where American widow Julia (Alex Essoe), teenage daughter Amy (Laurel Marsden), and preteen Henry (Peter DeSouza-Feighoney) are residing after their departed patriarch willed them the property. The monastery holds centuries old secrets under its rickety structure and a nasty spirit soon overtakes Henry. A local Father (Daniel Zovatto) can’t figure out the invader so Amorth is assigned. The young boy’s demon proves canny at using his would-be exorcist’s previous sins against him.

One could claim that The Pope’s Exorcist offers nothing new to the frequently explored material. I could argue the opposite. After all, I hadn’t seen the pig angle and there’s also papal projectile vomiting. Avery, Crowe, and screenwriters Michael Petroni and Evan Spiliotopoulos are to be commended for its campy B-movie spirit. Amorth has a habit of exclaiming “CUCKOO!” at passersby during unexpected times. The cuckoo bits work often enough that I had little trouble putting up with the expected sections of traditional possession.

*** (out of four)

Ant-Man and the Wasp: Quantumania Review

According to lore, there are glorious stories of Bill Murray randomly showing up places and elevating an evening’s festivities to a new level. Heck, there’s even a documentary about it. The legend shows up in Ant-Man and the Wasp: Quantumania and his small part does nothing to level it up. In fact, it seems needlessly random. The Marvel Cinematic Universe has now entered Phase Five. It launches in troubling fashion. This is the 31st MCU pic and I’d rank it #31.

2015’s Ant-Man is one of the weakest links in the Marvel chain, but there were glimpses of the nifty and humorous little heist pic it wanted to be. It doesn’t hurt that Paul Rudd has an effortless charm as the small time crook turned Avenger. 2018’s Ant-Man and the Wasp was an improvement (in the MCU, the follow-ups often do exceed the quality of their predecessors). The third time is far from the charm.

The bulk of the action is set in the Quantum Realm – a gaudy setting that is far from low-key. Before we get there, Rudd’s Scott Lang is on a book tour and generally enjoying the fame garnered from being an Avenger. His home life with Hope/Wasp (Evangeline Lilly) and now 18-year-old daughter Cassie (Kathryn Newton) appears tranquil. Original title heroes and Hope’s parents Hank (Michael Douglas) and Janet (Michelle Pfeiffer) join the domestic bliss. However, cracks big and small emerge. Cassie seems frustrated by her dad’s coasting off of his previous laurels. The cracks under the ground are of more concern when her scientific experiments land the extended family in the subatomic Realm.

Janet spent 30 years (as revealed in the previous movies) in that particular universe. It’s revealed here that she engaged in far more activities than earlier thought. One includes a hinted at tryst with Bill Murray’s character and his superfluous cameo. Of more consequence is her relationship with Kang (Jonathan Majors), who was stuck with her underground for many years. Janet found a way out while he remained. That’s a plus since his full name is Kang the Conqueror and he destroys planets across multiverses as he sees fit. The villain Darren Cross (Corey Stoll) from the first Ant-Man, now shrunk to a smaller size with a gigantic head, partners with our new main baddie. That results in some horrible CG (I think on purpose) in a sequel that employs other garish effects that are not meant to be funny.

The balance of comic sensibilities that worked well in portions of Ant-Man and especially the sequel collides with the ultra serious introduction of Kang. Hour one is sluggish. Hour two finds our heroes defending characters in the Quantum Realm that we’re never properly introduced to. While Pfeiffer’s role is fattened, sometimes Rudd and definitely Lilly feel like supporting players. Newton, taking over the role from Abby Ryder Fortson, struggles with her one-note character. The strongest performance belongs to Majors, but his menacing and seemingly multi-layered nemesis feels out of place in Ant-Man and Ant-Family’s stomping grounds. Kang might turn out to be a worthy villain to the MCU’s Avengers in future installments. The jury is out for now.

Phase Four and the start of Five have been wobbly. Eternals, Thor: Love and Thunder, and Black Panther: Wakanda Forever have been disappointments and Quantumania reaches the lowest level yet. Underwhelming movies in the MCU are starting to feel like groundhog day and audiences might stop randomly showing up if that persists.

** (out of four)