Tag: Spencer Treat Clark

Gladiator II Review

Denzel Washington’s work in Gladiator II is so strong and he is so entertaining to watch that it’s a bit distracting. There are other distractions that are undoubtedly negatives like subpar CG baboons and the choice to fill the Colosseum with frickin sharks. With the two-time Oscar winner having a ball as an ambitious former slave turned gladiator manager, it made me want the movie to be trained more on him. Instead his Macrinus is trapped in a long gestating sequel to the 2000 Best Picture recipient that might not work much at all without him. It’s like if Denzel’s Alonzo Harris character in Training Day was dropped into a Fast and Furious flick. There’s plenty of fun to be had thanks to him, but it stalls when he’s not around.

Ridley Scott returns to the director’s chair for this follow-up set 16 years after Maximus (Russell Crowe) drew his brave last breath in Rome. The city is not in great shape although the expansive wide shots make it look breathtaking. Co-emperors Geta (Joseph Quinn) and Caracella (Fred Hechinger) are unstable rulers with a thirst for overpowering more territories. Caracella is also a syphilitic lunatic with a pet monkey he eventually empowers so that’s good for a couple of bonkers moments. The boys’ chief general is Acadius (Pedro Pascal) who’s married to Lucilla (Connie Nielsen). As you’ll recall, she is the sister to Gladiator‘s Commodus (Joaquin Phoenix) and former lover to Crowe’s Maximus. Acadius conquers, but he conquers with compassion (awww). He has plans to depose Geta and Caracella (and maybe that monkey) and return Rome to its former glory.

It’s not, I realize, an accident that it’s taken until paragraph 3 to mention the star of the movie. That would be Lucius (Paul Mescal). Introduced to us as Hanno, he’s living a seemingly pleasant laundry hanging life with his wife in the province of Numidia when Acadius and his army come a’conquering. His wife’s screen time is short-lived (just like Maximus’s in the original) and he’s soon vowing revenge on the Roman power structure. Lucius was a boy in the first film played by Spencer Treat Clark – son of Maximus and Lucilla who was sent away for his own protection. Maybe I should have said spoiler alert with the lineage reveal, but it’s right there in the trailer.

When Denzel’s Macrinus offers him a chance to achieve vengeance, Lucius is booked for battle in the same Colosseum like his departed dad. That brings us back to dodgy computer generated baboons and filling the iconic arena with sharks. Apparently water logged events did occur at that venue historically though the participation of the finned feeders was unlikely. The fights are more effective in Gladiator II on the human scale when they don’t involve aquatic or jungle creatures.

The film’s biggest flaw is that Mescal’s Lucius doesn’t have the screen presence that Crowe did. He’s not helped by the screenplay where he’s a bit of a blank slate. Maximus struck fear onscreen when he was unmasked and revealed as a super warrior. I didn’t buy it as much with his offspring when he comes out and plays.

Washington, though, is a blast as he schemes for power (and probably his 10th Oscar nomination). I’d offer that Gladiator II is worth watching for him. Yes, there’s plenty of impressive technical work and sometimes it elevates beyond a rehash of part 1’s beats (though often it doesn’t). Without Macrinus in attendance, the Colosseum would feel considerably emptier.

*** (out of four)

Knock at the Cabin Review

Sunshine causes lingering pain and brief moments of delight in M. Night Shyamalan’s Knock at the Cabin, a dark and grim adaptation of Paul G. Tremblay’s 2018 novel. The filmmaker’s weakest tendencies are present but don’t arise as often in the mostly one space setting. Clunky dialogue and bizarre character choices associated with Shyamalan are kept to a minimum. There’s no rapper bafflingly named Mid-Sized Sedan like in his predecessor Old. The apocalyptic theme is hardly new though it generates a respectable amount of tension.

It also gets to the point in scene one. Leonard (Dave Bautista) may look like a bouncer, but he teaches second grade. We learn this as he introduces himself to seven-year-old Wen (Kristen Cui) while she’s catching grasshoppers outside a vacation property in remote Pennsylvania. Wen is the adopted daughter of her two Dads Eric (Jonathan Groff) and Andrew (Ben Aldridge). Leonard insists on forcefully entering the cabin with three associates all sporting old school weapons. They’re not your typical home invaders: nurse Sabrina (Nikki Amuka-Bird) and cook Adriane (Abby Quinn) have kind demeanors like Leonard. Only ill-tempered Redmond (Rupert Grint, all grown up from Harry Potter Weasley fame) seems comfortable breaking and entering.

Dad and Dad don’t welcome their presence and they’re tied up. Eric becomes concussed in the process (hence the sunlight hurting him). The quartet explains that the trio face a gut wrenching choice. They must sacrifice a family member in a short period of time. If they don’t, the world’s population will end in a series of catastrophes. Eric, Andrew, and Wen will survive and everyone else will perish. The hostages are understandably skeptical. Their detainers (who claim they’ve all experienced similar visions of devastation) aren’t afraid to display how serious they are. This includes news footage that shows they might be onto something.

The bulk of Cabin is reserved for us deciding whether Leonard and company are telling the truth. We do get flashbacks of Eric and Andrew’s relationship before and after they bring Wen into their lives. They feel somewhat superfluous yet they are fleeting interludes in the appreciatively brisk 100 minutes. Bautista is playing against type. You would think of him as a teacher in a silly comedy where he displays his bulk. This is far from that and his work is restrained in a positive way. All the performance are adequate. Shyamalan’s track record is spotty with child performances. He is responsible for guiding some great ones (think Haley Joel Osment in The Sixth Sense or Spencer Treat Clark in Unbreakable). Cui’s is on the plus side.

I was a captive audience member for much of the stay. As it continued, I found this surprisingly anticlimactic (especially for something about the Earth maybe ending). Shyamalan has resurrected his career by self-financing his pictures and turning a tidy profit. While that’s admirable, he seems limited by the budget considering all that’s occurring outside the cabin. Like a mid-sized sedan, it’s dependable for awhile until it isn’t.

**1/2 (out of four)

Weird: The Al Yankovic Story Review

There is an ultrahigh funny consistency in Weird: The Al Yankovic Story before the hilarity frequency is turned down a notch as it plays on. Focused on pop’s most famous parody artist, it’s appropriate that the film is a sendup of the musical biopic genre. Director Eric Appel and Yankovic himself penned the screenplay which cheekily casts Daniel Radcliffe as the man with the accordion.

As a youngster, Al’s father (Toby Huss) would rather see his boy working in the factory (where they make mysterious “things”) than making songs. Mom (Julianne Nicholson) buys him the harmonious box organ behind Dad’s back. Soon a teenage Al is busted for experimenting with the instrument at a party (the accordion uproariously stands in for hard drugs) and he’s on his own. At college and with the encouragement of three roommates turned bandmates, he becomes the biggest pop star in the world with his spoof tracks.

Similar to Bohemian Rhapsody, we take a journey through the creation of “My Bologna”, “Another One Rides the Bus”, “Eat It”, and “Like a Surgeon”. These segments are more exaggerated (slightly) than those in Rhapsody. The latter tune is manifested through his whirlwind tryst with the ambitious and conniving Madonna (Evan Rachel Wood, doing a fine impersonation). As for his largest smash “Eat It”, the script cleverly insists it was Michael Jackson ripping off Al.

Radcliffe is a pleasure to watch (the real Al plays a music exec) as he makes the tragic rock star journey. There are cameos galore including Jack Black as a taunting Wolfman Jack and a noted late night host as Andy Warhol (pay attention). Rainn Wilson is Dr. Demento, the radio host who gave the Weird one his big break (no exaggeration).

When we reach a Hot Shots! level of silliness with Al going Rambo at Pablo Escobar’s birthday bash, it all begins to wear a bit thin. Most of the time this is as fun and irreverent as its subject’s creations. No bologna.

*** (out of four)

Glass Movie Review

If nothing else, M. Night Shyamalan is audacious and I have always admired that. He likes to swing away at the cinematic fences and in Glass, he melds two of his pictures into a new universe. It’s ultimately not a very satisfying one, but the guy tries hard.

At the end of 2017’s Split, which returned the filmmaker to box office prominence, it was revealed that what we watched existed in the same realm of 2000’s Unbreakable. It did so by bringing in David Dunn (Bruce Willis). As you may recall, Dunn was the lone survivor of a train derailment who came to realize he was impervious to pain. Comic book store owner Elijah Price (Samuel L. Jackson), suffering from a disease that cause his bones to break easily, surmised that David was a superhero. And Elijah was the arch nemesis as the 2000 flick revealed he was the evil mastermind behind the train going off the track.

In Split, we were introduced to James McAvoy’s Kevin and almost two dozen other characters that lived inside his head while he tormented teen girls that he kidnapped. From an annoying nine-year old boy to a OCD monster to a proper British dame, his personalities culminated with The Beast, who also possessed super human strength. The surprise ending suggested David will battle The Beast and low and behold – Split made more than enough money for that to occur.

This brings us to Glass. The first act allows this trio of characters to end up in the same mental institution with a psychiatrist (Sarah Paulson) attempting to dissuade them of their perceived powers. Dunn is sensitive to the possibility. The many voices of Kevin has his moments of doubt. Elijah, aka Mr. Glass, is so doped up that we’re not sure he knows what’s going on. However, fans of Unbreakable know the dude is a mastermind.

Glass brings back other characters from its double source material. Charlayne Woodard returns as Elijah’s supportive to a troubling degree mother. Spencer Treat Clark is back as David’s now grown son (Robin Wright skipped out as his wife). And Anya-Taylor Joy reprises her Split role as Kevin’s surviving kidnap victim. Her story arch here is easily the most inexplicable one in a movie filled with often strange choices.

My feelings with Unbreakable and Split are a bit against the grain from many others. I actually dug the former 19 years ago while many found out it to be a disappointing follow-up to The Sixth Sense. As for the latter, I enjoyed McAvoy’s bonkers performance greatly but found it as a whole to be a mixed bag. The melding of the two worlds also fits that description. It’s got everything we expect from Shyamalan, including a twist ending or two. This time around, they land with less impact than earlier efforts.

McAvoy is still impressive, but we’ve seen this show before. Unbreakable set itself up perfectly for a world building sequel. Quite frankly, Glass made me wish it hadn’t taken Split for us to get it. More of the Dunn/Elijah dynamic could have been rewarding without these other personalities in the way. Shyamalan’s personality shines through as always as he tries to overwhelm us with style and suspense. Like Split, the result is some memorable sequences amid numerous questionable ones and not the more cohesive whole that I found Unbreakable to be.

**1/2 (out of four)

Glass Box Office Prediction

When it debuts over the MLK four-day holiday weekend, M. Night Shyamalan’s Glass will easily break into the number one spot. Questions about its potential ceiling are very real. The superhero thriller mixes the casts of two of the filmmaker’s best known works – 2000’s Unbreakable and 2017’s Split. That means James McAvoy, Bruce Willis, Samuel L. Jackson, Spencer Treat Clark and Anya-Taylor Joy are along for the ride as well as Sarah Paulson joining this cinematic universe. No other movie opens wide against it.

Just over 18 years ago, Unbreakable was Night’s eagerly anticipated follow-up to his breakthrough smash hit The Sixth Sense. Audiences had a mixed reaction at the time, but it managed a five-day Thanksgiving haul of $46 million before a final domestic gross of $95 million. Its reputation has grown in many circles in time. Two years ago, Split served as a major comeback vehicle for the director with a $40 million start as it legged out to $138 million.

I believe the positive response for Split will earn this impressive results. It only helps that it’s still fresh in the minds of audiences, including the ending that set up this picture. Word-of-mouth will determine the rest.

Glass will not shatter this holiday weekend’s record, which is held by American Sniper at $107 million. Earning the #2 honors over MLK should be a breeze as that’s currently held by Ride Along at $48 million.

Prognostications have this nabbing anywhere between $50-75 million from Friday to Monday. I have a hunch the higher end of that range is the route to go.

*On the eve of its premiere, I’m downgrading from $72.1 million to $58.1 million

Glass opening weekend prediction: $58.1 million (Friday to Monday estimate)