THE FANTASTIC FOUR: FIRST STEPS

 

The Marvel Cinematic Universe finally embarks on a journey with its first family in The Fantastic Four: First Steps, an exciting adventure that proves a good beginning for Marvel’s Phase Six. 

It’s the 1960s, and Reed Richards, Mr. Fantastic (Pablo Pascal), his wife Sue Storm, The Invisible Girl (Vanessa Kirby), her brother Johnny Storm, The Human Torch (Joseph Quinn), and Ben Grimm, the Thing (Ebon Moss-Bachrach), have been guardians of Earth 828 for years. Headquartered in The Baxter Building, they are international celebrities. When Sue becomes pregnant, the team wonders if baby Franklin will have powers, too. Meanwhile, a visitor from space, the Silver Surfer, announces an immensely powerful being, Galactus, a destroyer of planets, is coming. As the team tries to find a way to prevent certain destruction of their planet, Franklin may prove to be key to everyone’s survival and a possible glimpse into the future.

Without retreading super hero origins (like this year’s Superman), director Matt Shakman (WandaVision) focuses on ‘family’ dynamics front and center, and this allows the film to work as well as it does especially in the exciting, emotional climax. There are also brief scenes of a ‘who’s who of villains’ from the comic book canon like The Mole Man that fans will appreciate (and connective DNA with The Incredibles).  Visually dazzling especially in IMAX, the art direction and set designs of the retro, period recreations are outstanding as is Michael Giacchino’s memorable score.

Though not perfect, it’s far better than previous versions of The Fantastic Four (after years of being owned by another studio).  This film and The Thunderbolts are putting Marvel on the right trajectory for its upcoming projects especially Avengers: Doomsday.  The future remains bright for Marvel. “Excelsior!”  (There are two end credit scenes.)

**** of ***** stars (for FF fans)

A Spirited SUPERMAN

 

Director/writer James Gunn (Guardians of the Galaxy) is charged with reviving the DC Comics Universe, and the first building block is Superman, a reimagined and energized Man of Steel.

In Metropolis, Superman (David Corenswet) is a hero who meets his match with a mysterious, powerful villain with ties to Lex Luthor (Nicholas Hoult) who has plotted to not only defeat Superman but turn the world against him. With support (via his alter ego Clark Kent) at The Daily Planet including Lois Lane (Rachel Brosnahan) and some meta friends, he finds himself against overwhelming forces and begins to question his purpose on Earth.  Just when events appear hopeless, help comes from unlikely sources. Will it be enough to turn the tide against Luthor’s machinations?

Without delving into an origin story, the film jumps into its story with a fresh spontaneity that humanizes a fallible Superman (as he takes a beating at times).  Displaying equal parts of humor and action, it verges on being everything it aspires to be, and though it isn’t perfect, give Gunn credit for opening up the narrative to make his super hero unique and vulnerable.  Corenswet makes an ideal Superman, and his chemistry with Brosnahan is palpable.  Furthermore, the introduction of super dog, Krypto, is a winner!

There are the familiar tropes (The Fortress of Solitude), legacy characters (Jimmy Olsen), and additions like Mr. Terrific and the Justice Gang in this world building.  With echoes of John Williams’ iconic theme, there are a couple of fun cameos and surprises, and while it compares favorably with the 1978 version, it won’t displace Christopher Reeve’s definitive Superman.  Still, if this is an example of Gunn’s vision for DC Comics, then the franchise is in good hands. (There are two minor post credit scenes.)

**** of  ***** stars (especially for Krypto fans)

High Octane Energy in F1

 

Director Joseph Kosinski (Top Gun: Maverick) updates Formula 1 racing for a modern audience in F1, a high powered action drama that propels Brad Pitt to the top of the summer films.

Sonny Hayes (Pitt), a racing veteran, is tabbed by an old friend (Javier Bardem) to mentor his racing team’s hotshot rookie, Joshua (Damson Idris).  The team’s status is on the brink unless they perform markedly better in an upcoming series of races which crisscross the globe. Sonny’s experience and unconventional tactics prove challenging especially to Joshua and the team leader, Kate (Kerry Condon).  While the team scrambles to improve its standings, unforeseen events and the risk of deadly crashes threaten to derail everything as Sonny and Joshua push their cars and themselves to the absolute limit.  It all leads to a rousing finish where every precious, split second counts.

Essentially an old fashioned racing drama, Kosinski injects this film with beautiful cinematography, rapid editing, and a pulsating soundtrack; it’s a race car film on steroids. Even for those unfamiliar with this fascinating world of Grand Prix will be caught up in the narrative energy and pick up the technical aspects including the grueling mental and physical preparations.  With a prevailing theme about personal and professional redemption, the plot is the standard older pro clashing with newer, young talent.

The solid cast is led by Pitt in a great role as the underdog who lives for the competition and who espouses, “It’s not about the money.”  Condon lends good support as a savvy, technical expert whose interactions with Pitt may or may not hint at romance.  Best experienced in IMAX, this exciting film, though a tad long at 156 minutes, delivers the goods in thrilling fashion. 

**** of  ***** stars (for Pitt and racing fans)

Mission Accomplished

 

Composer/musician Lalo Schifrin has passed at 93. Mentored by jazz great Dizzy Gillespie, he combined his jazz and classical background into a unique sound that led to soundtracks for many films including Cool Hand Luke, Bullitt, Dirty Harry, Enter the Dragon, and Rush Hour. He was nominated for four Emmy Awards and six Oscars being awarded an honorary Oscar in 2018. He garnered 23 Grammy nominations and won five.  Among his numerous TV soundtracks were contributing to The Man from U.N.C.L.E. and Starsky and Hutch and composing two glorious themes, Mannix and Mission Impossible, the latter of which has become a classic and used in all Mission Impossible films to date.

 

M3GAN 2.0 Grows Up

M3GAN 2.0 Grows Up

The terrifying, robot playmate (M3GAN) returns (as does director Gerard Johnstone) in the sequel, M3GAN 2.0, and the result is an entertaining thriller depicting an expanded world of artificial intelligence run amuck.

An expert in robotics, Gemma (Allison Williams), and her niece, Cady, have moved on from the murderous robot companion, M3GAN, who was apparently destroyed. When the U.S military attempts to demonstrate a new robot operative, AMELIA, on a deadly mission, things go awry in the worst possible way and threatens the country. When Gemma and others are at a loss in stopping the killer robot, M3GAN becomes a possible solution, just maybe. Can a resurrected M3GAN be trusted or even have a chance against the all-powerful AMELIA?   

It’s an interesting take on the potential dangers of AI in the future and who really is in control.  At times recalling the films, Terminator 3: Rise of the Machines, Ex Machina, and Westworld, the plot is at times confusing with red herrings and twists, but the narrative moves along rapidly with escalating action scenes. 

Just when you think the film is losing steam, it gets back into gear and becomes exciting with some surprises.  Can M3GAN change or even be rehabilitated? This film has a different tone from the previous one which had plenty of scares and focused more on the relationship between Cady and M3GAN.  Here, the robot has evolved, and the storyline becomes more about what form and mission M3GAN may inhabit. Despite these changes, the film remains engaging with some unexpected subplots and even humor. (There is an amusing scene involving martial arts and Steven Seagal movies.)

Less horror (from two studios renowned for the genre), this film leans into its science fiction premise, and results are no less entertaining. 

***1/2 of ***** stars (for M3GAN fans)

28 YEARS LATER and a Brave New World

 

The original team (director Danny Boyle and writer Alex Garland) that brought forth 28 Days Later, one of the best films to update the zombie genre to creative, frightening levels, has followed it up with 28 Years Later.   They have taken the franchise to an intriguing premise with new, horrifying possibilities.

It has been 28 years since the initial outbreak of the infectious rage virus, and the English mainland has been quarantined from the rest of Europe.  A tiny island nearby contains a community of survivors who live a rudimentary existence. Jamie (Aaron Taylor-Johnson) takes his son Spike (Alfie Williams) to the mainland in a right of passage. Spike then makes a bold move to take his ill mom (Jodie Comer) to find a doctor rumored to be on the mainland.  As the pair struggle to survive, they face the constant threat of infected zombies who have evolved into terrifying forms. 

The story updates the original outbreak and its progression in a local setting.  Told from Spike’s point of view, it is through his eyes and heart that the film holds an emotional heft- the love of a son for his mother.  The film maintains a level of tension and suspense that erupts in startling violence at any moment.  At once fascinating and horrific, we also learn some new information about how the infected have evolved after many years.

The film, beautifully shot, is a contrast between the gorgeous countryside and graphic death, and although Boyle and Garland could have explored some subplots more thoroughly resulting in a stronger film, it is well acted with a story that keeps the audience involved and guessing to the end that hints more to come. (There is a sequel coming.)

**** of ***** stars (for fans of the genre)

BALLERINA Explores the World of John Wick

 

Ballerina is a successful redux of the John Wick films with a female lead that retains the thrills and action that characterizes this franchise.

A little girl is protected by her father from a gang of assassins led by a ruthless leader (Gabriel Byrne).  Left orphaned, she is approached by Winston (Ian McShane) who offers her a new life as a ballerina and groomed as an assassin for The Director (Anjelica Huston), Years later, now an adult, Eve (Ana de Armas) vows revenge on the mysterious, lethal organization that killed her father. A trained killer, she reveres the legendary John Wick (Keanu Reeves), whose path she crosses as she pursues clues and fights her way to get to the truth. It leads to an explosive climax that will test all her skills.

The voluminous, action scenes are well done, and there are some interesting variations as Eve must improvise with grenades and a wild battle of flamethrowers. (Her lethal operative contrasts favorably with female counterparts in the films Atomic Blonde, La Femme Nikita, and Black Widow.) It is also interesting to see more of the behind-the-scenes mythology of this expanding John Wick universe. 

The story is not especially original with its one note revenge plot, but de Armas sells it with her acting in a physically demanding role with Reeves putting in more than a cameo appearance. (A little bit of Wick goes a long way.) With the inclusion of McShane, Huston, and the late Lance Reddick, there is a strong continuity in the Wick timeline.  It is a worthy addition to the John Wick franchise and should satisfy fans of this genre. More de Armas in the future is not such a bad thing.

**** of ***** stars (for Wick fans)

Epic Swan Song in MISSION IMPOSSIBLE: THE FINAL RECKONING

Tom Cruise continually pushes the limits of incredible stunt sequences in Mission Impossible: The Final Reckoning which brings key elements from past films full circle and caps off thirty years of ‘missions’ in a grand conclusion with emotional thrills.

The world is at the mercy of the artificial intelligence called The Entity that is rapidly taking control of the nations’ nuclear arsenal and threatening global annihilation.  As the President (Angela  Bassett) and her military staff contemplate nuclear Armageddon, the world’s last chance is Ethan Hunt (Cruise).  Assembling his talented team, his first task is to find the source of the Entity and then kill it, but the Entity’s operative, Gabriel (Esai Morales), proves a lethal adversary. As Hunt takes an incredible leap of faith amid seemingly hopeless situations, the countdown brings the world closer to its end.

Director/cowriter Christopher McQaurrie has made a compelling story filled with enough action for five films.  This is an epic in every sense from its tense, underwater set piece to the heart pounding aerial chase.  By relying on more practical effects, the film seems more visually impressive especially on an IMAX screen   Sequences often contain intense, parallel action that heighten the stakes to almost unbearable levels.  There is sacrifice and loss, and the screenplay, sprinkled with humor and surprises, is clever by constantly upending audience expectations with the unexpected instead of well-worn clichés. All the supporting roles are distinct and well-acted.

Despite its 169 minute runtime, the story is constantly engaging, and hardcore fans should be delighted and rewarded especially with significant call backs to plot points and characters from past films in the series.  This makes for what could be a terrific send off for Cruise’s franchise (or very possibly a new beginning).

****1/2 of ***** stars

THUNDERBOLTS* and Their Inner Demons

 

Despite recent misfires, some of Marvel’s successful films have reworked traditional film genres like political thrillers (Captain America: The Winter Soldier) and horror (Dr.Strange and the Multiverse of Madness).  While past trauma has been previously featured in subplots, Thunderbolts* is the first Marvel film to deal exclusively with painful pasts in a meaningful way and informs the film with heart and soul. It also features a standout performance by Florence Pugh.

CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) has attracted unwanted attention from Congress and plots to hide some incriminating secrets that involve her group of mercenaries including Yelena (Pugh), The Winter Soldier (Sebastian Stan), and The Red Guardian (David Harbour). These antiheroes are tormented by their dark pasts and begin to tentatively work together to find the truth about their employer even as a mysterious figure named Bob (Lewis Pullman) emerges who may represent an extraordinarily powerful being (shades of Brightburn) threatening all in his path. Can the newly formed Thunderbolts unite to save the day?

This well-paced film has more than a passing kinship with The Suicide Squad and Guardians of the Galaxy as it shows these misfits learning to trust one another and become something greater than themselves, and as such, transforms this story into something special. Whatever inner demons and past regrets each possesses, these pale when compared to Bob, which forms the core theme that coalesces in a heartfelt climax.

With this film, Pugh’s Yelena has emerged as a force to help lead the new generation of Marvel heroes in future phases.  Imagine a well-acted, psychological drama weaved into an action thriller resulting in a film with character, depth and substance. Marvel is growing up. (Stay for the final post credit.)

**** of ***** stars (add ½* for Pugh fans)

The Revelations of SINNERS

 

Ryan Coogler has primarily been known for his superior franchise films (Black Panther, Creed).  In Sinners, he has written and directed a humdinger of a film that on outset appears in the guise of a vampire film that is  much more.

Set in 1932 Mississippi, Smoke and Stack are twin brothers (Michael B Jordan) and World War I vets who worked for Al Capone. They return to their hometown, Clarksville, to open a juke joint and recruit local talent including their aspiring blues playing cousin, Sammie (Miles Caton).  Old relationships are renewed amid racist times and sexual tension, and an atmosphere of music that has spiritual vibes. As opening night beckons, a mysterious stranger appears and begins to wreak malevolent havoc that threatens to destroy the community. Family and friends must ban together for a final stand.

Coogler has a compelling vision and is fearless in having the story work on multiple levels.  He sets up a framework of the Deep South still teaming with Klansmen and sharecroppers with a mesmerizing blues soundtrack (and a remarkable, musical sequence that melds past, present and future).  By melding together these elements and adding a vampire subplot which is a catalyst that drives the harrowing climax, this is not a simple genre film but rather a more complex, revealing character study abetted by a strong cast including Hailee Steinfeld and Delroy Lindo. Jordon is outstanding as the twins who are seamlessly combined cinematically. 

Much as Jordan Peele elevated the horror genre to lofty heights with Get Out, so has Coogler (with a kinship to From Dusk Till Dawn) with this gem beautifully shot in IMAX.  Its graphic conclusion should not take away its heart and soul. A watershed moment for Coogler. (Stay for the revealing mid-credit scene.)

****1/2 of ***** stars (for Jordan fans)

97th Academy Awards

The 97th Academy Awards are history with a huge sweep of awards for Anora including newbie Mikey Madison over heavily favored Demi Moore as Best Actress. Director Sean Baker collected four Oscars for Picture, Director, Screenplay, and Editing, a first for anyone! Other films could only take token awards the primary one being The Brutalist which saw Adrien Brody triumph over surging Timothee Chalamet whose A Complete Unknown got shut out. Most technical awards went as expected. Flow won Best Animated over popular The Wild Robot. 

Host Conan O'Brien kept things moving and did a solid job. The opening duet with Cynthia Erivo and Ariana Grande was outstanding although the subsequent musical numbers seemed average and unnecessary.  There were nice tributes and a couple of political statements. In the end, the drama centered on the best lead categories of acting.
Am so glad Anora with its heart of gold ruled the day. And now, time to see a new movie.

2025 Oscar Predictions for 2024 Films

 

It is safe to say that most Oscar awards seem to be predestined this season with a couple of suspenseful matches.  What started out as a strong candidate, The Brutalist, seems to have fizzled in light of the heart and soul of a small film, Anora, which could be a multiple Oscar winner. In fact it is doubtful any film will win more than 3 or 4 Oscars.  I have tried to see as many of the Oscar candidates especially Best Picture. There are many great films and some, like Sing Sing could have easily been a Best Picture nominee.  So I will give my best guesses and a couple bold picks based on my gut.  There are always surprises among the winners. I hope you enjoy the show Sunday evening because it celebrates movies!

Picture- Always go with my heart, Anora

Director- Sean Baker for Anora

Actress- In my heart Mikey Madison for Anora and though one who truly deserves it is Fernanda Torres for I’m Still Here, Demi Moore for The Substance seems destined for her first Oscar.

Actor- Got to go with my gut and Timothée Chalamet who excelled as Bob Dylan in A Complete Unknown over Adrien Brody’s powerful performance in The Brutalist.

Supporting Actress- Zoe Saldaña for Emilia Pérez.

Supporting Actor- Kieran Culkin for A Real Pain, right film at the right time.

Adapted Screenplay- Conclave

Original Screenplay- Anora seems to have it over The Brutalist.

Cinematography- The Brutalist

Costume Design- Wicked

Film Editing- Conclave

Makeup and Hairstyling- The Substance

Production Design- Wicked

Score- The Brutalist

Song- “El Mal” from Emilia Pérez

Sound- Dune: Part Two

Visual Effects-Dune: Part Two

Animated Feature- The Wild Robot

Documentary Feature- No Other Land

International Film- I’m Still Here

Animated Short- Beautiful Men

Documentary Short- I Am Ready, Warden

Live Action Short- The Man Who Could Not Remain Silent

ANORA AND ITS HEART

 

Anora is a low budget film about people beneath the mainstream who happen upon a once in a lifetime chance at happiness.  It’s a drama that immediately captures your attention and never let’s go.

Annie (Mikey Madison) is a stripper at a club who meets a wealthy, young Russian.   It turns out that this man has access to vast, family money and is smitten with her.  When Annie realizes that this dream relationship may be the start of a path away from her tawdry lifestyle to true happiness, events begin to move quickly in a whirlwind courtship until some harsh realities threaten to undermine everything.

Director Sean Baker (The Florida Project) has depicted the lives of the less fortunate, and here he creates a totally believable world of sex and glitz inhabited by real people with needs and longings.  The film also asks the question, “How would we know love if it were in front of us?”  The audience experiences first hand Annie’s budding romance filled with her euphoria and despair. The film borders on the outrageous with its almost preposterous, at times humorous setup, and yet you want to champion Annie; she is someone worth rooting for.  The narrative, which slowly evolves into a wild adventure, later takes a decidedly surprising turn, and the film is so much the better for it. The relatively unknown cast is led by an Oscar caliber performance by Madison whose streetwise Annie elicits sympathy and pathos.

This deceptively simple story about damaged souls ultimately exudes compassion and hope.  With a passing similarity to Pretty Woman, it’s an independent production bereft of stars but contains a great deal of heart and is one of the best films of the year bolstered by Madison’s star making performance. 

***** of ***** stars