AVENGERS: ENDGAME is Marvel’s Emotional Pinnacle

Led by producer Kevin Feige (who needs to be considered for the Thalberg Award), directors Joe and Anthony Russo, and writers Christopher Markus and Stephen McFeely, Avengers: Endgame, is an epic, emotional adventure and direct followup to Avengers: Infinity War that ties major storylines from 21 previous films in the Marvel Cinematic Universe. 

 

Following the cataclysmic events triggered by Thanos (Josh Brolin) and six Infinity Stones which decimate humanity, the surviving Avengers including Iron Man (Robert Downey Jr.) and Captain America (Chris Evans) are coping with grief and post-trauma as they try to find a way to reverse the tragic events and bring back loved ones against unbelievable odds and unplanned obstacles.

The structure of the film places our heroes in situations that reshuffle past narratives across the universe and the passage of time. To say anymore would risk spoiling the experience of an intricately plotted and realized story. (Think Lord of the Rings and Back to the Future films.)  Just when you think you know where the plot is going and who will survive, there are surprises and new threats. The film focuses on the importance of family and sacrifice, a recurring theme, and amid bleak circumstances, there are moments of humor and compassion. 

Despite a deliberately slower paced beginning and a couple of unresolved subplots and characters, it’s an ambitious, three hour extravaganza with an incredible, grand finale that brings closure (and tears of joy and sadness) for several story arcs involving dozens of beloved characters that will reward and resonate with fans who have seen some or all of the earlier Marvel films.  There are also amazing cameos (Stan Lee appears) and callbacks galore and no post credit scenes for this ending chapter in Marvel. 

**** of **** stars for Marvel fans

Breezy Charm in SHAZAM!

A cross between Big and Superman, Shazam! is a fun loving superhero tale that is a refreshing take (from former horror director David F. Sandberg) on a comic book hero from DC Comics.

Set in 1974 and fast forwarding to the present, a powerful wizard seeks a human worthy of assuming superpowers against the Seven Deadly Sins who are desperate to wreak havoc. After growing up shuttled among foster homes, 14 year old Billy Batson has spent his life searching for his real mom.  His journey leads him to a foster home, where he learns the meaning of a real family. When he is transformed into a costumed, adult alter ego, Shazam (Zachary Levi well cast), he must learn to control his super powers and do battle with a deadly foe. It’s the ultimate battle between good versus evil. 

The film never takes itself too seriously compared to earlier, dark DC Comic films and makes for a great origin story with a bit of Harry Potter vibe. It has heart with its themes of belonging and the importance of having a loving, supportive family. It’s about Billy discovering his own truths and learning about the responsibilities of his newfound superpowers and what makes a hero. The film succeeds in focusing on the effects of abuse and trauma on children as well as depicting bullying and peer pressure in school. 

Though the climactic battle goes on a bit too long, the film never ceases to entertain as it balances the action with very funny moments especially when Shazam tests the limits of his extraordinary abilities. There are a couple of neat, surprise twists toward the end and DC Universe Easter eggs sprinkled throughout as well as two post-credit scenes.    

*** ½ of **** stars

The Reflexive World of US

Us is Jordan Peele’s followup to his Oscar winning social horror gem, Get Out, that uses a broader canvas and a more ambitious concept to feature terrific ensemble performances particularly Lupita Nyong’o.

Flashing back and forth from 1986, a young Adelaide (Nyong’o) wanders into a mysterious, carnival funhouse and witnesses a life changing vision that will haunt her.  Now married, and a mother of a teenage daughter and younger son, she and her husband (Winston Duke) take a family trip to the beach that triggers traumatic memories for her. When Adelaide’s family comes face to face with ominous doppelgangers one night, an evening of unimaginable terror follows.  

Nyong’o is excellent in a demanding, dual role, quite a contrast of personas. Told primarily from her point of view, it’s a deeply personal, frightening journey to the unknown even as her protective, maternal instincts kick in.

The film establishes the deadly threat early and compels the family to find an inner strength and resourcefulness to survive.  There are surprises and twists that will keep you wondering where the convoluted plot will go. It’s a film filled with homages to classics like The Birds, Invasion of the Body Snatchers, and The Sixth Sense, and even moments of dark humor.  Music is employed effectively as Peele plants clues and details in his devious mosaic that includes nightmarish images and instances of recurring motifs that may not be coincidences. 

There are open-ended questions like ‘Where do these people come from?’ and ‘Why are they here?’, but Peele, who wrote and directed, sustains the mounting tension from beginning to memorable end. The film will leave viewers with a lingering uneasiness, testament to Peele’s abilities to realize a classic Twilight Zone theme.

***1/2* of **** stars (add ½ star for Jordan Peele fans)

The Empowerment of CAPTAIN MARVEL

The latest Marvel comic to make the big screen, Captain Marvel, is an entertaining sci-fi adventure and origin story for perhaps the most powerful hero in the universe.

A female warrior, Carol Danvers (Brie Larson), trains with the alien Kree race as they are at war with the Skrulls, shape shifting aliens who supposedly infiltrate other worlds.  Plagued by memories of another life, Danvers begins a journey of self-discovery that involves an unplanned visit to earth and meeting young Nick Fury (Samuel L. Jackson de-aged) of S.H.I.E.L.D. (before The Avengers came into being). As Danvers is caught between Kree and Skrulls, secrets are revealed, loyalties tested, and a new superhero emerges.

The film starts a bit lackluster, but once Jackson (pre-eyepatch) enters the frame, the energy level rises leading to a rousing finale where the pieces come together. Larson, well cast, shows fearless moxie and a sense of humor, and she plays well off Jackson.  The solid supporting cast includes Annette Bening, Jude Law, and Ben Mendelsohn, and there is an adorable, special ‘cat’ named Goose.

Indie directors/writers Anna Boden and Ryan Fleck maintain their focus on Danvers’ rebellious nature and her relationships with her female bestie and with a male buddy (Fury). There is nary a male love interest which is remarkably refreshing as female characters feature prominently.

The film introduces a worthy superhero who figures in the future of Marvel films.  Is it as good as Wonder Woman? No, but it has a lot going for it and serves as a nice bridge or appetizer to the main course, Avengers: Endgame. There are Easter eggs and familiar, Marvel characters e.g. Agent Coulson (Clark Gregg), and there’s a sweet cameo by the late Stan Lee and a couple of key post credit scenes.

***1/2 of **** stars (for Marvel fans and Goose the cat)

A Giant Among Giants

André Previn passed away at 89. With a career comparable to Leonard Bernstein, he was a composer and conductor of jazz, showtunes, and classical music. He won 10 Grammy Awards and 4 Oscars. He was knighted by Queen Elizabeth II and his soundtracks and orchestrations included My Fair Lady, Gigi, Irma La Douce, and many other films. A giant among giants indeed.

Stanley Donen Is 'in Heaven'

Director Stanley Donen passed away at 94, and he was one of the last giants of Golden Age Hollywood. He started in MGM musicals and co-directed with Gene Kelly On the Town (Innovative for shooting partly on location) and Singin' in the Rain, perhaps the greatest musical ever. He branched off to make the wonderful musicals like Seven Brides for Seven Brothers, Damn Yankees, and Funny Face. Remember the animated /live action scene between Kelly and Tom and Jerry in Anchors Aweigh? Yup, that supposedly was Donen's idea. He did several movies with a rising dancer/choreographer named Bob Fosse.  He expanded in other genres to great success with Charade, possibly the greatest of Hitchcock inspired thrillers, Two for the Road, a non linear romance, and many more. One of his last films was a terrific homage to old films, Movie Movie with George C. Scott. He was given a lifetime achievement Oscar in 1998 and celebrated by singing Cheek to Cheek and doing a tap dance. There must be a place in 'heaven' for this gifted artist.

2019 OSCAR PREDICTIONS FOR 2018 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-Tight race-my heart says The Green Book and my mind says Roma.

ACTOR-Rami Malek really nailed it in Bohemian Rhapsody even though Christian Bale completely transformed for Vice.

ACTRESS-Olivia Colman in The Favourite is so good and Lady Gaga in A Star Is Born was phenomenal, but Glenn Close has the stars aligned in her career moment for The Wife.

SUPPORTING ACTOR-Mahershala Ali in The Green Book hands down (It could have been a lead category.).

SUPPORTING ACTRESS-Regina King in If Beale Street Could Talk has a scene that defines this award.

DIRECTOR-Alfonso Cauron for Roma, period.

ORIGINAL SCREENPLAY-The Green Book could but The Favourite was too much fun, and deserves to win.

ADAPTED SCREENPLAY-Spike Lee gets his first Oscar with BlacKkKlansman.

ANIMATED FEATURE-Spider-Man: Into the Spider-Verse knocked it out of the park.

FILM EDITING-Vice

CINEMATOGRAPHY-Roma 

PRODUCTION DESIGN-The Favourite

ORIGINAL SCORE-If Beale Street Could Talk

ORIGINAL SONG- ‘Shallow’ from A Star Is Born gives Lady Gaga and Bradley Cooper their Oscars.

SOUND EDITING-Bohemian Rhapsody                                            

SOUND MIXING-Bohemian Rhapsody                                          

COSTUME DESIGN-The Favourite

MAKEUP& HAIRSTYLING- Vice                                              

VISUAL EFFECTS-Avengers: Infinity War Marvel gets an Oscar!

FOREIGN LANGUAGE FILM-Roma again   

DOCUMENTARY FEATURE-Free Solo by a hair over RBG

Animated Short-Bao

Documentary Short-Black Sheep

Live Action Short-Marguerite

Figure that the awards will be spreading the accolades led by Roma, The Favourite, and Bohemian Rhapsody. Ironically, Avengers: Infinity War could win an Oscar despite Black Panther’s multi nominations.

Love’s Life Struggles in IF BEALE STREET COULD TALK

 Writer/director Barry Jenkins adapts If Beale Street Could Talk, based on James Baldwin’s novel, a tale of love and tragedy amid the turbulent sixties that is extremely well-acted. In some ways it is a more accomplished film than his previous Oscar winning Moonlight.  

Set in 1960s New York City, two young black lovers, Tish (KiKi Layne) and Alonzo (Stephan James) are on the brink of happiness and a life together, when a cruel turn of fate puts Alonzo in prison after Tish announces she is pregnant.  Her family closes ranks and faces a frustrating judicial system at a critical time in civil rights history.  Tish’s mom, Sharon (Regina King), tries to find justice for Alonzo and a new trial despite the cost and sacrifice.  Lives will be changed forever even as love remains.

The film conveys the often hopelessness of a black male in the 1960s and how precious lives are upended by racism.  Despite its dire overtones, it’s also a nostalgic film about hope, the strength of family, and a mother’s love. (King has a pivotal scene that is heartbreaking and poignant, the kind that Oscar loves.)   In addition to the racial disparity, the film is also a glimpse at the traditional, old fashioned roles of wives and mothers.

The film’s structure flashes back and forth between the couple’s courtship and their desperate situation.  There are beautifully captured vignettes enhanced by a haunting music score.  At times the subjective camera pulls the audience into a more intimate point of view.

It’s a commentary and a time capsule of its period, but it is foremost a love story whose memorable, haunting sights and sounds will stay with you.  (This should have been nominated for Best Picture.)

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

SPIDER-MAN: INTO THE SPIDERVERSE Swings to New Heights

A variation on Marvel Comics’ traditional Spider-Man mythology, Spider-Man: Into the Spiderverse is an imaginative, thoroughly fun adventure that steers the Spider universe in an exciting direction.

A high schooler, Miles, stumbles upon a deadly crime boss who creates a rip in the multiverse exposing the world to other Spider heroes.  With an origin story similar to the original Spider-Man, the film exploits Miles’ awkwardness with his new powers and sensory abilities with humorous results.  Mentored by unexpected allies, must summon the courage and use his unique abilities to fix the multiverse and save his friends.

The premise that Spider-Man is one of multiple versions of Spider-Heroes in the universe is a fascinating concept (that DC Comics has explored). This is about the maturation of Miles who has a good heart and what it means to be a hero and taking a leap of faith in believing in himself.

Ambitious in concept and execution, the film breathes comic book panels to life.  This alternate universe is a perfectly realized world with dark overtones; the animation is stunning with its vivid characters and detailed backgrounds. The villains are formidable and given backgrounds which humanize their characters.  Even with its remarkable thrills, the story never forgets to emphasize the importance of family and comaraderie while offering its message of hope and self sacrifice.

A reinvention of Spider-Man without violating the original canon, this film demonstrates the great potential for animation with its creative ideas, and it expands the Spiderverse to unlimited possibilities.  There are Easter eggs galore which should delight Marvel fans, a cool Stan Lee cameo, and an amusing post credits scene for Spidey purists.  (An Oscar for Best Animated Feature beckons.)

**** of **** stars (for Spider-Man purists)

A Worthy Companion in MARY POPPINS RETURNS

A visually impressive sequel to the 1964 classic, Mary Poppins, Mary Poppins Returns is a welcome revisit to some of the original characters and features a top ‘flight’ performance by Emily Blunt and directed lovingly by Rob Marshall (Chicago).

In depression era England, the Banks children, Michael (Ben Whishaw) and Jane (Emily Mortimer) are now grown, and Michael and his children are dealing with personal loss and also the threat of losing their home.  Enter the ethereal nanny, Mary Poppins (Blunt), who arrives to care for the children and reunite with her grown charges. Aided by lamplighter pal Jack (Lin-Manuel Miranda), Mary accompanies the kids on adventures including a magical bowl (with some familiar penguins), a bathtub trip unlike any other, and a race literally against time to save their home.

Marc Shaiman and Scott Wittman (Hairspray) deserve credit for a marvelous score and songs that seem as if composed simultaneously as the original.  Blunt’s vocal range may not match the original’s Julie Andrews, but it is perfectly sublime. Excelling in virtually every film genre, she is perhaps the most versatile actress in movies today. 

While the novelty of the original’s groundbreaking live action/animation has worn off, the magic is still there (and some imaginative visual effects) with its themes about memories, family, and believing the impossible.   (“Trip the Light Fantastic” is a terrific sequence, an homage to the original’s “Step in Time”, but unnecessarily long, and Meryl Streep’s brief turn as a wacky cousin seems superfluous.) There are two wonderful cameos in the closing scenes that raise the film to euphoric heights.

This film will resonate particularly with adults (as much as children) who grew up with fond memories of the original especially in the rousing finale.  A gem.

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

BOHEMIAN RHAPSODY and the Power of Freddie Mercury

Bohemian Rhapsody (directed mostly by Bryan Singer) is a surprisingly captivating biography of Freddie Mercury, the legendary singer of Queen, featuring a career making performance by Remi Malek. 

The story flashes back to the early 1970’s with the talented, rebellious Freddie Mercury (Malek) who joins a local band as lead singer with his phenomenal vocal abilities while befriending Mary Austin (Lucy Boynton), who will become a lifelong friend. As Mercury and the band, now called Queen, evolve their music and persona, their popularity grows with global tours and ambitious, groundbreaking albums.  In the era of AIDS, when his excessive living and fame threatens to disrupt the band and isolate him from the things that truly matter, a major music event, Live Aid, with a worldwide audience of over one billion viewers looms.

There are revealing moments of creativity (though slightly fictionalized) amid many, great Queen songs. It’s a study in contrast between Mercury’s lonely genius and his bandmates with their wives.  While his flamboyant tastes and style are on display throughout, the film touches on, perhaps too briefly, his sexuality and his family life especially the conflict between his father’s wishes and forging his own musical path. But this does not detract from the film’s overall impact.

Queen’s last hurrah at Live Aid is memorable, and what a finish it is with its recreation of Mercury galvanizing a capacity crowd at Wembley Stadium.  It is here that the story transcends its clichés and picks up the emotional threads for a powerful, moving payoff, a culmination with Malek, who is simply marvelous and convincing as the icon.  Sure, the film is old fashioned, but it’s a real crowd pleaser that lingers in the mind.  

**** of **** stars (for Queen fans and cat lovers)

A Rivalry Supreme in THE FAVOURITE

Merry old England is given a new slant in The Favourite, a wonderfully acted period drama with loads of wit and nasty venom amid a sumptuous period setting as directed by Yorgos Lanthimos.

In 18^th century England, Lady Sarah (Rachel Weisz) advises and watches over Queen Anne (Olivia Colman), a weak, frail monarch who is dependent on Sarah’s consort.  Sarah’s control over the throne involves policy including waging war and taxing the populace.  Abigail (Emma Stone) arrives claiming to be her cousin and seeking employment. The two women vie for the attention of their queen, and the competition begins with meanness and outright debauchery.  Strategic alliances are formed with treachery aplenty.  Who will triumph?

The screenplay (Deborah Davis and Tony McNamara) is deliciously subversive and playful as both Weisz and Stone are wonderful as rivals attempting to curry favor of their queen, and they have a field day with the dialogue. Even better, Colman excels as the childish, moody ruler. The dynamic interplay among the three is a joyous romp in maneuvering and betrayal.

Lavish period recreation has a bit of Tom Jones’ playful sensibility with the nastiness of a Ken Russell film. The sets and costume designs are gorgeous. The film has a forced perspective, almost a fish eye point of view in the way it is shot to bend reality.

This is the type of film that will not appeal to all, and don’t expect a tidy ending, but for those game for a challenging exercise in backroom maneuvering and seduction among three excellent actresses at the top of their game, you’ll have a grand time.  Lanthimos is a filmmaker to watch as he is mining the fringes of mainstream cinema with his offbeat vision.

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