Shaft

Directed By Tim Story

Starring – Samuel L. Jackson, Jesse T. Usher, Richard Roundtree

The Plot – JJ, aka John Shaft Jr. (Usher), may be a cyber security expert with a degree from MIT, but to uncover the truth behind his best friend’s untimely death, he needs an education only his dad can provide. Absent throughout JJ’s youth, the legendary locked-and-loaded John Shaft (Jackson) agrees to help his progeny navigate Harlem’s heroin-infested underbelly. And while JJ’s own FBI analyst’s badge may clash with his dad’s trademark leather coat, there’s no denying family. Besides, Shaft’s got an agenda of his own, and a score to settle that’s professional and personal.

Rated R for pervasive language, violence, sexual content, some drug material and brief nudity

POSITIVES

– R-rated humor. This is the only aspect of the film where the material feels reminiscent to that of the 1970’s origin story, with a rating designation that gives the gags zero boundaries in terms of what it can rightfully access. From this advantage, much of the actors, especially that of Jackson, feels like they are quipping it up and having fun with the spoofing nature of espionage films that often times take themselves far too seriously, and it brought forth a barrage of laughs for me personally that landed around 60% of the time. For my money, the dynamic between gun-heavy father and tech-savy son garners the film’s biggest means for comparison, and brings forth plenty of audience reactions when the two are contrasted side-by-side.

– Slamming soundtrack. Both sides of the musical spectrum, with the intoxicating musical score from composer Christopher Lennertz, as well as the 70’s heavy influence of soul groove R&B, move mountains in their abilities to emit this feeling of fun in the atmosphere that the screenplay often has difficulty replicating, and establishes the importance of a particular track for the perfect feeling within the moment. Aside from the legendary Shaft theme composed by Isaac Hayes, that pops up at the most opportune times in the film, the soundtrack includes a variety of decade heavy favorites like “Get Up Off of That Thing” by James Brown, “Mary Jane” by Rick James, and “Best of My Love” by The Emotions. Each are articulated in their own unique imagining to what is transpiring around it, and each go far beyond the topical sense in mastering why it feels so essential to these sequences.

– Performances. Jackson is easily the highlight of the film for me, gaining the ability to delve into the blacksploitation icon that is John Shaft one more time, and while I feel like his performance feels more like Samuel L. Jackson instead of Shaft, the results are indulging enough to remind us why he is still one of the most charismatic actors working today. The chemistry between he and Usher do effectively balance the feeling of father and son without it ever feeling condemning to the character, and Jackson’s unfazed confidence and super cool swagger puts the age debate on hold at every opportunity given to prove himself once more. Also solid was Regina Hall as the estranged mother of his son. These two are given many scenes to bounce accordingly off of each other, and it leads to a delightfully sinister war of words that still hints at some love beating just beneath the surface.

– A love letter to New York. Setting is especially essential in the world of John Shaft, and this newest film wastes no time in immersing us in the heat of the environment, with some establishing shots that puts us at the pulse of the big apple. In a sense, New York itself is a character in the movie, and what proves this idea is the way that the city imagery or skyline finds its way into nearly every shot that our characters move in and out of frame with, establishing great weight in setting to the film’s conscience that makes it difficult to ever forget. Why this matters so much is because John Shaft is New York and vice versa, and this reflection makes it easier to comprehend why he holds such an advantage over every single one of his opposition, casting an inevitable feeling of doom that practically taps them on the shoulder and reminds them that this bad mother (SHUT YOUR MOUTH) is coming to right the wrongs.

NEGATIVES

– Easily forgettable. I have nothing personal against Tim Story as a director, but “Shaft” is a constant reminder of why there’s nothing poignant or elusive about his films that make any studio seek him out. This movie gives us nothing new or refreshing in idealism to counteract the tropes and cliches that are practically around every corner in this movie, and balance absolutely no level of urgency to compliment even a shred of dramatic heft to such dangerous stakes. Story’s movements behind the lens are every bit as conventionally bland as they are redundant in evolution, giving away an opportunity in crafting this beautiful hybrid of 70’s grainy visuals with 2019 technology that the film so desperately required in creating even a shred of anything that makes it stand out visually from its 2000 original chapter, or even its 70’s blacksploitation films, which are somehow more alluring than this film.

– Uninspired. Speaking of those 70’s Blacksploitation films, the lack of influence of them in this film wipes away any opportunity for the film to truly capture the atmosphere needed to fully sell its tone or ridiculousness of its title character. I wish films today would experiment more with hokey sound effects or even jumpy editing that could occasionally repeat. The only thing that has come close recently is Quentin Tarrantino’s work in “Death Proof”, and it’s unfortunate that with so much of these aspects of style and scintillation of visual seduction being lost, we fail to properly identify with what kind of film this is accurately trying to convey. With more fun in the film’s cinematography, the production could’ve gained much needed word of mouth to put the butts in the seats, but instead we’re left with a watered down finished product that doesn’t even measure up to the 2000 version in terms of experimentation.

– Hypocritical. Making a John Shaft movie in 2019 is anything but easy. He’s a well known masoganistic character who doesn’t age well with today’s shift in political or entertainment stratospheres, and while the film does attempt to poke fun and outline everything wrong with John’s idealism within his profession, the results are anything but convincing that it’s fully on-board with growing with the times. For one, there’s a subplot involving an Islam group that is of course played for terrorism throughout the film, yet earlier in the first act the same movie mentioned how its cops are anything but racist when it comes to Islam characters. As I said, it says this, and then commits the very same problem that its commentary mentions. Then there’s the female thing with how it portrays women within this world, with a female character mentioning how she’s a real woman, implying she’s too smart to fall into traps, and then she falls into a trap that gets her kidnapped. As usual, the female is the damsel in distress who is only there to kiss the hero at the end, and is another shining example of why this series has come under much controversy within a world that has aged without it. Whether you support this stance or not, some change and surprise is good in films like these, because predictability is the last thing you want in a movie that is a modern day crime noir of sorts.

– Weak antagonists. Second straight review I have mentioned this, and it’s clear that Hollywood doesn’t value what a meaningful villain brings to the psychology of a jaded hero. As is the case with this film, where we get a mystery so easily telegraphed and full of decades old cliches in set-up that the movie practically tells us in the first act. In addition to this, the dialogue within this group feels so unnaturally unnerving that you can practically see the lines within the pages of script that they were typed on. It’s really bad in a movie when the more that a villain talks, the less human they become, and if Shaft was given a villain who felt like anything other than a generic time-filler, then we would see a side of adversity for him to overcome, which would not only feel beneficial to the character’s personal growth but also to us the audience, who would feel more invested in the ways that Shaft must adapt to overcome them.

– By the numbers action sequences. There is nothing of style, substance, or complexity to the film’s action set pieces, which constantly feel like a remote speed bump on the way to more overstuffed exposition between Father and Son. This is Shaft, right? The man who is action first when it comes to his conflicts. Instead, the action sequences are so bland and ineffective in terms of piercing anything eye-catching to us the audience, who are forced to endure sequence after sequence of mundane ammunition exchanges without even a slight hint of creative depth to sell them along the way. One example is in “Deadpool”, a movie with around the same budget as “Shaft”, but uses visual numbers on the bullets fired to articulate to its audience how many shots are left in the merk’s chamber. This is just one example, but something like a Shaft movie should never have problems selling its creativity, but instead it’s just another example of why Story was the wrong man in channeling a new vision for a legendary icon of the ACTION-first spectrum.

– Weak characterization. This is especially prominent with the youthful characters within the movie, who weren’t engaging even in the slightest to this critic. Most of the reason for this is the way they are presented, with John Shaft Jr being so much of an opposite compared to the parental figure we all know and love. We are forced to spend a majority of our time with this character, as he is our visual narrator of sorts, and there’s nothing even slightly intriguing or confirming about his character. We are told frequently throughout that he is this computer genius, but we never get to see this at work besides typical fast-typing that is prominent in every film involving a computer genius. Likewise, his romantic interest (Played by the immensely talented Alexandra Shipp) has these sudden attitude shifts that almost entirely compromise her character set-up as this sweetheart of a girl who has always stood by Junior regardless. She overly dislikes certain characters without even knowing a shred of the backstory behind it, and is depicted as nothing more than the damsel that I mentioned a few paragraphs ago. Weak characters like these diminish positive returns each time Jackson is given a brief break from screen time.

My Grade: 4/10 or D-

Men In Black: International

Directed By F. Gary Gray

Starring – Tessa Thompson, Chris Hemsworth, Rebecca Ferguson

The Plot – The Men in Black have always protected the Earth from the scum of the universe. In this new adventure, they tackle their biggest, most global threat to date: a mole in the Men in Black organization.

Rated PG-13 for sci-fi action, some adult language and suggestive material

POSITIVES

– Intricacy in action set pieces. While a majority of the backgrounds and action sequence designs are of computer generation descent, the vibrations of their use, as well as a slick, fast paced presentation, makes for an infectious dynamic that often feels too enthralling to not get lost in. The fight choreography here is top notch, but it’s really the energetic use of choppy editing used in a positive light that really kept my eyes glued to the screen, and kept the consistency of urgency locked firmly into the heat of the moment between the two sides in battle. If this film does one thing better than its predecessors, it’s in the way it incorporates the action side into the Science Fiction genre, balancing enough restrain through nearly two hours, then paying off in spades once the stakes get raised.

– Star studded cast. Everything from the fluffy cameos of Liam Neeson, Emma Thompson, and Rebecca Ferguson, to the dominance of Chris Hemsworth and Tessa Thompson, works here, and kept me hooked into the meat of the story where the screenplay often failed it. The chemistry between Chris and Tessa definitely holds over from its charms from two Marvel Cinematic Universe films, and the tease of romance between their characters without fully committing to its cliche reverence is something I greatly appreciated from their dynamic, perhaps leaving room for movement in future installments. Thompson commands a combination of cerebral intelligence, child-like innocence, and a sense of overall pride that burns from the sense of style that she emits from the character. Likewise, Hemsworth continues his comic precision with this slacker mentality that works as the perfect counteract to his rock-hard studly features, giving the audience enough reminder why he will never be limited to just one drama, all the while etching out a character that surprisingly does distance itself from the familiarity of Thor that I was expecting.

– World building. Perhaps my favorite aspect of the MIB franchise is the use of gadgets that breeds charm in arms within a series of films that are four-deep at this point, yet still find ways to astonish in this respect. The typical Cadillac used by Will Smith and Tommy Lee Jones is traded in for a fine line of Lexus land and air attack, like the QZ 618 Galactic Enforcer helicoptor, or the RC.F automobile that preserves a comical side of British craftsmanship. In addition to this, the introduction of all-chrome weaponry and where it sprouts from adds great integral value not only to the vehicle itself, but also to the automobile creativity that derives from their designs. Nothing feels too far-fetched, nor redundant when compared to the other tools of the trade from previous films, and cements the idea that the Men In Black are still at the cusp of arms advancement to better contend with outside world adversity.

– Distancing. This is the hardest sell for fans of the original trilogy, but I commend this film greatly for barely mentioning the events of those previous films, and choosing to blaze its own trail of originality within this secretive world. This allows the film to never feel restrained or conventional from those that came before it, all the while conjuring up this mystery that, for the first time ever, someone within the bureau has deceived them. I also feel that the long distance setting of London and Paris in the film better helps in the distancing, outlining a whole new line of rules and etiquette for the geographic setting that better serves and establishes the supporting characters surrounding the black suits. It would be easy for a sequel to save time and energy with re-heating the same room temperature gags and directions that worked more times than not in early editions, but screenwriters Art Marcum and Matt Holloway extend the lifespan for this series by nearly pressing reset on everything we’ve come to know and expect, and it leads to a sequel that creatively feels like the first fresh one of the entire franchise.

– Pacing. Even for nearly two hours long, the film never lagged or stalled for my investment into it, despite me having zero interest in it heading into it. This is not only a testament to the energy in chemistry between Hemsworth and Thompson that I mentioned earlier, but also in the ever-changing geography of the film, that vibrantly feeds into the big world international feel of the MIB promotion. There’s this breezy consistency in scene transitions that keeps the story firmly on its toes, and leaves so little of downtime between scenes of valued exposition, where a screenplay typically loses half of its audience. This was as easy of a two hour sit that I’ve been through this entire year, and while the movie does have a lot of problems in its structure, it’s impossible for me to say that I didn’t at least have fun with the way I fell in love with these characters.

NEGATIVES

– No established villain. Are there antagonists in the movie? Yes, but my biggest problem is that because of the restraints of a weak whodunnit? the villain characters just kind of hang in the balance until their inevitable confrontations with the heroes comes to fruition. This is especially tragic for Ferguson, who we are fortunate enough to see don a Cleopatra wig and free-flowing gown, yet unfortunate enough to only get around ten minutes with her in the entire film. In addition to this, there are twin characters who are on the trail for a mysterious jewel (What else is new?), but never receive any kind of time or exposition to further sell the impact of their invasion. This is again another case of too many cooks in the kitchen, as the work of dual screenwriters and many antagonists feels like a virtual hodgepodge of throwing everything at the wall to see what sticks, and for a film’s underlying urgency, there’s essentially none in this installment.

– Texture of computer generation. While I did enjoy the weight established from C.G character properties in the film, the designs and vibrancy of their designs counteracted the work of some exceptionally done cinematography from Stuart Dryburgh. Even if intentional, there’s this visually jarring glow emanating from all hollow properties, giving scenes these very distracting and uncomfortably ugly circumstances that not only doesn’t match the boldness in tone from previous movies, but also constantly reminded me of the missed opportunity that this film could’ve attained from make-up and prosthetics work that could’ve earned it awards recognition. This is easily my least offensive problem within the film, but it’s something that came up frequently throughout, and gave off this cheap feeling of quality from the very same company that has visually rendered Spider-Man since 2002.

– Irritating sound design. Here comes the critic in me. Scenes like the one that takes place in the club in this film are ones that standout like a midget hooker in a WNBA game. In this scene, the two MIB agents can communicate with an alien in a club that features loud blaring music by softly talking to them while standing five feet away. Considering I can’t hear what they’re saying, I find it difficult to believe that the characters in the film can either, and these scenes always drive me nuts in a movie where loud music is bombastic. Speaking of bombastic, the overall musical score from Chris Bacon, with traces from Danny Elfman’s original score, are very much effective in delivering the heat of the moment, but are blared at such ear-shattering levels that it gave me a headache only twenty minutes in. If you watch this movie in a theater, maybe do it in one with lesser sound qualities than your big-budget multiplex, because the will of some ruthless asshole in the studio is responsible for this ringing in my ears that seems to be growing louder as I type this.

– Weak comedy. If not for the commitment to the craft that Hemsworth gives in shedding his pretty boy persona, the gag material in the film would fail at any and every opportunity possible. The twisted dark humor puns that we’ve come to expect from Men In Black movies are still there, but the line deliveries of conventional comic set-ups land with the kind of power of an ear-hair trimmer, and it fails so bad that it made me forget that this film was ever deemed partly a comedy in the first place. I blame part of this on predictable punchlines, but so much more can be said for limitations felt by its rating that doesn’t test or stretch PG-13 concepts even in the slightest. Don’t go to this movie to laugh, because you’ll be sadly disappointed, and it will only serve as further reminder how terribly this film misses the energetic charm of Will Smith.

– Telegraphed mystery. I figured this out almost immediately after the subplot of a mole in the MIB was introduced to the film, and the film certainly does no favors in making this even remotely climatic for its influence on the rest of the story. Besides the fact that it hardly mentions it again or teases it besides the beginning and end of its mystery, the fact that there are only two lasting characters to the film outside of our central two protagonists (Who it’s obviously not), increases your chances to 50% of getting it right. One of which would be so obvious that it wouldn’t be a mystery at all, so who does it leave? It’s an equation so elementary that a fifth grader could do it on a napkin, and such a disappointment to an aspect of screenplay that should be the enveloping paranoia that is breaking this elusive group apart at the seams.

My Grade: 5/10 or D+

X-Men: Dark Phoenix

Directed By Simon Kinberg

Starring – James McAvoy, Jennifer Lawrence, Sophie Turner

The Plot – Jean Grey (Turner) begins to develop incredible powers that corrupt and turn her into a Dark Phoenix. Now the X-Men will have to decide if the life of a team member is worth more than all the people living in the world.

Rated PG-13 for intense sequences of sci-fi violence and action including some gunplay, disturbing images, and brief strong adult language

POSITIVES

– Female empowerment. Jean Grey in this film isn’t just powerful, but the attention and focus dedicated to her character helps us understand and reason with the film’s antagonist in ways we’re not especially used to in comic book cinema. The film takes Jean and inserts her into these various dynamics with other X-Men characters in a way that establishes her dominance over them, all the while preserving food for thought with regards to other villains that the group has tangled with, over the last four films. In that respect, this is easily the biggest daunting task that the group-turned-family have ever faced, and helps break down barriers created by decades old cliche cinema that females can’t be believable antagonists. For this film, Jean is fierce, seductive, imposing, and most importantly, human, an aspect in character that the film cherishes every bit as much as it does her maniacal gifts of macabre.

– Performances. Every one here is united and still on top of their game, but for my money it was the work of a dazzling trio that firmly kept me invested in the unveiling of this narrative. The first is Michael Fassbender returning as Magneto. No character has fully evolved over the past four films than Fassbender’s jaded antagonist, and his work here preserves that sentiment, as he very much feels like a man who is searching for meaning within his own life, whose tenacity and fire between the eyes is lit when Grey plays a pivotal point in his resurgence. Also great is the addition of Jessica Chastain as a mysterious villain guiding the darker side of Grey’s pulse. Chastain plays completely against type not only in the comic book regards, but also in being a villain who is anything but limited to being just menacing, and her delivery preserves a fine level of believability to what the film asks of her. The best for me (No surprise) is of course Turner, who competently juggles a double side of Jean that allows the audience to notice the differences on their own, thanks in whole to Sophie’s limitless range that is constantly at play. Turner manages to conjure up every ounce of the emotional spectrum, both good and bad, for the character, and her psychological permanence on the audience further outlines the jaded dilemma that constantly fills her psyche with the walls built by others that she is crumbling one by one.

– Underlying commentary. One of my favorite aspects of the X-Men films is their strong current of political and sociological reflections that allow us to take an air of poignancy away from their often times spectacle of a film, and “Dark Phoenix” is certainly no different in this regard. Throughout the film, I viewed Jean Grey as this constant reminder of biological weaponry that grows more dangerous with each day that those in charge further ignore. To feed into this thought, there are obviously two sides fighting for the advantage that this power conveys, all the while an American government on-screen hanging in the balance who now put their faith firmly in the hands of a group of mutants that they once hunted. This series, despite its anything but human characters and traits, has always felt the most in-tuned with the pulse of our own world for the way Stan Lee and many since him have grasped onto the deep environmental issues that plague our everyday spectrum, and it feeds into a continuous reminder of how powerful the world would be if we work together as one unit for one common goal.

– Strong production design. With balance between locations and costume design, this becomes one of the more visually alluring X-Men movies, and does so without preserving a respective decade setting that has often felt like a required gimmick to the previous three films. Instead here, it’s the things we’ve come to love and expect about this series that is front-and-center, and only instills further reminder of how strong this group of extraordinaries have grown together over time. The costumes, especially those of the matching X-Men spacesuits are every bit as vibrant as they are durable to the kind of physical torture they endure. Likewise, the Xavier School For the Gifted feels as expansive as ever thanks in part to this being the first movie where no structural damage takes place there, as well as the litter of youthful exuberance that now adorn its halls, turning the once innagural class of X-Men into the teachers in a sense of life evolution coming full circle.

– Testing limits. Perhaps my favorite aspect of the screenplay was Xavier’s re-appearing arrogance from “First Class”, which cast he and his hubris in new and shape-shifting light for the first time in this series. This is where you can really invest into Grey’s disposition, for the way Charles has taken the hurt in her jumbled past and replaced it with things that only he sees fit, inspiring the student to break free from the shackles that the teacher have locked her in. I’ve always loved McAvoy’s Xavier for this side effect of fame that comes from the inevitability of being a modern day popstar of the public eye, but it proves that the film isn’t afraid of pointing the finger of blame at the mirror towards itself, and as a result we get to indulge on scenes of confrontation between Xavier and Grey, Xavier and Mystique, and Xavier and Hank, the latter of which being my single favorite scene of the entire movie.

NEGATIVES

– No surprises. Thanks to a trailer that not only spoiled every big reveal in the film, but also left so very little in terms of scenic screenplay transformation, we are now left with a movie that leaves so little meat on the bone of revelations that this film so desperately required. This not only took away from a major X-Men death that everyone could now see coming from a mile away, but it also left this film feeling so much more conventional than the previous installments that gave us at least one moment of mind-blowing awesomeness to send us home anticipating the next sequel. Considering this is the final film before Disney introduces the X-Men to the Marvel Cinematic Universe, perhaps Kinberg felt none of that was necessary. Either way, “Dark Phoenix” is a telegraphed string of evolving backgrounds that lack anything or surprise or intrigue to sell their impact.

– All around copout. I have to be careful not to spoil here, but considering the film’s title and way it’s marketed around the globe, the third act switch that this movie pulls on its central conflict is one that I found every bit as disappointing as it was inconclusive to what transpired previously. In addition to this, there’s a point in a movie called “Dark Phoenix” where Jean Grey herself becomes a supporting character in her own movie, not only for the lack of lines she receives in the second half of this movie, but also for how the film keeps her contained in ways that the other X-Men never could. Because of this, I can say that the Jean Grey storyline still hasn’t been done to pleasing levels of comic book nerds like me who grew up with its compelling storytelling and vibrancy in illustrations that still hasn’t been touched in terms of depth, in my opinion.

– For his first time behind the director’s chair of a feature length film, there’s much left to be desired about Simon Kinberg’s work on this movie. For one, the photography is horrendous, using a combination of close angles and hollow computer generation that takes out the fun and impact of every action set piece. Beyond this, there are some set pieces that come into focus that serve no purpose to the fight or anything in focus, other than to establish that character could do something powerful. One example of this takes place at a fight in New York City between two sides, and Magneto resurrects a train from underground that does nothing but sit there. He doesn’t hurl it at Jean, he doesn’t ride it to get away from her, nothing. This is expected for a first time director, but in terms of consistency for the rest of the series it is an obvious downgrade, hurting the serious most during the pivotal chapter when all elements of filmmaking should grow as one to match its learning of the craft over the last ten years.

– Convoluted. I appreciate that this is the shortest of X-Men films, clocking in at 108 minutes total, but what’s sacrificed in translation is a smooth and steady pacing of exposition that rarely ever exists in this movie. For my money, “Dark Phoenix” feels like a stitching of two different movies with two different antagonists, that never breathe together as one cohesive unit. Many times throughout the film, the two sides are quite literally sprawling with one another for dominance over the attention of the story, and it does a huge disservice to two compelling story arcs that each deserve a candid amount of time to properly engage the audience in its conflicts. If it were up to me, I would keep this purely as a Jean Grey story, and erase Chastain’s involvement all together. Especially considering this is the final chapter of the series, you have to establish the biggest stakes possible, and because Grey is sacrificed for time in her own movie, the world’s urgency because of her influence never reaches the levels of Apocalypse from the previous film.

– Rating limitations. How could this movie not be rated R? Especially considering how restrained the lumpy dialogue and emphasis in death scenes lack during its entirety. There is one F-bomb in the movie, but it’s said at the most laughably bad delivery throughout the movie, and only further establishes the missed opportunity and raising of the stakes that this movie could’ve established in a film where all bets are off. There’s very little blood, absolutely no gore, and somehow even less believability to a world with a walking timebomb hellbent on destruction and devastation. “Logan” most recently showed us that an R-rating can work smoothly in this world, but because the production behind Fox lacks any kind of fortitude for anything that would limit their purse intake, the material has to suffer by giving us more of the same, and it could’ve taken an already legendary character in the pages, and made her an icon on-screen.

My Grade: 5/10 or D+

Godzilla: King of Monsters

Directed By Michael Dougherty

Starring – Vera Farmiga, Millie Bobby Brown, Kyle Chandler

The Plot – The new story follows the heroic efforts of the cryptozoological agency Monarch as its members face off against a battery of god sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three headed King Ghidorah. When these ancient superspecies, thought to be mere myths, rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.

Rated PG-13 for sequences of monster action violence and destruction, and for some adult language

POSITIVES

– Articulate computer generation. All of your favorite Toho monsters return to the silver screen, and are each given an upgrade in rendering that brings out the true diversity and grand scale in each character design. Godzilla is not only as big as he’s ever been in size and strength, but the rough texture that tells the stories of the various wars he has been through, compliments the gigantic lizard in ways that immediately capture your attention and intimidation of him in all of his god-like presence. In addition to this, most of the movie is computer generation, and what worried me about that initially was the loss of weight being diminished in artificiality, but thankfully the devastation feels every bit as thunderous as it does expansive, giving us the same kind of colossal damage that we all grew up loving, for half of the price and physical labor going into making and destroying live action sets. It gives the events in the film an air of permanence on a global scale that logically will make this easily the most difficult to clean up from of all of the Godzilla franchise.

– Bear with me. Music composer Bear McCreery steals our audible attention seamlessly with a scintillating musical score that pays tribute to classic Godzilla chords, all the while distorting the music in a way that creates something completely fresh and unique from the ages old piece. Godzilla’s main theme is of course heard a couple of times throughout the film, but it’s after those initial familiar intro notes where the track evolves to paying homage to the art in motion that we are seeing displayed before our very eyes. McCreery manages to capture the true wonderment and astonishing nature of the character, echoing his invasion to these scenes with operatic levels of volume that practically forces audience members to the edge of their seats for the brutality that is sure to follow. Also intriguing is a collaboration that Bear has with System of a Down front-man Serj Tankian, in covering the classic Blue Oyster Cult stadium anthem “Godzilla” for post movie credit sequence. In total, the music plays a pivotal role in amplifying the tension and drama of the moment, and establishes an influence by Bear that is every bit as immense as the movie’s title protagonist.

– A surprise behind every corner. I knew of the first three or four celebrities who were in this film, but I had quite literally no idea the depth of big name personalities that make up one of the best collective ensembles in a disaster movie ever. What’s gratifying is that none of them are a temporary cameo, sticking around for the entirety of the movie to give this installment a higher value of caliber than we’re rightfully used to from this otherwise hokey franchise. I will choose not to spoil any of the names, but for my money the supporting cast is what kept me constantly intrigued into the movie, and the main character’s dominance of the screenplay did them zero favors in gaining popularity the longer you spend with them, and it’s nice to know that Godzilla’s timeless influence rings true for even some of Hollywood’s most elite actors and actresses, as they simply can’t turn down a chance to act in infamy.

NEGATIVES

– Same shit, different day. The very same problem that I had in 2014’s “Godzilla” exists in this sequel, but made even worse for the longer run time that completely fries the pacing with its choices in direction. Once again, this is Godzilla’s movie, but humans and unlimited long-winded series of exposition scenes make up roughly 90% of its 127 minute run time, complicating a film so easy to construct that even the trailers did it for them. When I say that I didn’t like the human character’s in this movie, I’m not embellishing slightly. They are every bit as stupid in their actions as they are deceitful in their morals, and being forced to spend scene after scene with each of them became increasingly frustrating when all I wanted to see what exciting monster collisions with carnage chaos to spread. We are told during the film that there are 17 monsters scattered all across the globe, but because Godzilla becomes a supporting character in his own movie, we really only passionately follow four of those monsters in the foreground, and it’s a humiliating missed opportunity for all of the hardcore fans of the series to see their favorite character with a modern rendering.

– Too much humor. The dialogue in this film isn’t just meandering, it’s down right humiliating in regards to how it chops the urgency and seriousness of the situation each time a character opens their mouths to say something cute. The only other Godzilla film that I can compare this stance to is 1998’s “Godzilla”, a failure on nearly every aspect of technical filmmaking that many fans have chosen to forget its existence. You can’t tell me this banter is any different, as the commentary coming from this crew of class clowns feels a bit too protected in their ivory towers to truly soak in the tragedy that exists on the ground, reminding me of those 2000’s VH1 shows, where a bunch of comedians are brought in to tell jokes towards an internet video playing in real time. Not only did I find this direction counterfeit of the story taking place around it, but it also felt childish for the very laughs that the lines reach for in some truly hideous deliveries, that feel so out of place to the previous film’s serious demeanor.

– Disgusting cinematography. Another continued problem from the first film are these darkly colored, shaky-cam frames that make it so difficult to focus firmly on any of the fight choreography transpiring. With the exception of the movie’s final battle, the previous three are a smoke-filled, never-ending rainout of cluttered catastrophe, that often make it feel like you’re riding Godzilla’s back for how chaotic everything appears. The shakey-camera effect was fine in 1998, when “Saving Private Ryan” perfected it in a way that took nothing away from what registered, but in 2019 imitators are still conjuring up new ways to make you run to the bathroom in motion sickness delirium. At least the finale fight pulls back a hair in its otherwise tightly claustrophobic angles, but the damage of character building physical exposition for a new generation is done, soiling in the process anything of rarity or uniqueness about these monsters to make them stand out.

– Stupid story. This is typical for Godzilla movies, but I can’t give a pass to a world existing beyond the screen where I’m smarter than every single character that exists in it. SPOILERS YOU’VE BEEN WARNED. The main idea behind unleashing these monsters is that one character believes they will fix the problems caused by humans. BY KILLING THEM ALL? How will we be around to reap the benefits of this reward? Beyond this, problems with logic involved an electronic machine getting drenched in rain, yet not malfunctioning at the very least, a barrage of particles flying at a group of characters, where not one rock or wooden board hits them anywhere on the body, a child being able to access government run operations and programs, and suits being worn by some characters because of the radiation being distributed into the air, yet others going as far as touching said creature without even a raincoat on. I get that these movies are stupid goodness that you turn your brain off and watch, but when a film is trying to be overly preachy about the real problems we face in our own real world, it’s difficult for me to afford it the courtesy of being naive when the movie asks for it. You built a world reflective of our own, so you simply can’t overlook the tremendous holes of logic in the way your story plays out.

– Contradicting directions. It’s hard to decide what kind of tone Dougherty seeks to attain in the film when aspects of the script don’t mesh well with others in creating one cohesive narrative. As I mentioned earlier, there is an overwhelming amount of humor from the dialogue, yet a serious attention given to the trio of performances by Chandler, Farmiga, and Brown. There’s an attentive focus to political commentary on humans being the real monsters, yet a story driven narrative that is painfully contained and limited because it begins and ends because of one family’s stupid decisions. This is a film creatively that is experiencing an identity crisis, thanks in part to five different screenwriters having a hand in its fate feeling like five different directions, and if it managed to settle down and establish a layer of consistency for longer than three scenes, the accomplishment of a continuous pace of tone would feel concrete, but “King of the Monsters” endlessly searches for a direction that it never comfortably finds, and takes so much away from the weight of what’s on the line in so much tragedy.

– Lack of character. The consequences of bare minimum character exposition and a total lack of family interaction throughout shows through the seams here, and the result is a collection of people who we the audience find great difficulty in grabbing onto, especially considering the thoughtless, selfish decisions that they are making for the rest of us. For my money, I could’ve accepted losing any of these characters, and it not having one ounce of heft on my conscience towards the story, and that’s a problem when you’re thrusting these humans in a situation so unlike anything that they’ve ever experienced before, and asking us the audience to invest in them because big bad monsters are everywhere. Godzilla is in this movie maybe a collective twenty minutes, and I cared more for him when he suffered pain of any kind. He’s a computer generated lizard who is a constant danger to anyone beneath him. Yep, that’s the kind of fleshing out that we get in this film.

– Messy editing. Mainly on the value of continuity in scene-to-scene transition, the film fumbles in cohesive visual storytelling, that otherwise makes for unintentionally humorous scenes of shattered continuity that prove more directing incompetence. There are scenes of Brown’s hair being tied one second, and down in the next, scenes where character’s magically transport from one part of a ship to the other in the next frame, and an overall consistency in splicing that feels far too intrusive at all of the wrong moments. The fight scenes in a particular have far too many cuts, especially considering this is the Godzilla franchise, a series known for its long takes of choreography during fight sequences. The post production on this film is underwhelming to say the least, and proves that no care went into the consistency of the film, for which there is none with regards to gaining momentum to carry over the pacing of the film’s two hour plus run time.

My Grade: 3/10 or F+

The Dead Don’t Die

Directed By Jim Jarmusch

Starring – Bill Murray, Adam Driver, Danny Glover

The Plot – The peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.

Rated R for zombie violence/gore, and for adult language

POSITIVES

– Entrancing musical score. Jarmusch pulls double duty here, as he and partner Chris Logan (Together known as Squrl) infuse an unnerving presence of moody blues rock to perfectly accentuate the trouble that is persistently brewing beneath this small town, all appropriately narrated by the king of blues rock himself, Tom Waits. Especially obvious is the ominously thick influence of organ music that gives the film the occasional serious tone that it requires so terribly to sell its scares, bringing forth a collection of groovy tunes from a soundtrack that I will inevitably buy with much eagerness to audibly treat myself again. On top of this, the film’s title track, “The Dead Don’t Die” from Sturgill Simpson, has so much more than a topical presence in the film. It’s very much the tie that binds these many off-beat personalities together for one night of chaotic bloody thrills. Jarmusch himself has musical ties all the way back to his days in high school, so it’s nice to see that he believes he doesn’t have to give up one passion for the sake of another, and as it stands, it’s easily the greatest aspect of any in his zom-com.

– Make-up/prosthetics. Not only are the effects work in the film durable for such a cheap production budget overall, but they also spare no details in the gory fashion of some truly cringing death sequences by the hungry undead. What I love about these instances is that they stand as the constant reminder of consequences existing in a world so heavily influenced by dark humor. What’s equally effective is that the graphic depictions never overstay or over-influence the 100 minute screenplay, instead being used sporadically to enhance their appearances at just the right time in impact. In this respect, Jarmusch values their purpose, but chooses to not takeaway from the artistic merit of the film, so as not to turn this into an unnecessary exploitation film that most zombie movies run towards.

– Respect for the genre. A right of passage in zombie movies is to respectfully homage or audibly mention the greats that came before it, educating youthful audiences in a way that seems necessary with the overabundance of undead properties that even in 2019 are still all the craze. Sequences with zombies invasions are given the George Romero style of cinematography, in that they take ample time to capture the very shock factor of the dead walking the Earth again, for the sheer importance of how this changes everything in the setting. Likewise, the film’s various mentions of Romero, his films like “Dawn of the Dead”, or the glaringly obvious homage to “Return of the Living Dead”, with these zombies muttering one word comments like “Coffee” or “Chardonnay” to whet their thirsts. It proves that Jarmusch has done his homework, and has great respect for the genre classics that blazed a trail so wide that we now have no shortage of zombie television shows on mainstream TV.

– An Ohio boy. For those who don’t know, Jarmusch was once a native of Cuyahoga Falls, Ohio, and like many other famous world pop culture icons like The Black Keys, Chrissy Hynde, or Lebron James, Jim cherishes his roots and takes pride in fusing them in to every film he heads, and “The Dead Don’t Die” is certainly no different. For one, the film takes place in Centerville, a real life suburb of Dayton, garnering around 24,000 people within its beautiful city limits. Beyond this, the articulate rendering of small town talk and demeanor’s are captured in a way that only people from the area will truly connect and take connection to, preserving an inside joke that I constantly felt like I was the only one in on. Finally, the mention and fun-poking at the expense of the city of Pittsburgh is something that surely burns on for a native Ohioan who has spent decades being on the humiliating side of comparison to said big city. In many ways, “The Dead Don’t Die” is a reminder of Jim’s ability to never forget who he is or where he came from, and the way he incorporates such a pride into his latest big screen presentation gave me a bountiful amount of pride and conscience for my home that too many simply don’t value.

– Riveting social commentary. Any good zombie film requires something extra simmering just beneath the barrage of blood and brains that reach the surface level, and Jarmusch’s latest proves that he has a lot to talk about in the current Trump landscape. While not feeling overly preachy or disjointed in its boiling issues, the unshakeable combination of immigration, consequential fracking, stock in fake news, and of course an unmistakeable red hat that reads “Make America White Again” does more than enough to register where Jim stands on the debates of the modern day that clearly hit home for this visionary. The sheer creativity associated with how Jim works in these themes to something as polarly opposite as a zombie epidemic is beautifully stitched, and does wonders in depicting a world, that while visually may look so far from those watching, does in fact hit a soft spot for how synonymous their conflicts collide with ours.

NEGATIVES

– Very few laughs. Perhaps the biggest disappointment of the movie, as Jarmusch’s usually dark twisted depravity is something I’ve taken strong merit with in his films like “Paterson” or “Only Lovers Left Alive”, is the overwhelming lack of accuracy or consistency in laughs that drain so much of the fun from the picture. The gags here are every bit as telegraphed as they are lazy, and especially with a phenomenal cast that includes the iconic Bill Murray, it’s shocking that so much of the humor involved is one-note, never evolving from the precedent set during the first act that frankly wasn’t convincing to begin with. Did I laugh a few times? Sure, but the film’s biggest obstacle is that so much of the screenplay lacks quotability with audiences who will inevitably give it more than one spin in their DVD player, and coming back with fewer scenes of reward for their funny bones each time. Considering the film is marketed as a comedy first, it’s discouraging that Jarmusch hangs much of his hat on the presence of big name actors to sell lines of dialogue that sound like they originate from a Noah Baumbach movie.

– Sequencing repetition. This film could easily be an even 90 minutes, and lose nothing from the edit of redundancy that overwhelms the set-ups in each scene. For instance, when a character is killed, the three cops will each experience seeing the dead boy. That’s fine enough for a realistic perspective, but what’s troubling is nothing about their reactions is different enough to cement reasoning for why we have to relive the same scene for as many as three different times back-to-back. This isn’t a one and done kind of thing either. I counted three different scenes during the film where this happens, and it’s increasingly more frustrating by that final time because it’s a mistake that translates tragically for the pacing of his film, giving audiences a steep uphill climb in the first half of the movie, if they want to reap the rewards of the zombie euphoria of the second half that they’ve waited patiently for.

– Jarmusch’s directing. As an Akron boy, this more than anything troubles me, because Jim has proven that he’s an incredible actor time and time again, but with this film he doesn’t understand the value of urgency in a post-apocalyptic script. Part of this is the bored environments that Jim himself intentionally creates in his films that are dry of thrills or cinematic revelations to keep the audience hooked. If you don’t get lost in the thickness of the dialogue and diverse conversations in the film, this will be a rough sit. One such troubling direction is the frequent breaking of meta for the audience that is supposed to come off as smart, but just kind of demeans everything set-up before it. Throughout the film, cast members mention reading a script, or Sturgill Simpson’s previously mentioned track being the theme song for the film, or Driver’s character saying an obviously foreshadowing line of dialogue that takes away any and every level of surprise during the pivotal third act. What was he thinking?

– Rules convenience. One clumsy level of storytelling comes from how quickly the humans adapt to their undead counterparts, that defines logic for the way things are interpreted in this particular setting. Character’s who lack the kind of intelligence to accurately interpret the meaning of human emotional response can apparently tell us everything there is to know about a first time invasion that they have no time to prepare for. I guess we can easily file this under the meta format that I mentioned earlier, but it just further adds to everything wrong with that level of disbelief in a genre like this. In order to save time for valuable exposition, we compartmentalize everything in a way that feels like vital scenes are missing from the overwhelming amount of knowledge that Driver’s character in particular conveys throughout the film.

– The performances. What a shame. Bill Murray, Danny Glover, Adam Driver, Chloe Sevigny, Selena Gomez, Steve Buscemi, Iggy Pop, and Carol Kane, and not one of them are commanded with any kind of emotional depth or physical weight to the story they accompany. With the exception of Tilda Swinton as this badass sword-wielding morgue working heroine, the rest of the appearances of this exceptional ensemble fumble away any kind of measure to have an impact on the story, and none more tragic than Murray. This is a man who oozes charisma in his sleep, yet the lack of inspiration from Jarmusch’s control over him constantly gives his lack of energy in the film a paycheck-first kind of deal, and wastes away a real opportunity to take Bill in a new genre-defining direction that only further elaborates that there’s nothing this man can’t do. If I summarized the work of this cast in one word, it would be “Boring”, as far too much of their performances rely on your already pre-determined interest in them.

My Grade: 5/10 or D+

The Secret Life of Pets 2

Directed By Brian Lynch

Starring – Patton Oswalt, Kevin Hart, Harrison Ford

The Plot – Max (Oswalt) faces some major changes after his owner Katie (Ellie Kemper) gets married and now has a child . On a family trip to the countryside, Max meets a farm dog named Rooster (Ford), and both attempt to overcome his fears. Meanwhile, Gidget (Jenny Slate) tries to rescue Max’s favorite toy from a cat-packed apartment, and Snowball (Hart) sets on a mission to free a white tiger named Hu from a circus.

Rated PG for some action and rude humor

POSITIVES

– Improvements on all things animation. Illumination Studios has always been a distant third in detailed animation, but thanks to the tightening of illustrations that fills this film, arguably the very best artistic film that the studio has ever produced, they can start to bridge the gap of their opposition. It isn’t just one thing but rather a barrage, as the believability behind stormy weather patterns is beautifully rendered, the expressions of animals during the most extreme occasions adds more to the comedic relief, and even the 3D effects give an immersive quality to everything flowing in frame that warrants paying a little extra to see this film. With time, this studio will hopefully continue this trend, and offer so much more than colorfully vibrant backgrounds against a city skyline that offers plenty of familiar geography to place this story accordingly.

– Talented cast. Oswalt is a more-than enthusiastic fill-in for Louie C.K, but it’s really the work of Slate and Hart who take center stage in incorporating intensity to their often familiar vocal tones. As Gidget, Slate is a force to be reckoned with, juggling an infatuation for Max all the while proving to the audience the extent of her cunning intellect. As to where the first film showed off Slate as a lover, this one cements her as a fighter, and her emoting of Gidget is my very favorite of this entire franchise. Hart should stick with animated properties for a while, because the combination of eccentric deliveries and polar opposite vocal capacity in comparison to that of his furry rendering, makes him perfect for voice range capabilities, and the focus and attention given to his character practically begs for a Snowball spin-off that feels just around the corner. New additions are those from Tiffany Haddish, Dana Carvey, and a wise, weathered dog leader voiced by none other than Han Solo himself, Harrison Ford. It rounds off arguably the brightest ensemble of comedic actors in quite some time, and prove that their talents serve a much bigger purpose than just physical humor in sight gags.

– Fluffy run time. This one clocks in at a measly 77 minutes, and with sharing time between three respective story arcs does so in a way that keeps the eagerness and intensity of the storytelling firmly in grip with regards to a youthful audience that sometimes slip away during slow periods of exposition. While this does create some problems for the fluidity of the transitions, which I will get to later, the confidence donated to each vital character receiving their own conflicts in the story gives the movie a three-movie-for-one quality within its pages that practically forces movement in the casual three act structure that can sometimes omit itself invisible in family genre cinema. There was never a time when I was bored or antsy watching this movie, and much credit goes to the producers of the film for knowing just how far to stretch each story before it becomes something in depth that it rightfully shouldn’t.

– Intelligence in gags. I said this about the first film, and it’s something that continues in this movie. The way the film takes real moments of familiarity from the pets in our own lives, and adds a layer of profound poignancy to each situation is something that not only reaches for audience participation, but also does so in a way that will have you intentionally remembering the occasions from this movie once you go home. This gives the film and its material a consistency in shelf life that many films in modern day don’t attain, and speaks volumes to the levels of attention that screenwriters Chris Renaud and Jonathan Del Val engage in to contrast with their audience’s. In that respect, the material itself feels very much fleshed out from real life, and performed in an exaggerated way that works because of its small amounts of truth that derive from these very humorously humbling moments of love from our best friends.

– Pre-credits rap video. I won’t give away much here, but Kevin Hart’s dream to be a rapper comes full circle in a spoof of a familiar rap track from the previous couple years that is given new context thanks to the world surrounding his character. Not since 2006’s “Waiting…” has a post-movie performance left such a lasting impression on me, and the work of creativity in rhymes combined with the sheer lunacy of the situation in mid-day form, makes this moment the one that stands out the most for me in terms of comic lasting power, and non-surprisingly gives the original track, which I hated tremendously, a new lease on life. If this song was heard on the radio even half as much as that original song, then I would be fine with it.

– Strong positive message. As is the case with every kids movie out today, this one has a takeaway message that bonds its respective subplots together for one cohesive beat, and it’s the importance of overcoming fear. Especially with younger audiences, this message will ring true from within them, because it’s at that age where battling adversities prepares them for the war that is adolescence, and it’s something that resonates on-screen in each of the fears that the main character’s have to overcome for the sake of their developments. If an on-screen message is presented strong enough, kids will take even more away from it, and thankfully the film never feels overly preachy or even condescending in the message it sends the next generation of adventure seekers home with.

NEGATIVES

– Incoherent structure. As I mentioned earlier, there are three different subplots competing for time, and while this does wonders in keeping the attention of younger audiences, it does nothing for experienced moviegoers who know how important seamless transitions really are to the progress of a particular narrative. The outline of each story feels episodic, mainly because of unshakeable predictability and adjacent plotting, which does the film no favors in establishing its story as a group effort like the first movie. Because of this triangle of direction, the script itself forgets certain early angles established early on (See Max’s protection of little boy) that would make great films on their own, but are relegated to split screen time with other stories not half as compelling. For my money, the Snowball story could easily be stretched out for his own spin-off, leaving the branches of the other two somewhat connected plots feeling cohesive because of the way one is the effect of the other’s cause.

– Lack of weight. The conflicts from this movie are practically non-existent, thanks in part to resolutions that often come too fast, and a shoe-horned antagonist character who feels completely wrong for this world. On the former, I could’ve used more time for fear or tribulation for the character’s embattled with their respective conflicts. This is where ten or fifteen minutes of additional screen time could’ve further fleshed out the urgency and vulnerability of these small pets in a big world setting, and given way to further audience participation who have shared the struggles that each character has gone through. As for the antagonist, it’s the loudest reminder that this is a cartoon kids movie, complete with bulging eyes, black ensemble, and a hatred for animals for no other reason than the script asked for it. Quick question, how many times have you seen a villain who owns an abusive zoo, where the protagonists have to rescue said animals from his clutches? If you’ve run out of fingers, so have I.

– Plot holes. When you consider that this is virtually a “Toy Story” ripoff, you must consider the rules established within the world that make absolutely no sense when you consider a sprinkle of logic. For one, many of these pets go missing for long periods of time that make me question why no human owner is freaking out about where they’ve gone. In addition to this, there are certain instances in the film where believability is stretched further than a “Fast and Furious” lesson on gravity. Some of my favorite examples are a dog outracing a train, two dogs riding a remote controlled toy car without it tipping over or losing speed, and a psychopathic old woman character who not only commits murder, but also sees no problem with owning a Siberian tiger. Considering much of this film is set-up with real world ideals and consequences, these instances soil the authenticity of the engagement, and disappointed me for how these films are still insulting the intelligence of their youthful audience.

– Additional complaints. While this will only be a problem for people who see advanced screenings of this film, the inclusion of a behind-the-scenes introduction that plays before the film is more than just a little spoiler-filled for the gags it gives away. Why would you include something like these before the film plays? It renders the power of your laughs weak because the audience has already seen it before the movie starts, and just feels redundant once it comes around in the movie itself. The trailers for this film were actually solid, in that they didn’t give much away other than spare instances of familiarity of the pets in our own lives, but this production video did absolutely no favors in those regards, and took away from material that by its own merits was effective at garnering a laugh or two on its original run through.

My Grade: 6/10 or C

Aladdin

Directed By Guy Ritchie

Starring – Naomi Scott, Will Smith, Mena Massoud

The Plot – A street rat (Massoud) frees a genie (Smith) from a lamp, granting all of his wishes and transforming himself into a charming prince in order to marry a beautiful princess (Scott). But soon, an evil sorcerer (Marwan Kenzari) becomes hell-bent on securing the lamp for his own sinister purposes.

Rated PG for some action/peril

POSITIVES

– Vibrant production design. The essence of the Middle East is represented fruitlessly in the combination of flowing gowns and colorful set pieces that convey a Bollywood kind of production for the mainstream audience, and offer a bold presentation to bring forth through the live action transition. In fact, the sizzling flavor that continuously envelopes itself around this movie is visually unlike anything that Disney has produced to this point, and stands alone as the one chance that this film took in an otherwise calming sea of conventional renderings that sticks far too close to its animated original. In the visuals absorbing the atmosphere of the film, we get a visual translation too expressive not to indulge in, and the fiery texture of each property continuously commands attention to this fictional place, in that we wish it were real if only for one day.

– Will Smith’s Genie. Considering all of the controversy surrounding this role, it’s amazing that it turned out as well as it did. When the script isn’t trying to mold him into being Robin Williams flashy pizzazz Genie, Smith succeeds at maintaining the sharp velocity of the tongue that constantly keeps his co-stars in check, and for a brief glimpse offers something experimental to what we expected. Smith’s comic landing power hits about 50% from the field for me, and nailed about double that for my interest in the film, which only grew whenever his big screen presence invaded each frame and instilled a positive energy that kept you glued to the familiarity of it all. This definitely isn’t a paycheck film for Smith, and thanks to the excitement and prestige that he brings to the role, we get a shadow that is nearly equally imposing as Williams presence was to the 1992 original.

– Soundtrack of hits. Despite knowing everything that’s to come from Brad Kane, Bruce Adler, and Danny Troob’s original classic collection of time-cherished songs, the inclusion of hip-hop inspired beats and Bollywood dance production gave new life to these familiar audible beats of story narration, and led to infectious moments of delight when even the toughest critic could be won over. The dance choreography is sharp and boisterous with each continuous frame, and song chorus’s are stretched and bent in a way that experiments with a fresh take for the song, that I wish remakes like “Beauty and the Beast” or “Cinderella” would’ve experimented a bit more with. As to where “A Whole New World” was my favorite song from the 92 original, the slow build to a roaring kettle of “Prince Ali” takes the cake for me in this film, and especially stands out because of Smith’s cool demeanor that plays so seamlessly into the pulse of the background beat.

– Progressive with a positive P. I won’t spoil anything, but I took great merit in how this film invests further in Princess Jasmine, not only with a noticeable increase in screen time as opposed to how limited she feels in the original movie, but also in the evolution of her character, which successfully lands a surprise twist in the final minutes of the movie that I audibly commended. Disney has definitely been opening up their horizons with little girls in the audience who are looking for a character to dream themselves into, and thanks to the movie’s way of rewarding her with power both in a narrative perspective, as well as a closer split between screen time with her title co-star, the film creators bridge the gap wonderfully in priding them along, and manufacture a sense of female empowerment within the story that garners something new without it feeling like a distraction (See Captain Marvel)

NEGATIVES

– Uninspired C.G. I was less than thrilled with the artist rendering of computer generation, both for being used too much and for not being refined enough to be believable in their weight played against the live properties in the film. If we’re making a live action remake of an animation movie, why is 40% of any shot you see at all times not authentic to the live action creativity of the picture? Why not just make another animated “Aladdin”? Aside from this, the finished product not only of the Genie, but also in the facial resonation of Abu the Monkey, really took a backseat to “The Jungle Book” remake in terms of fantasy believability, and stood out as a glaring negative each time the latter’s character made a close-up presence on-screen. As well, a scene involving the Cave of Wonders left me disappointed for how the lion’s head entrance didn’t move its mouth like it did in the animated counterpart. If this is because it ruins real world believability, stay tuned for my review of the ending coming up.

– Ritchie’s tweak directing. I’ve never been a big fan of Guy Ritchie’s style of directing. His influence over 2017’s “King Arthur” turned that Medieval setting film into “The Matrix”, for how he constantly slowed and sped up time during the most inappropriate moments, and unfortunately Guy has learned nothing in taking a two year hiatus. It’s really strange that some moments during songs are visually sped up, all the while some scenes during high intensity chase are slowed down in a way contains the adrenaline of the sequence. It made the film feel like someone was sitting on the remote, and frequently rolled over during the scenes that mattered most in character conflict and singing focus. If this is intended, please stop it now. It only comes across as hokey and ridiculous during a scene when you’re supposed to be on the edge of your seat.

– Inconsistent pacing. 1992’s “Aladdin” is a 92 minute movie that never sags or stretches the boundaries of its material. The same cannot be said for this remake, as the two hour runtime, with very little impactful extras, makes for a testy sitting that is especially prominent during the film’s bloated second act. For my money, the first thirty minutes of the film were easily the most engaging, as the combination of Aladdin’s street life and his mission into the cave were cast with such entangling urgency that none of the remainder of the film can ever come close to matching. The second act spends its time between rule setting for the Genie, as well as a high class gala affair that feels like it’s being played in real time. Not only did this area of the film slow down my building interest for the movie, but it more than any other padded the run time for unnecessary stretching of resolutions. The third act improves slightly, but is a defeated effort by that time for the immense jump in logic and off-the-wall lunacy that the closing minutes become saddled with.

– Casting decisions. I knew nothing about Massoud or Scott before this movie, and their roles as the two leads won’t leave me any further interested in wanting to dive into their limited filmography. These two lack any kind of personality that can’t be expressed in spare verbs, and if the overall lack of romantic chemistry between them doesn’t establish how wrong for the parts they are, the mundane deliveries of emotionally-charged diatribes certainly will. Speaking of Will, did I mention how much the movie fumbles whenever he isn’t on camera? We’re left with what feels like two stage actors who constantly don’t believe what they’re saying, and are only passed by an antagonist performance who I couldn’t stop laughing at. Every little boy wears his father’s clothes and pretends to be him at some point. I didn’t expect to see a grown man in a major motion picture doing this, as Marwan Kenzari feels about as threatening as a game of fantasy dress-up. Considering Jafar is one of the most evil and imposing antagonists in Disney animated history, the disservice of casting someone who is not only the same size as Aladdin, but also someone so visually opposite of what I expected from his animated counterpart. I can understand going in a fresh direction with a character, but the work of this trio lacked the magic of translating such iconic figures from the Disney library, underscoring what should be the easiest of decisions.

– No respect. I can overlook company greed to remake a property and manipulating audiences into seeing it, because, hey, childhood, but to not credit the original screenwriters from the 92 original is not only a slap in the face, but a kick to the balls of everything that is right with respectful representation. The screenplay here is credited to John August and Guy Ritchie, and while there are some light changes to the film in terms of material, to not commend the work of Ron Clements, John Musker, Ted Elliott, and Terry Rossio is a colossal mistake, considering 80% of the film is still from the story beats and character traits that they established from that original movie. There are even vital scenes in this film that are verbatim (Word-for-word) to the original film for how they play out, and the lack of attention given to the source material gives the closing notes of the film a grave feeling of plagiarism that shouldn’t be overlooked by even the most casual of film audiences.

– Ridiculous ending. LIGHT SPOILERS. You’ve been warned. I can understand this sort of thing in a cartoon, but during a live action movie, and even a kids one at that, the laws of travel aren’t negated because of what’s cute and appropriate for what fits into the story. With that said, a character gets transported to the ends of the Earth by their opposition, and two scenes later is back in Agrabah, like some touch of “The Dark Knight Returns” magic that I don’t care to relive any time soon. In addition to this, the final conflict basically never happens, at least not in a way that requires any of the character’s to get their hands dirty, and it all wraps up with the kind of convenient bow only necessary when you’re gift-wrapping something you know will be met with evil glares or family emancipation. Translating a cartoon to live action is a good time to take the ridiculous out of cartoons, not bring them to the real world. Yet one more reason why live action Disney remakes aren’t necessary in crafting something freshly unique to a new generation.

My Grade: 4/10 or D+

John Wick Chapter 3: Parabellum

Directed By Chad Stahelski

Starring – Keanu Reeves, Halle Berry, Ian Mcshane

The Plot – In this third installment of the adrenaline-fueled action franchise, skilled assassin John Wick (Reeves) returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn, looking to cash in on a payday that will set them for the rest of their lives.

Rated R for pervasive strong violence, and some adult language

POSITIVES

– Picture perfect action sequences. The mixture of Tai Kwon Do, amateur wrestling, Martial Arts, Judo, and elements of Brazilian Ju Jitsu make for air tight choreography that went a long way in registering the believability and detection of every bone crunching blow, but it’s really the range of variety in settings and weaponry that really take the creativity in this film to new heights for the franchise. Horses, motorcycles, glass fortresses, and even a library are put to devastating levels of punishment, proving that Wick is adaptable in any surrounding with any object in his hands to use as a tool of terror. The sequences in the film are every bit as enticingly fun as they are brutally humbling, and it certainly makes for one of those cinematic experiences where you’re glad that you’re watching it in the comforts of a theater, as opposed to suffering the impact of John’s will fully realized.

– Invasive sound mixing. Like the visuals of the sequences that I already mentioned, the swift, echoing nature of the noises that reflect from a series of non-stop physical engagements put us front-and-center in the heat of the conflict. In many cases, the sounds create a stinging symphony of suffering that elevate gradually to reflect the intensity of the fight, as well as the urgency of the stakes that constantly hang in the balance, and the work of some brilliant technicians behind the scenes marry the elements of believability and precision with a finished product that audibly kicks your ass in ways that big budget action set pieces don’t cohesively articulate nearly as well. If you can close your eyes and make out everything that is going on in sound, you know you have an exceptionally tuned audible enhancement, and the post production work here should never be understated for the way it reflects the speed and spark of the dynamic.

– New and familiar faces. Halle Berry is an excellent addition to the film, despite her only being in the movie for around fifteen minutes. Berry, like Reeves, endured months of physical training and target practice to capture the essence of the character, and as Sophia we meet a woman who despite being wronged by Wick somewhere in life, knows and appreciates the value of paying your dues. She etches out the female equivalent to Wick’s trilogy of terror in a few spare scenes, and Berry’s cunning intellect and vicious lack of empathy left me wanting a movie of her own to further illustrate the jaded backstory of this character. No surprise however, Keanu continues to be in the driver position. As Wick, Reeves again brings such uneasiness and commanding attention to the cold, blank stare that constantly outweighs the mental chess game he plays with his opposition, and as good as Reeves is in physical combat, it’s the ounce of humanity left in him for the people he loves that is easily the most indulging trait for me personally, and Keanu proves once again that this franchise has plenty of miles to go thanks to a protagonist who literally travels them for the positivity of the picture.

– The story. While not my favorite Wick movie in this regard, it’s nice to know that even three chapters into this saga, we are still learning vital pieces of information about our mysteriously vicious figure. In this regard, the world-building introduced in the second movie is further realized in this one, bringing forth a global domination in expansive scenery that vividly articulates the stakes that Wick’s opposition are guiding against him. Likewise, many elements of Wick’s past, particularly his training and schooling, are further elaborated on, presenting us with the most revealing aspects of John’s life in molding who he has become today. Despite as much screen time being donated to seven different thrilling action sequences, the unraveling of the narrative is the true meat of the story that adds layers of depth to the value of the character, and in just three films, it proves that the best cards about the character are still being played, issuing strong confidence for future chapters that never put anything in front of the character.

– Consequences. This is the overall theme of the movie and really the entire franchise when you think about it. It’s interesting to see what has evolved as a result of a bunch of punks killing a dog in the first movie, and that value for the effect from the cause resonates strongly throughout the many interactions and relationships associated with Wick. This gives the plot a very cerebral setting, in that we, like Wick, must think several moves ahead in the lightning flash industry of hired killers, or risk sealing our fate long before we ever realize it. When you really think about it, this presents an even more elaborate level of unpredictability to the dangerousness instilled by Wick fighting for his life every single second of every single day, and in a Butterfly Effect Dickensian spirit, makes me wonder what kind of roads for John have already been paved in future installments, thanks to the decisions and actions taken in this movie. It’s strange to commend a John Wick film for feeling philosophical, but “Parabellum” gives meaning to the mayhem, all the while conjuring up a profound idea of awareness that will eventually be the means to an end for all of us.

– Lavish imagery. Setting a film in New York is certainly nothing new for cinema, but the Big Apple depicted in “Chapter 3” reaches the heights of “Blade Runner” or “Ghost in the Shell” in terms of these immensely blinding billboards and unshakeable neon influence that soaks the wet streets with a sizzle of style that illustrates a timeless look in cinematography. But not all of the visual seduction is outside, as the interiors of the Continental Hotel, as well as a Casablanca getaway by Wick also charm us with a sophistication in lifestyle that gives luxury to such a devilish business. The former has no shortage of glass, sure to play mind-games on the audience and protagonist similarly, all the while complimenting the glow of illumination that is beaming from the city that doesn’t sleep, and the latter constructs these wide angle depictions that capture the immensity and suffering of being trapped in the desert decay, among the sunbaked sand covering the never-ending hills. It proves how big this once local franchise has evolved, establishing a global presence to the third and most important chapter that spares no expense in contrasting geography.

– More personality. There’s always been laughs sprinkled throughout John Wick’s previous two installments, but the consistency and landing power associated with the awkwardness of piercing dark humor really felt more prominent in this film than any other. What’s vitally important is that the juggling of tones never compromises the integrity of the film, nor does it take away from the intensity and stakes of the moment in hand. Especially considering so much of this film deals with an ever-increasing body count and dark subject matter, the natural flow of these timely sight gags and dry deliveries from Reeves feels like a therapeutic release to a building powder-keg of anxiety-riddled nerves that spring from these very violent exchanges. You won’t mistake this for a comedy in the slightest, but the inclusion of getting the audience further involved is always something that works in the favor for relatability, and proves that Wick doesn’t have to be a constant grump to get over with his people.

NEGATIVES

– Special effects. SPOILERS AHEAD. DON’T READ ON IF YOU DON’T WANT TO BE SPOILED. THIS IS LITERALLY YOUR LAST CHANCE. WHAT ARE YOU STILL DOING HERE? Wick loses a body part towards the middle of the film, and it leads to some computer generated effects that were sketchy at best in establishing the continuity of what’s missing. When something like this happens in a film, you bet your ass that I will be watching for it during the rest of the movie, and at the beginning of the big final war scene, there were more than a few instances where this once disappearing part popped up in more than a few candid frames that show it being fine. This is solely on the production department, as they really should be more careful with what to keep in mind in distinguishing marks, but I can’t give a pass to generation so lacking detail that it ruins the immersive quality of the scene, and this constant blunder became even more obvious the longer the movie progressed.

– Weak antagonists. This is a continued problem not only for this film, but the entire franchise alike, as these one-note, weakly written antagonists don’t manage even an ounce of weight for being able to silence the execution of Wick. In this film, the villains are even slightly over-confident, passing on many occasions to easily kill John, in favor of gushing about how famous he is in this inner circle of dangerous assassins. Likewise, the many stupid decisions by them gives way to one of my favorite cliches in Hollywood cinema, where a villain has to explain every single detail before they kill their opposition and collect the bounty. It leaves very few moments of vulnerability or urgency for our title character, and even worse, it takes away from the paranoia that the humbling final scene of “Chapter 2” gave us, where it felt like a whole city was coming after Wick. Here, the number is actually much less imposing, and we’re left with a barrage of idiots, who can fight, but lack intelligence in the smallest decimal.

– Those last ten minutes. Easily the weakness of the film for me, as the impact of a bad twist (My opinion), as well as the lunacy associated with being fine from an easily paralyzing blow from not one, but two character’s, completely sends the final minutes of this film to cartoonish levels of conclusion for an otherwise near-perfect action film. As to where the last movie was the highpoint for the film, teasing us in ways for the third film that sent your anticipation to a boiling point, the ending for this film stretches the boundaries of what’s possible from a very human character, who otherwise lived and breathed by the laws of gravity to this point. I expect to be alone on my feelings for this one, but I would prefer if this franchise doesn’t become one of those action series where you have to turn off your brain to enjoy. You know, “The Fast and Furious” franchise.

My Grade: 7/10 or B

Brightburn

Directed By David Yarovesky

Starring – Elizabeth Banks, Jackson A. Dunn, David Denman

The Plot – What if a child from another world crash-landed on Earth, but instead of becoming a hero to mankind, he proved to be something far more sinister?

Rated R for horror violence/bloody images, and adult language.

POSITIVES

– Beauty in the darkness. As an expressive visionary, Cinematographer Michael Dallatorre has always been someone who visually brings forth an entrancing pulse to the settings and filming locations that make up his lurid shot compositions, but “Brightburn” is easily his best work to date. Channeling an ambiguous decay in coloring textures, which brings forth an inexplainable fog that constantly plagues our character’s, the film does what D.C couldn’t, in that it seeks out motive for the grittier, grimey presentation that is easily reflective of its central antagonist. Movies being dark for the hell of it are often taking advantage of a visual gimmick for nothing other than a brooding take on an ages old story, but Dallatorre grasps this poison in the air that many can feel, yet no one can admit, and it establishes a vibe for this film from the get-go that visually conveys that this superhero flick goes darker than any other one you’ve ever seen.

– Ties to Superman. This film has been credited as being James Gunn’s dark twist on the Superman origin relic that everyone young or old has come to know by this point, and while the similarities in alien powers and adoptive parents certainly goes a long way to cement this feeling, it’s the divided roads with the powers that each superhero has that makes this film stand-out as a ‘What if?’ tale of sorts, that brings Superman to The Twilight Zone. The kid in this film being too young to fully grasp the consequences of his powers is something that gives the movie great vulnerability and urgency for all of its character’s, and because of such we’re juxtaposed from a world seeking hope in Metropolis, to a world quickly losing it in Brightburn. It answers some long debated questions revolving around Superman taking the road less traveled, and stands as a worse case scenario when the world’s greatest strength is also its biggest destruction.

– Isolation in setting. This, just like the comparison to Superman, is inevitable, as the stretched countryside of this small town not only puts the character’s far away from the eye of the public when the devastation begins, which helps keep the lid on the details getting out, but also helps elevate the tension and anxiety of the constant silence that surrounds the curiosity of these people from what goes bump in the night. In addition to this, the nane of the town itself, “Brightburn”, is the answer to the question, as its banner is featured in a few blink-and-miss-it moments in the background, that play a subtle resolution to the film’s cryptic title. Finally, the school used in the film is actually the very same school used in “Stranger Things” seasons one and two, proving that other-worldly things is actually a common everyday occurrence for a place known for its curriculum terrors.

– Adolescent dynamic. One of the aspects of the script that I found so uniquely refreshing is in the way it contrasts and justifies what is going on in Brandon’s life to the spring of teenage puberty. In this regard, the film can be taken as a nuanced commentary piece towards adolescence, albeit in entirely satirically powerful directions given to our growing boy. When you consider that the terror begins on Brandon’s 13th birthday, the short nerves, testy decisions, and blossoming interest in females, all feel like familiar beats that every kid has to go through once he gets to that particular age, and with a quick re-write and a couple of scenes edited out, this film could’ve easily been just about the dreaded change associated with such a terrifying coming-of-age, but then we would miss out on so many of the cool things that I have yet to talk about.

– The birth of a new subgenre? Mixing the elements of superhero and horror is a very ballsy move, but thanks to the knowledge of the hands on deck of each respective genre, the film manages to seamlessly weld them into this Frankenstein project that lives and breathes with respect to the measures that make each familiar. Could these be considered cliches? Absolutely, but I feel like those familiar beats should be present, especially in a first time marriage between the two, if nothing other that to easily immerse audiences into how beautifully each of them vibe together. The jump scares, panning camera movements, and typecast parents dealing with a demented child, are all still there to represent horror, as are the origin story narrative, big budget effects, and of course iconic symbolism are to represent superhero stories, and each is represented in a way that gives a blissful 50/50 allowance for each to play into the story, without either of them encroaching on the effectiveness of their respective properties. During an age when superhero films are overcrowding the box office, “Brightburn” brings forth something fresh to breathe life back into it, and should be commended for the gutsy determination in stitching together two sides that up until now couldn’t be further from synonymous.

– One man stage. It’s not that I have a problem with Banks, Denham, or any of the other adult protagonists, but Dunn’s impression left on the film is one that commands much of the attention to him, leading to a breakthrough performance in his first starring role on the silver screen that echoes with each unsettling scene. As Brandon, Dunn’s stirring silence is something that seeps into our skin with triggered anxiety, establishing a level of sinkable weight on the perspective of this family that leaves them astonished in the transformation from this once sweet little boy, to the dangerously deviant defiant who stands before them. Most kid actors have trouble feeling believable in confrontations with adults, but because of the magnitude of powers instilled in him from a higher power, as well as the intelligence articulated from Dunn in understanding the depth of every situation, the work of Jackson flies higher than the heights reached by cape.

– Refined special effects. What is commendable here is that the inclusion of gravity defying feats are saved for sporadic moments of dazzle that maintain the wow factor in not overdoing it, as well as the sequences themselves having strong live action impact for the properties they collide with. This not only fleshes out the effects with weight for believability, but also renders the impossible possible with the scale of stunt feeling mostly reserved. There is one exception, however, and it deals with a lawnmower being thrown hundreds of yards to the bewilderment of the little boy. But the scene is shot and edited in a such a way that barely allows you time to focus on the mower itself, and long before logic sets in, the incredible launch of a 200 pound machine lights up the sky like a shooting star, solidifying a tempo for the film’s action sequences that remain sharp throughout the duration of the film.

– Perfect pacing. Although I have problems with the film’s run time, which I will get to in a minute, the pacing of the screenplay is so crisp in non-stop action and Brandon’s personal conflicts one after the other, that the film feels about half of the fluffy 85 minute run time that it boasts. It helps that the film wastes no time in bringing audiences into its world and character’s, introducing us right away to the couple and alien arrival that sows the seeds for each of their eventual confrontations, but what really triggered my interest was how little of downtime there is in between these scenes of extraordinary. This can normally hurt a film if it’s too much of the same thing, but what I appreciate is that each scene varies in pitting urgency, depending on that character’s kind of interaction with Brandon prior to this, and each evolution leads to dramatically different conclusions, bringing forth an air of creativity to the progression of scenes that constantly keeps familiar set-ups feeling fresh for the fun that this director and screenwriters incorporate into the fresh take of genre direction.

NEGATIVES

– Rushing the details. The backlash from that 85 minute run time is everywhere. From the limited exposition in the origin and backstory of our central character, to the longterm build of certain bully character’s not getting the revenge that they deserve, to the flat ending that just kind of lacked emphasis. In rushing through the script’s more personable moments, especially during the opening act, it will have an unavoidable consequence on your investment into the film and character as a legendary presence on-screen. For my money, the film could easily use another fifteen minutes to solidify the importance of some supporting cast, as well as offer more moments of personal reflection for the boy learning to grow with newfound powers.

– Skimping on the deaths. Aside from one death sequence, which is arguably the most lasting presence that an on-screen death has had on me in years, the majority of sequences minimalize the effects of the single biggest detail; the devastating final blow. For some of them, they happen so fast that we don’t register what actually happened. For others, the occasion happens so far in the distance that you don’t get to soak in the gory details of blood and prosthetics, which thanks to the exceptional death that I mentioned earlier, are actually superb when they get the rare focus that they rightfully deserve. While the elements of horror still resonate throughout the many obvious tropes throughout the film, the biggest one is rarely anywhere to be seen, standing as the one matter in a superhero horror film that requires articulation to reach perfection.

My Grade: 8/10 or B

Detective Pikachu

Directed By Rob Letterman

Starring – Ryan Reynolds, Justice Smith, Kathryn Newton

The Plot – The story begins when ace detective Harry Goodman (Paul Kitson) goes mysteriously missing, prompting his 21-year-old son Tim (Smith) to find out what happened. Aiding in the investigation is Harry’s former Pokémon partner, Detective Pikachu (Reynolds): a hilariously wise-cracking, adorable super-sleuth who is a puzzlement even to himself. Finding that they are uniquely equipped to communicate with one another, Tim and Pikachu join forces on a thrilling adventure to unravel the tangled mystery. Chasing clues together through the neon-lit streets of Ryme City, a sprawling, modern metropolis where humans and Pokémon live side by side in a hyper-realistic live-action world–they encounter a diverse cast of Pokémon characters and uncover a shocking plot that could destroy this peaceful co-existence and threaten the whole Pokémon universe.

Rated PG for action/peril, some rude and suggestive humor, and thematic elements.

POSITIVES

– Easily the most accessible of the Pokemon films. In straying a bit from its conventional roots, “Detective Pikachu” is able to accommodate to a bigger audience, all the while remaining faithful to its world building and rules that have garnered legions of faithful followers for many generations. If you want to see a typical Pokemon movie, there are thousands of those, but putting its familiar furry protagonist in a noir mystery that touches on some surprisingly dark territory in material, gives the franchise new life on screen and in direction, which will inevitably make it all the more adaptable for audiences like myself, who have never been struck by the Pokemon lore. This isn’t the first Pokemon film that I’ve ever seen, but it is the first one that had me leaving the theater with an unshakably positive feeling, all the while solidifying my iron-clad views towards the importance of family, that the film takes with it throughout.

– Sparkling special effects. Pay attention Sonic, this is how you seamlessly immerse an obviously computer generated property into a live action background, without alienating the texture of color that lacks believability. Every design here is perfectly rendered and exceptionally detailed, illustrating the very fur and facial movements of the Pokemon creatures with an air of consistency that you rarely see in live action computer-generated kids movies. Likewise, the artificial destruction of some pretty intense and heavy action set pieces rumble the screen in ways that make them inescapable from what is transpiring, cementing a beautifully vibrant transition from animated movies that never leave much to the imagination in terms of what it loses in the transfer. If more live action transformations looked like this, I would gladly welcome the string of video game movies that will inevitably leave me braindead from, among other things, phony post production effects work.

– Cohesively juggling tones. What really surprised me about the movie was how it managed to evolve into this drama during pivotal scenes of emotional wrangling. Aside from the opening fifteen minutes, which feel like they set the ground wonderfully for a revenge narrative, the beginning of the film’s final act constructs a conflict within Pikachu, as well as one with Tim that is anything but the typical third act distancing we’ve come to know. Instead, it’s more about the discovery of the role that Pikachu plays in this progressing mystery, establishing a series of twists that add a fine combination of intrigue for the character’s, as well as a somber atmosphere of tension that adapts to being much more than a lazy comedy. With this film having such a resting backbone on the values of family and friendship, and how those aspects tie together perfectly sometimes, it makes this a recommend for the whole family, remembering to instill the profoundly powerful gut-punch literally moments before they walk out of the theater.

– Ryan Reynolds. Simply put, there is nothing that this man can’t do. While Ryan’s familiar vocal tones never experiment with stretching or tweeking to make them sound different, it’s Ryan’s timely delivery and enthusiastic energy in dangerous situations that made him the focus for audiences well beyond being the title character. When Pikachu is at his most vulnerable, which is roughly 80% of the movie, Ryan delivers his best stuff, emoting a cowardice side of the familiar hero, which certainly casts him in newly hilarious light than I’ve ever seen. His influence is felt so much that in the rare occasion when Pikachu isn’t on-screen, that the movie immediately loses the air of momentum that it builds each time his unshakeable sarcasm and endless wit isn’t there to enhance the interaction of his live action counterparts, and it’s one of those performances that will make it difficult to shake free from his voice, every time you watch a Pokemon movie from this point forward.

– The setting. Ryme City is about as cool a place that I’ve seen in cinema since “Blade Runner”, and it’s clear in the details how the current pays a respectable homage to the previous. The neon lights adorned on sky-scraping signs reflect beautifully on the rain-soaked concrete, and the assortment of opportunity-seeking businesses gives a lived-in feeling to capitalism that ranges even in the locations that feel planets away from our own. It juggles this strange juxtaposition, where the technology feels decades ahead of our own, but the similarities in balance for power and current business time fashions gives it a searing reality not far from where we currently stand. Overall, it gives the location a timeless feeling, which in turn will allow it to age gracefully as the years pass by.

– Easter Egg reference. This is about as unexpected as you can get for a hidden Easter Egg, but I tip my hat for a lengthy amount of time, for the way this film managed to include a reference to my favorite Christmas movie of all time. Even more incredible is that this reference within a reference was created especially for that Christmas movie, so the use of its inclusion is obviously an homage to this movie, and plays incredibly for how it plays simultaneously with the crime noir narrative that is playing out before our very eyes in Ryme City. Despite that movie and this one feeling legions apart in terms of similarities, the way it is inserted is every bit as clever as it is commanding of the attention of moviegoers for the way it practically takes over the scene right from our actors in frame.

NEGATIVES

– Exposition heavy dialogue. Sometimes the spring of knowledge feels as forced as a screenplay can make evident, and it stood as the one aspect (Especially during the first act) that weighed this movie down heavily in my final grade. When a new Pokemon comes on-screen, the film almost stops in its tracks to tell us who they are and what power they possess, and while it doesn’t conjure up the cliche of showing a visual stat-sheet like some films do, the overabundance of long-winded delivery isn’t far off either. I can understand teaching audiences about the character’s and backstories accordingly, but when a scene with an amazing actor (Ken Watanabe) is only there to serve a purpose for Tim, you have to wonder if there were easier and more believable ways to introduce this knowledge without the smell of obviousness dimming the potential of said scene, and it happened more times than I would’ve liked.

– Painful human character’s. There’s no one in “Detective Pikachu” who I related to on a personal level, and that’s a shame considering much of this story’s hidden narrative deals with you indulging and empathizing with these people and their newfound tragedies, and it rendered much of the impact of devastation that much more ambiguous because I couldn’t allow myself to fully invest in their bland personalities. Speaking of which, Smith’s Tim is a sludgy sap of moping reality, and his interaction with Newton romantically felt as cold as arctic temperatures, and about as forced as a spontaneous colonic volcano. The screenplay isn’t interested in developing them individually, so it builds them together in-tow, and as far as lead character’s go, these two aren’t nearly charming or confident in their abilities to get across the magic in their bumbling personas.

– Comedy power. While Reynolds makes miracles out of mirages, the overall landing power of the comedy in this film left slightly more to be desired, especially considering we’ve seen Reynolds at his rudest, in the R-rated duo of the “Deadpool” franchise. For this being a PG movie, it’s clear that PG restrictions were taken, and even despite Reynolds hinting at more adult material from time to time, the film’s firepower remains mostly grounded for what we expect from kids movies that demean their intelligence with sounds and flatulence humor. Aside from this, the film commits the crime of showcasing its best material in the trailer, leaving very little of surprise or payoff in the way of what remains. So if you watched this trailer and weren’t sold on the material, the movie itself won’t provide much other relief in that department.

– Problems with the mystery aspect. There are many here, and unfortunately they are made the more evident the longer the film goes on. The answer is predictable, the interrogations in dialogue and sequencing are repetitive, the plot holes in some aspects are glaring, and there’s simply not enough of a struggle for Tim and Pikachu in solving this case. Most of the latter problem deals with a 95 minute run time, which could use another ten minutes to help stretch the dynamic associated with team thinktank’s to illustrate how thick this mystery really is. The quicker they figure everything out, the more painful it is for the power of the mystery itself, and more alluding to this being a kids-first movie that will do no favors for adults in preserving anything mysterious. For my money, they could’ve targeted somewhere in between these age groups to offer something cryptic to both sides, but unfortunately the youth will get more out of these twists that are visible from a mile away.

My Grade: 6/10 or C

Tolkien

Directed By Dome Karukoski

Starring – Nicholas Hoult, Lily Collins, Laura Donnelly

The Plot – The film explores the formative years of the orphaned author (Hoult) as he finds friendship, love and artistic inspiration among a group of fellow outcasts at school. This takes him into the outbreak of World War I, which threatens to tear the “fellowship” apart. All of these experiences would inspire Tolkien to write his famous Middle-Earth novels.

Rated PG-13 for some sequences of war violence

POSITIVES

– Thomas Newman’s gripping score. If I didn’t mention my single favorite aspect of this movie first, I would be doing a huge disservice to the maestro of magic, who once again enhances each scene with an element of drama that tinsels in the air from his lucid compositions. Newman’s music rides an emotionally surcharged roller-coaster of goosebumps, eclipsing each arm hill with a wave of enchantment and majestic radiance of “The Lord of the Rings” movies themselves, all the while outlining that invisible line of urgency that much of the movie unfortunately doesn’t capitalize it. Newman’s name for whatever reason is often overlooked when the best composers of the 20th century are talked about, but thanks to the moving renditions that he stirs into a hopeless World War I battlefield, the 21st century are ever in his favor.

– Riveting wartime sequences. Visually the highlight of the film for me. In addition to Newman’s influence that I just mentioned, we are treated to tight-knit editing, immense weight in impact, and a shot composition that definitely paid homage to “All Quiet On the Western Front” in terms of heavy breathing claustrophobia that gets as close in the trenches as being safe can buy. Never does the sequences feel staged or compromised for the lack of scope associated with both sides, instead using character narration and crisp, sharp sound mixing to audibly immerse us in the unpredictable drama. Even in knowing above average details of Tolkien’s biographical background, there was still much about orchestra of anxiety from Karukoski that left me uncertain about what transpired, and it all eventually leads to a convincing third act that does give you moments of satisfaction for remaining so patient.

– Seamless 1940’s design. From the soft color scheme of Finnish cinematographer Lasse Frank Johannessen, to the classy wardrobe design, to the consistency of visual likeness that never compromises the time frame, everything here is ideal for the look and feel of England during the time of great war, giving a strong attention to detail for the production that visually fired on all cylinders. Faded coloring filters are always the way to go in replicating the authenticity within an atmosphere of a prior decade, and it all manages to impress in ways that dazzle a level of time travel on the silver screen fluently.

– Effectively informative. I feel like “Tolkien” will at least succeed in outlining the important parts of Tolkien’s life, if literary biographies aren’t your thing. This film covers the rags-to-riches orphan tale of Tolkien’s early up-bringing, the bonds of fellowship in this friendship of boys, the lure that language plays in his stories, and of course the blossoming love between he and eventual wife Edith. If you’re a diehard fan of Tolkien, the film will offer you very little in the way of beneficial reinforcement, but if you’re someone seeking information for a term paper, or just looking to satisfy random curiosity after binge-watching the Rings films, “Tolkien” will educate just enough to fill in the gaps, all the while preserving a general outline for the mind behind the magic of arguably the single most influential series of novels in the English language.

– Special effects poetry. One nuanced aspect from the director that I wish was used a lot more, was a psychological delve into the mind of Tolkien, during which he sees familiar imagery from future books. It was during these scenes when I realized the crossroads of past, present, and future within J.R’s life, and it practically stands as these brief moments of inspiration that never require bloated or obvious dialogue in getting its point across. These are the scenes that will be most satisfying to fans, as we finally get a glimpse of the genius at work, proving that even in the heat of battle with fighting for survival, the execution of a creative mind still lives and breathes within the soul of a writer.

NEGATIVES

– Formulaic exposition. I don’t doubt for a second that artists pull inspiration from every spec of intrigue in their lives, but what I do have a great ounce of disbelief with is that it plays out in such a television soap opera, complete with practically wink-and-nod moments that illuminate for the audience. I have this same problem particularly with modern day musical biopics, as the overabundance of information deposited in a two hour film all but comes with a Wikipedia sign posting that each of the screenplay pages hit on ever so conveniently. Examples of this are scattered throughout the film, traveling through themes of fellowship and incredible journeys that provide material for the gifted writer, but do so in a way that prove in this film to be topical to ever come across as natural.

– Disappointing performances. I’ve been a fan of Hoult’s since I saw him on screen for the first time, and for a majority of his career he constantly elevates the material that sometimes does him no favors in connecting to the audience. But his work as this prestigiously humbling writer provides shoes that are just too big for him to fill, and leave us with a lack of personality in his portrayal that does highlight the genius in intelligence, but sadly leaves much of the twitches in Tolkien that he was well known for, on the floor of omittance. Collins likewise is an equally blank canvas, leaving as much of a lasting impact on the film as background wallpaper. The two exceptional leads try what they can to light the spark of chemistry between them, but it simply isn’t there, and without the love element providing warmth, the movie alludes and reaches to a motivation through war that simply doesn’t feel earned.

– Lack of influence from the source. The Tolkien family themselves have distanced themselves from the making of the film, not because they saw it and hated the movie, but because the production chose not to involve them when crafting a tale about their legendary ancestor. Why I think this is a big mistake is obvious: the movie is crafting a story without the ideals of heart needed to sell the man behind the books, and that’s essentially the common plague with this film. Throughout the movie, I felt like I was watching a cinematic character with very little shade of personality to help me understand and grow with who Tolkien was as a person. This is especially troubling because in a biopic it is important to separate the fame and the life, and draw the comparison between them that links almost magnetically. We don’t understand what drives J.R, and likewise the movie searches for that very same drive, traveling in a directionless fog, with all of the wrong people steering the machine.

– Sludgy pacing. I am not a “Lord of the Rings” fan by any stretch of the imagination. I can know and understand that they are exceptionally made films without personally indulging in them, but I can’t say the same about the quality exchanged in “Tolkien”. For the first hour of this movie, I was nearly falling asleep. The film’s disjointed screenplay that alternates between three different timelines transitions about as smoothly as hitting a pothole at 80 MPH, and does so with very little emphasis or distinction that a jump is coming. The film is able to gain very little momentum because it feels like it’s trying to cram in too many details in each respective age, and even at 107 minutes long, it could use another studio edit to trim the fat of adolescence that has such little bearing on anything other than the formation of his schoolboy fellowship.

– Not enough originality. For a film that preaches the theme of imagination, it’s remarkable how little there is of it throughout. When I see how boggled down and formulaic the screenplay feels for such an exceptional figure, I am reminded of similarly structured films that did it better. Just two years ago, “Goodbye Christopher Robin” depicted an author whose psychological durress with war equated out to making some revolutionary material in children’s literature. Likewise, “Dead Poets Society” managed dialogue and poetic insight better than any film before its time. So where does that leave “Tolkien”? As it turns out, searching for an identity of its own, and that’s what bothers me about a movie that should cast an immense shadow on the silver screen. There’s nothing about it that is remarkably fresh or insightful to have you screaming of its originality. It’s a collection of scenes from other films that can never jumble together to stand at eye level with its imposing title character, and feels like the forgettable secondary film to the bigger Tolkien blockbuster that feels just around the corner when a movie like this doesn’t quite live up.

My Grade: 5/10 or D +

Avengers: Endgame

Directed By Joe and Anthony Russo

Starring – Robert Downey Jr, Chris Evans, Chris Hemsworth

The Plot – After the devastating events of “Avengers: Infinity War”, the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to undo Thanos’ (Josh Brolin) actions and restore order to the universe.

Rated PG-13 for sequences of sci-fi violence and action, and some adult language

POSITIVES

– The evolution of the superhero genre. What the Russo brothers have done here is astonishing. Over the course of eleven years and twenty-two different films, they have helped mature these movies into something that, despite the abnormal feats and character’s, feels very fleshed out and human in its communication to the audience who have remained faithful to them, and none of this more evident than in “Endgame”. This is very much a film that is visually and narratively adult in the way its masterful approaches transcends the genre, and above all else gives us a great technical MOVIE above everything else. It is cerebral, transfixing, profound, and most importantly consequential in helping to keep the weight in stakes higher than it’s ever felt. Considering some of us have quite literally grown up with these films, it’s therapeutic to see that evolution transpired on-screen, and it helps establish “Endgame” as the perfect emphasis on eleven years of continuity, that will most likely never be matched or topped again.

– Happy to be wrong. My biggest fear after “Infinity War” was a clean and convenient fix that would leave our team virtually un-phased from their conflict with Thanos, and thankfully this isn’t the case, as the stakes remain very much gripped with the direction of the Russo’s constant reminder of their powerful antagonist. I won’t spoil anything, but I was left very satisfied with the way Marvel allowed themselves closure on certain characters, all the while teasing the next phase with some fresh faces. It leaves a permanent mark, for better or worse, on this group of superheroes that will keep them from ever forgetting what was lost in the dreaded Infinity War, and keep us as an audience on the edge of anxiety, as unpredictability has finally come into focus in a world that feels as dangerous and unpredictable as our own. It proves that not everything can ever be the same again, and that the fragility of livelihood is something we should cherish each and every day in our lives.

– Fine balance of dramatic and humorous elements. The very amount of laughable moments from richly ironic dialogue, as well as timely physical humor, made for a nice release after the draining that was “Infinity War”, and established early on that this is a return to form for the airy atmospheres that we’ve come to know from Avengers movies. That’s not to say that there aren’t gut-punches in the film, as the entire first act resonates ever so loudly in all of its depressing imagery and newfound disposition’s that the group find themselves on for the first time. What’s vitally important is that neither direction oversteps its boundaries towards the other, and allows enough careful articulation in each to take audiences on a roller-coaster of emotional response like only a flashy, frenzied superhero film can offer. Very few films this year have mastered one or the other, but the testament to the Russo’s brilliance is how they manage to juggle each without it ever compromising the integrity of one or the other, in turn establishing a hybrid subgenre of action, drama, and comedy that perfectly capture the atmosphere of page-turning graphic novels in all of their intrigue.

– Crisp action sequences. This certainly isn’t a film that is overwhelmed with action set pieces, in fact, the near three hour runtime allows enough pacing in anticipation that when it finally does come full circle, we are treated to enough visual fireworks that explode at just the right moment with our patience. The fight choreography is sharp as a tack, with two sides emulating a physical chess match with each move serving value in the fight for control. The editing is precise, instilling enough speed between actors without an over-abundance of them testing our stomach’s. And the variety in camera angles serves well in the battle of telegraphing for the audience, which can sometimes struggle with an area that should be the easiest aspect. Likewise, the set pieces spare no expense, and leave a barrage of debris and smoke flying at the screen that would allow me to recommend audiences spending a little more for the 3D, which has to be completely out of this world.

– Is it worth three hours? This was the biggest concern heading into the film, and for a majority of the scenes I can say that an inflated runtime is definitely needed considering the wide range of character’s and subplots that all need resolved by film’s end. What impressed me was how this film paid ample respect to each respective film franchise, and gave them the kind of closure that you never expect to see in a world run by money and greed, which constantly ask for the next unnecessary installment. As for pacing, with the exception of the first act, which takes slightly more time than I would like in setting up where this chapter is headed, I remained firmly invested for a majority of this film, and only checked my watch once, when the final battle concluded, serving as a testament to the story’s impression on me. There was never a period where I was bored with the movie, and more importantly, the scope involved in the immensity of the script practically demands that this film be treated as anything other than a conventional episodic Marvel installment, granting necessity to the rarity of this lengthy investment.

– Hidden narrative. Marvel apparently does know how to craft a trailer, as the sudden appearance of this plot took shape about thirty minutes into the movie, and remained intact for the better part of the next two hours. It sort of becomes this heist movie, with the remaining Avengers going after something, but not exactly the what or who that you’re thinking of while reading this. What this does is create some unexpected dream conflicts that would usually be impossible, but here are given life in a way that establishes fun, urgency, and most importantly: a underlying layer of tragedy hidden just beneath the surface. When this direction started, I felt that it overlooked a few more important aspects from what “Infinity War” gave us, but as time progressed I found myself feeling less alienated, and more giving in to this refreshing turn that was unlike anything I’ve experienced in the M.C.U to this point, and gave layers to events in the past Avengers timeline that we thought was dead and buried until now.

– The great Alan Silvestri. Music is usually the underlying poke or prod to an audience’s emotional interpretation. It can be manipulative if done wrong, but the work Silvestri has done in this film, as well as the other Avengers films, shouldn’t be underscored when surfing for proper emotional atonement. In “Endgame” Alan takes us through a triumphant nightmare, full of longing and despair, and combining them with the bombastic orchestral accompaniment that echoes in consistency with that of the single biggest war sequence that you have ever seen in film. In a sense, Alan feels like the often overlooked Avenger, but this critic deems him a necessity for the way his absorbing tones feel like an audibly reflective mirror on sometimes cryptic character’s, and if you feel yourself with any kind of goosebumps throughout the film, you will more than likely thank the talented cast, but you should DEFINITELY thank a composer with an immense responsibility of scoring the single biggest movie in pop culture history.

– Speaking of performances, most of the cast hits again in channeling enough heart and endless charisma for their respective character’s, which makes their fantasy interactions with one another all the more of a blessing. There’s still problems, most notably in the work of Brie Larson as Carol Danvers, which continues to feel like the furthest thing from human that Marvel has ever channeled. But the positives are aplenty, as Downey, Evans, and surprisingly Jeremy Renner steal the show. For the first two, it’s the expected command of leadership and bravado that etch out the perfect two protagonist’s for this gifted army, and preserve the level of commitment that each of them have given in their seventh and sixth films respectively. For Downey’s Stark, it’s that fearful and traumatic nuance that gives the film layers that was only hinted at in “Iron Man 3”, and given legs to grow here with timely adversity. However, Renner stole the show for me, as this rogue assassin who is hellbent on avenging what he lost in the finger-snap heard around the world. Clint Barton has always been my favorite Avenger, and “Endgame” feels like the lost opportunity that we finally get to see what he can do front-and-center, and he never disappoints. Barton’s rage and unshaken focus are depicted in ways that we’ve never before seen, and it sheds the shield and allows him to don a side of dangerousness that we’ve never seen from Nick Fury’s secret weapon, leaving me all the more desperate for a Hawkeye movie that should’ve already happened.

– Peak special effects. This is as good as money can buy in 2019, as the combination of aging, de-aging, green-screen digitalization, and capture motion technology, transcend what we see and believe as real, and leaves us astonished at how seamlessly it all fits into the frame of live action realism. Marvel has once again taken actors who are aged in current day, and instilled youth into them to make us feel like they were recruited at the prime of their acting careers to shoot for a film that wouldn’t see the light of day for another thirty-five years. Likewise, the capture motion of Mark Ruffalo giving The Hulk a more distinguished feature for the actor who is living and breathing inside, is a reflection of just how far special effects have come, especially since Edward Norton’s delve inside looked anything but believable in the 2008 Hulk film. Ruffalo can move and interact without his depiction feeling distorted or enhanced, and the familiarity of Mark’s more obvious features is reflected in a way that makes his transformation feel like a legitimate actor under make-up and prosthetics kind of performance, which in turn helps better register when something hurts him. It envelopes a complex inspiration of artifical generation that puppeteers time in a way that we as humans simply shouldn’t be able to, and stands as the measuring stick for technical achievements, which will no doubt win the Oscar that it should’ve had with “Infinity War”.

NEGATIVES

– Problems with a gimmick. I wish I could elaborate more, but it would be a spoiler. Instead I will say that some of the laws and rules established within Ant-Man in particularly doesn’t make sense, and when we are given an explanation for it, the film just kind of winks and nods towards past films in pop culture that also had a similar problem with this aspect, without giving us an answer that ties it all together. That’s all I’m going to say. Literally anything would ruin this movie for you guys, and I’m not about that.

My Grade: 9/10 or A