The Beginning of the End in AVENGERS: INFINITY WAR

Avengers: Infinity War, the culmination of a master plan of Marvel comic film adaptations begun ten years ago, is a remarkable achievement; no movie has ever been so ambitious with epic, parallel storylines and major characters since The Longest Day and It’s a Mad Mad Mad Mad World, but neither film had the benefit of complex story threads from multiple films.  Under the guidance of Marvel’s ‘keeper of the flame’, producer Kevin Feige, directors Joe and Anthony Russo (who proved Captain America: Civil War was no fluke) and scribes Christopher Markus and Stephen McFeely have fashioned a very entertaining, crowd pleaser with game changing implications for the future.

The evil Thanos (Josh Brolin) is on a quest to gather six Infinity Stones to annihilate life in the universe.  As the Avengers and other heroes assemble across the globe and throughout the galaxy, Thanos becomes more powerful with each stone and becomes virtually invincible. 

This film is one huge experiment cross matching heroes, and part of the fun is watching them interact with each other for the first time and their action scenes that achieve comic book nirvana. The film deftly balances humor (with some really funny dialogue) with heroic and emotional moments of sacrifice, while retaining the persona of each familiar character; each has a moment to shine (at a brisk 2 hours 40 minutes)!  An all-star roster of Marvel heroes features The Avengers’ Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), Captain America (Chris Evans), The Black Panther (Chadwick Boseman), The Guardians of the Galaxy, and many more.  This is essentially Thanos’ story; he is ruthless, but by adding layers to his background, he becomes one of the most compelling villains in Marvel films. 

The stakes are incredibly high as the film takes on Shakespearean tragedy (The Empire Strikes Back comes to mind) and changes trajectory to set up the next Avengers film for a potentially grand finale and a more crowded field!  (Yes, Stan Lee has his cameo, and the end credits scene is significant.) While there might be a couple films in the Marvel canon that may be as good, this one is a pleasure to watch again and again. Don’t spoil any surprises for anyone!

**** of **** stars

Pre-Opening day Avengers: Infinity War April 26, 2018

Ok, I saw Avengers: Infinity War, and yes it was very entertaining, serious, action packed and gives fair time for every character. It is a crowd pleaser with some surprises and has The Empire Strikes Back kind of vibe. You are definitely going to want to see the followup which cannot come soon enough! A full review is coming but I wanted to give an initial, spoiler free first impression. There are a couple films that may be better in Marvel but the fact this comes off well is remarkable. Definitely worth watching. 2 hr 40 min goes by fast. End credit scene is important.

The Simplicity of A QUIET PLACE

With a simple premise, A Quiet Place is a horror film that plays on fear of the unknown in a novel way. Directed by actor and co-screenwriter John Krasinski, the film is a tightly wound tale of a family’s fight for survival in an apocalyptic setting.  It delivers the goods.

A global catastrophe decimates humanity, and no one dares to make a sound because that is how mysterious creatures find and kill you. What happened is a mystery with scant clues amid empty streets, newspaper clippings and notes on a white board. The Abbotts know the dangers first hand and rely on a survival lifestyle including the use of sign language as their new normal while living at a remote cabin.  The parents (Krasinski and real life spouse Emily Blunt) are resourceful and care for their hearing impaired daughter and younger son.  When an accident occurs, it’s the start of a threat that builds to a breathtaking last stand.

This is pure cinema with basic situations including excruciating set pieces (like a pregnant mom) where the slightest sound can mean death.  The novelty of the absence of sound works to the film’s advantage and becomes another character, and the audience becomes so conditioned, that the introduction of sounds can become downright jarring. The unseen and unheard are devices that double the potential terror.

The film never forgets to show the Abbotts as a loving family even as it places them in precarious, heart stopping situations.  It becomes a funhouse of horror where the filmmakers wisely keep the creature’s appearance hidden early on. 

A lean 90 minutes, it’s just a well-executed, straightforward narrative that delivers its fair share of jolts.  Krasinski shows he is the real deal  as a director when given a strong script even one bereft of dialogue; expect great things from him in the future.  For this film, ‘silence is golden’.

**** of **** stars

The Tragedy of CHAPPAQUIDDICK

Truth mixes with conjecture in Chappaquiddick, a recreation of the events leading up to and the aftermath of the accident that forever changed the political fortunes of ‘Ted’ Kennedy and claimed the life of a Kennedy staffer.

On July 18, 1969, as the country’s attention was on the first moon landing, Senator Edward Kennedy (Jason Clarke), the last surviving Kennedy brother, has aspirations to run for President.  That evening, at a party for volunteer staffers, Kennedy and Mary Jo Kopechne (Kate Mara) take a late drive and their car falls off a bridge into water. Kennedy saves himself, but Kopechne is trapped in the car and drowns. He makes his way back to the party, and several hours pass by before the accident is reported and the police investigate.  As Kennedy’s team strategizes to counter misstep after misstep, it begins to tear his family apart.

It is remarkable how quickly the events unfolded in a matter of days, and while they are faithfully recreated, one wonders how much of the movie is accurate.  The film is at its best when it shows how it comes down to a choice between doing the right thing and saving a political career. 

Clarke is convincing as the beleaguered senator with the weight of family legacy on his shoulders, but the material does not provide enough substance. The real star here is Ed Helms in strong support as Kennedy confidant and adoptive brother; the talented comedian has a bright future in dramatic roles.

More questions are raised than answered (like why did Kennedy wait hours to report the accident?), and the screenplay never delves deeply into events nor do we learn much about Kopechne.  Instead we get some interesting facts and possibilities, but nothing more than any TV special would reveal. 

*** of **** stars

The Pleasures of READY PLAYER ONE

Hi tech effects galore ramp up the fun in Ready Player One, a best seller adaptation by Steven Spielberg and an entertaining adventure in virtual reality featuring more Easter egg references than any movie in history.

Set in Ohio, 2045, The Stacks is a congested city of trailer homes literally piled upon one another where the only recreation is escape in a complex game of virtual reality set in The Oasis by recently deceased creator, Halliday (Mark Rylance), who leaves as his legacy, a supreme scavenger hunt challenge to locate three keys to win the game and inherit untold wealth and control of The Oasis.  Wade (Tye Sheridan), a teen whose avatar is a top competitor in the games, meets other gamers including a mysterious female competitor (Olivia Cooke), and together they try to decipher clues and archival footage of Halliday to solve the game and beat an evil corporation led by Sorrento (Ben Mendelson). 

Part of the fun is picking out the many pop culture references that are integrated into the plot as Easter egg visuals and sounds, with everything from King Kong to TV’s Batmobile, the Iron Giant to a big homage to Stanley Kubrick, and many references that lean heavily on 1980s icons. There are thematic influences of The Matrix, Wargames, Inception, and even a bit of Willy Wonka and the Chocolate Factory.

This film is like cotton candy, sweet and satisfying fun with not too much substance.  But that’s ok.  It never loses sight of its storyline and throws in so much eye and ear candy along the way, this film will be watched repeatedly for its obvious and hidden treasures. Probably worth owning. 

*** of **** stars (Add ½* for pop culture fans!)

A WRINKLE IN TIME and a Missed Opportunity

Ava DuVernay (Selma) directs from an adaptation (Jennifer Lee and Jeff Stockwell) of Madeleine L’Engle’s beloved children’s classic, A Wrinkle in Time.  It is entertaining at times with likable performances, but the result is a mixed bag. 

The Murrys are a bright, loving family, but when scientist father Mr. Murry (Chris Pine) disappears, it creates an unsolved mystery and a hole in the lives of the children, Meg (Storm Reid quite good) and younger, brilliant Charles Wallace (Deric McCabe).  Three magical witches, Mrs. Who (Mindy Kaling), Mrs. Whatsit (Reese Witherspoon), and Mrs. Which (Oprah Winfrey) appear and help the kids (and friend Calvin) find their missing dad by guiding them via The Tesseract to another world and dimension ruled by a menacing evil called ‘It’.  But who can they trust, and how can they rescue Mr. Murry? Meanwhile, the evil of ‘It’ spreads across the universe.

While the film does a decent job of creating a colorful world with bizarre characters, the depiction of ‘It’ is disappointing (differing from the novel).   I wish the filmmakers had trusted in their characters more (as in portraying Meg as an outcast and heroine on a journey of self-discovery) and developed its theme of the power of love. At times, the film feels disjointed and awkward; some scenes are poorly shot and edited.

The ingredients are here for a good film with its talented cast, but the problem with this film is that it does not execute consistently.  It is possible audiences who have not read the novel may like the film version.  It’s one-half of a good film, but in the end, the book is better. 

**1/2 of **** stars (subtract ½* for fans of the book)

The Beauty and Horror of ANNIHILIATION

Told in a series of flashbacks, Annihilation is a science fiction tale of curiosity and terror with a strong female cast guided by talented director/writer Alex Garland (Ex Machina) who takes some new twists with the source novel as he continues to build a strong portfolio of wondrous, disturbing science fiction. 

A meteor crashes in the everglades near a lighthouse, and a mysterious shiny bubble called the Shimmer surrounds a section of the glades with potentially dangerous effects.  Is it an alien being or a weapon or invasion force? Why is it here, and what are the ramifications as it slowly grows?  Lena (Natalie Portman), a bioscientist whose husband (Oscar Isaac) ventured into the shimmer and has been missing for a year.  Desperate to understand what has happened to him, she leads four scientists and soldiers to find answers.  Each team member has her reason for going on what could be a suicide mission.  Venturing deeper, they encounter strange phenomena and the Shimmer’s effects on biological life and ultimately themselves.  As evidence of previous missions confirms their worst fears, the film takes a decidedly ominous tone as the group fights for survival even as the raw beauty around them masks a horrifying secret.   

The film takes its time unfolding its deliberately paced narrative as it shares its DNA with Alien, The Thing (1982), and the influence of David Cronenberg.  For purists, it plays like a big budget version of a classic Outer Limits TV episode.

By film’s end, it deals with the mysteries of love and the meaning of humanity and leaves room for more stories.  It’s a fascinating, imaginative piece of science fiction with an element of viciousness.

***1/2 of **** stars (add ½* for scifi fans)

THE FLORIDA PROJECT and Its Microcosm of Survival

The Florida Project, a low budget independent film with heart by director/cowriter Sean Baker, features genuine performances by a young cast anchored by the wonderful Willem Dafoe.

Kids living in a rundown motel on the outskirts of Disney World, find ways to cope and survive as they form a bond in a community amid hopelessness.  The nearby, colorful retail stores form an ironic backdrop, a counterpoint to the poverty. Bobby (Dafoe), a harried manager with a conscience, keeps the motel running; he is the voice of reason and tries to bring order to the chaos.  He chastises the kids for mischief and yet protects them when a potential pedophile approaches them.  Little Moonee (Brooklynn Prince) and her mom, Halley (Bria Vinaite) make the best of their situation. Halley loves her daughter and tries to shield her from the harsh realities of life even as she desperately cons, flimflams, and tricks her way to make a buck.  When social workers confront her mom and threaten to uproot her life, Moonee searches for a source of salvation.   

Much of it seen from the kids’ point of view, it’s a revealing look at this microcosm of a world with its myriad of unusual characters and situations.  Prince and Vinaite are very convincing as daughter and mom, but it is Dafoe who shines in support of the whole cast. It’s his best role in years.

The final, emotional scene is an inspired moment of fear, desperation, and one of hope. It elevates a very good film to greatness much as Places in the Heart and Planes Trains and Automobiles have final, transforming scenes.  Why this film was not nominated for Best Picture Oscar is a mystery.  Unforgettable.

**** of **** stars

Director Forman Tackled Adaptations to Acclaim

Director Milos Forman passed away at 86, and although he made a relatively limited number of films, he will always be remembered for his films of One Flew Over the Cuckoos Nest and Amadeus which won Best Picture and Director at the Oscars. In fact he took on the challenge of adapting other challenging source materials including Ragtime and Hair.

I remember there was a call for extras on the DC Mall for  the climactic shot in Hair. Hosted by comedian Robert Klein and music highlighted by Bonnie Raitt, my friends and I saw them film a musical scene that was actually used the film, and then we participated in the final crowd scene-so maybe, just maybe I am in there somewhere. The film was shown at our UMCP theater to great response; although not a big hit in general, college students loved it as did I. Great memories.

2001:A Space Odyssey Celebrates 50th Anniversery

It was April 2, 1968, when Stanley Kubrick's scifi masterpiece, 2001: A Space Odyssey premiered  at the Uptown Theater in Washington DC! Since my dad was an astrophysicist, he got an invite with his family! I was a mere nine years old, and this was not like any movie I had ever seen. I was so confused and even bored by its meticulous visuals and unorthodox lack of dialogue and structure. By the time the film stopped for intermission, (yes big films often had intermissions back then), I was dumbfounded. So we went back for the second half, and I was even more confused through the wild ending. It was not until I got the novelization of the screenplay (which ironically was based on an original book by Arthur C. Clark called Childhood's End), that I finally understood the film with its well researched science, imaginative themes, and Oscar winning special effects that helped make films like Star Wars and Alien possible and influenced a generation of filmmakers like Steven Spielberg and George Lucas. When I got to college and helped run the film program, 2001 was a regularly programmed staple on the midnight circuit.

The fact that fifty years later, the film still impresses with its visuals and does not seem dated, (a testament to Kubrick's vision), says a lot and is championed by such directors as Christopher Nolan. At a recent MidAtlantic Nostalgia Convention, I had the pleasure of meeting the two stars of 2001, Keir Dullea and Gary Lockwood.  As we celebrate a movie milestone, it really is amazing how far films have come, and what a landmark 2001 has become and has played important moments in my life. 

2001 article

90th Oscars Go as Expected

The 90th Oscars were generally behaved with repeat host Jimmy Kimmel doing a solid job again including a surprise visit to a nearby theater previewing A Wrinkle in Time and shocking its audience with movie stars and snacks! He also had an offer of  jet skis for the shortest speech!

The show had its glamorous stars from yesteryear but was decidedly skewed younger and more diverse, hence the message was clear-Hollywood is changing. There were no outright soapbox moments save Best Actress Frances McDormand calling upon all female nominees to stand and make themselves noticed.

My picks were pretty right on except for a couple categories and Best Pic, and I was suspecting the preferential vote for Best Picture going to Get Out  (it got Best Original Screenplay).  Instead, The Shape of Water, my personal favorite, prevailed. And last year's presenters Faye Dunaway and Warren Beatty got a do-over, nice touch. Now, on to more films to prep for the 91st Oscars!

2018 OSCAR PREDICTIONS FOR 2017 FILMS

OK, I have seen all best picture nominees and a few other titles but not all. There are very likely surprises in a couple major categories. Enjoy

PICTURE-Very tough three way race Three Billboards… vs The Shape of Water vs Get Out. My boldest pick is Get Out but wish Shape of Water wins. (In this category, preferential voting is used and is not traditional voting.)

ACTOR-Gary Oldman in Darkest Hour is a sure thing

ACTRESS-Frances McDormand in Three Billboards Outside Ebbing Missouri is a safe bet

SUPPORTING ACTOR-Sam Rockwell stole his scenes in Three Billboards…

SUPPORTING ACTRESS-Allison Janney had the role of a lifetime in I Tonya, Laurie Metcalf in Lady Bird deserves better

DIRECTOR-Guillermo Del Toro for The Shape of Water

ORIGINAL SCREENPLAY-one of the tightest races- Jordan Peele for Get Out in squeaker over Three Billboards…

ADAPTED SCREENPLAY-Call Me By Your Name will win its only Oscar for legendary James Ivory

ANIMATED FEATURE-Coco

FILM EDITING-Dunkirk

CINEMATOGRAPHY-Blade Runner 2049 Richard Deakins wins one finally!

PRODUCTION DESIGN-The Shape of Water

ORIGINAL SCORE-The Shape of Water

ORIGINAL SONG- ‘Remember Me’ from Coco barely over ‘This Is Me’ from The Greatest Showman

SOUND EDITING-Dunkirk

SOUND MIXING- Dunkirk

COSTUME DESIGN-Phantom Thread

MAKEUP& HAIRSTYLING- Darkest Hour

VISUAL EFFECTS-War for the Planet of the Apes but watch out for Blade Runner 2049

FOREIGN LANGUAGE FILM-Fantastic Woman

DOCUMENTARY FEATURE-Faces Places

Various SHORTS-I have no idea!

Figure no film will win more than 4 Oscars tops, some very good films may be shutout like Lady Bird. But there’s nothing like a surprise award!

The Exuberance of THE GREATEST SHOWMAN

Lots of enthusiasm and energy highlight this fanciful imagining of legendary showman P.T. Barnum in this excellent musical featuring Hugh Jackman in a well-rounded performance.

P. T. Barnum (Jackman) is a dreamer who envisions big things and a better life with childhood sweetheart, Charity (Michelle Williams).  Unemployed, he improvises a new kind of entertainment drawing from unusual, shunned individuals with physical oddities, which grows into a circus of performing artists who are shown to have feelings and form a bond amongst themselves. Barnum then partners with playwright Phillip Carlyle (Zac Efron) who is smitten by a black, female trapeze artist, Anne (Zendaya).  As news and popularity of the unique performers spreads, trouble comes from locals who dislike the ‘freaks’ as well as art critics who resent the fake show. When tragedy strikes the circus, Barnum and Carlyle are at a crossroads.

Jackman is marvelous as the triple threat performer singing, dancing, and acting with gusto and bravado. His Barnum is more idealized showman than a con artist.  He is well supported by Williams (Mudbound, All the Money in the World in one year!), while Efron and Zendaya shine as would be lovers.

The film hums along at an excellent pace with beautiful, fluid camerawork, rapid edits (and seamless transitions), and sharp choreography.  There are a number of standout musical numbers featuring tuneful songs amid colorful sets and costumes.  The songs are melded seamlessly in a natural expansion of plot and mood, no easy feat.

Directed with zeal by Michael Gracey and written by Jenny Bicks and Bill Condon (Dreamgirls, Beauty and the Beast), the film deals with various themes including class disparity, racism, and discrimination. It’s an old fashioned musical that incorporates contemporary themes for an MTV audience.  Well executed. 

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

I, TONYA as We Know It

Told from multiple points of view and based on interviews (screenplay by Steven Rogers) of its principals, I Tonya is a fascinating study of one of the most infamous athletes of the twentieth century, skater Tonya Harding.

Raised in a broken home, Harding (Margot Robbie) is thrust into the world of figure skating by her abusive, foul mouthed mom (Allison Janney nails it). When she begins dating older Jeff Gillooly (Sebastian Stan), she trades one abusive relationship for another. In the 1980s, her ability to achieve the Holy Grail of skating, the triple axel, thrusts her to the world championship, and she becomes, for one moment, arguably the best skater in the world.  As she prepares for The Olympics, Jeff’s plans to scare her primary rival, Nancy Kerrigan, go off track with Kerrigan attacked by an accomplice.  Harding is dragged into the investigation and media circus even as a chance at greatness is within her reach.

Robbie, marvelous as Harding, is portrayed as the underdog, competing against more polished, refined skaters.  How much did she know about the plot to injure Kerrigan?  The film’s conceit is that it lets the audience draw its own conclusions although it seems to sympathize with its title character especially when it shows her caught up in events beyond her control.

Visual effects enhance the credible skating sequences which are imaginatively shot and boldly edited. The film is self- assured (directed by Craig Gillespie) and occasionally breaks the ‘fourth wall’.

This is a kind of American tragedy with Harding’s pursuit of the American dream.  Always engaging with its perspectives, this film, while quite entertaining, should be taken with a grain of salt.  Robbie, though, as co-producer and star, is proving herself to be a versatile actress (Suicide Squad) and a force to watch in the future.

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

Fashion Sense and Sensibility in PHANTOM THREAD

A fascinating character study set in the fashion world, Phantom Thread focuses on a volatile relationship that pivots around a self-centered, temperamental designer and his insulated world.  It features a strong performance by Daniel Day-Lewis.

Fashion designer, Reynolds Woodcock (Day-Lewis), is a demanding man whose lifestyle is a ritual that serves his creativity as he churns out unique dresses for royalty and VIPs.  When he stops by an inn to clear his head, his attention is drawn to a waitress, Alma (Vicky Krieps).  For a time, Alma becomes a part of his world, serving as one of his seamstresses and assistants, but in time, her needs emerge and conflict with Reynolds’ stifling world.  Desperate to salvage their relationship, she devises a highly unorthodox plan to bring them together. 

Reynolds is somewhat of an enigma in that we don’t very much about him other than his talent. He has a headstrong, protective sister, Cyril (Lesley Manville), and is haunted by and obsessed with his deceased mother.  Everything in his world follows a methodology, and he is almost always preoccupied with his work, expressing himself through his dresses with meticulous precision.  He has no patience when Alma disturbs his routine and tradition; this is the essence of the film’s main conflict.  

Director Paul Thomas Anderson’s (There Will Be Blood, Magnolia) finely tuned screenplay catches the subtleties and nuances of these characters. The cinematography beautifully highlights the sumptuous costumes and set design.

It’s essentially a psychological examination into the evolution of an unhealthy relationship and obsessive behavior that starts with hope and optimism then devolves into reality and dysfunction, all done under Anderson’s detailed eye.

  *** of ****stars (add ½* for Day-Lewis fans)