Search
Lee (2222 KP) rated Captain Marvel (2019) in Movies
Mar 9, 2019
Following the traumatic and devastating events of last years Avengers: Infinity War, Captain Marvel finally arrives on our screens with huge expectation, anticipation and excitement. As Nick Fury was reduced to dust in the final moments of Infinity War, along with half of all living things in the universe, we saw that he'd just managed to send out an SOS message. The recipient of that message was revealed to be Captain Marvel, so far absent from the cinematic universe but labelled outside of it as "Marvel's biggest female hero", and "quite possibly Marvel's mightiest Avenger". With mad Titan Thanos still on the loose, and half of all life to restore, there's clearly a great deal resting on her shoulders. Thankfully we'll get to see how that all plays out in just over a month when Endgame hits our cinemas, but in the meantime we need to get up to speed on the origins of Captain Marvel.
But this isn't your standard origin story. When we first join Captain Marvel, or Vers as she is currently known, she is already part of the Kree Starforce, fighting alongside her mentor Yon-Rogg (Jude Law) as they take on shape-shifting enemies, the Skrulls. She already has a considerable amount of power, although she has no memory of how exactly she came about it, or of any kind of life preceding it. Following an early morning bit of fight training, with Yon-Rogg urging her to try and control her emotions and her power, it's straight into the action as the Starforce team are sent out on an important field mission. Things don't quite go according to plan though, and when they're ambushed by a group of Skrulls, Vers is kidnapped by Skrull commander Talos (Ben Mendelsohn) and taken to their ship for interrogation.
The interrogation has a kind of Total Recall effect on Vers - unlocking memories of her life as a child, growing up with friends, military training and more. She manages to mount an escape, fleeing the ship and crash landing on planet C-53 (or as we know it, Earth), along with a bunch of Skrulls. She lands in the middle of a Blockbuster video store, with the Skrulls landing on a nearby beach and assuming the shape of some surfing humans in order to blend in with the locals. It's not long before the dramatic arrival has drawn the attention of a couple of SHIELD agents by the name of Fury and Coulson, both looking a lot younger than we're used to, due to the fact that we're in 1995. The de-aging effect, used sparingly but impressively in previous Marvel movies is simply incredible here, given that it is being relied upon for the entire movie in order to make the young Nick Fury believable. And it totally works too.
Up until this point in the movie, I felt that it was all just a little bit bland. We don't really get much time to get acquainted with our hero, or the alien world she inhabits, and the space-team-field-mission elements have all been done previously, and much better, in the Guardians of the Galaxy movies. Coincidentally, Ronan and Korath who star in those movies both appear early on in Captain Marvel, providing some nice backstory for them and a link to the rest of the cinematic universe. It's only when Vers arrives on Earth, and teams up with Nick Fury in order to stop the Skrull invasion, that the movie really finds its footing, becoming a great deal more interesting and enjoyable. Things really lighten up too, accompanied by a great 90s soundtrack and giving off a cool 90s buddy cop movie vibe. It's also great to see Nick Fury acting much less serious and having a lot more to do than in previous Marvel movies. As for Vers, we finally begin to learn a lot more about her too as she begins to piece together her forgotten history and learn more about her life on Earth as Carol Danvers.
The movie is made all the more fun by a couple of very good additional characters. Ben Mendelsohn is outstanding as Talos, providing just the right combination of menace and humour. Special mention also for Goose the cat, who joins Danvers and Fury on their journey. Although, if you're familiar with the comics (where he is known as Chewie), you'll know that there's more to him that meets the eye and he literally manages to steal every single scene he's in, providing some of the movies laugh out loud and surprising moments.
The final third of the movie is where things really kick in though with Carol Danvers unlocking her full potential, despite being repeatedly told throughout life that she's too emotional and too weak. Unleashing hell in an epic, breathtaking and extremely satisfying space battle. With just over a month to go until the release of Endgame, Thanos better be scared. He's not going to know what hit him!
But this isn't your standard origin story. When we first join Captain Marvel, or Vers as she is currently known, she is already part of the Kree Starforce, fighting alongside her mentor Yon-Rogg (Jude Law) as they take on shape-shifting enemies, the Skrulls. She already has a considerable amount of power, although she has no memory of how exactly she came about it, or of any kind of life preceding it. Following an early morning bit of fight training, with Yon-Rogg urging her to try and control her emotions and her power, it's straight into the action as the Starforce team are sent out on an important field mission. Things don't quite go according to plan though, and when they're ambushed by a group of Skrulls, Vers is kidnapped by Skrull commander Talos (Ben Mendelsohn) and taken to their ship for interrogation.
The interrogation has a kind of Total Recall effect on Vers - unlocking memories of her life as a child, growing up with friends, military training and more. She manages to mount an escape, fleeing the ship and crash landing on planet C-53 (or as we know it, Earth), along with a bunch of Skrulls. She lands in the middle of a Blockbuster video store, with the Skrulls landing on a nearby beach and assuming the shape of some surfing humans in order to blend in with the locals. It's not long before the dramatic arrival has drawn the attention of a couple of SHIELD agents by the name of Fury and Coulson, both looking a lot younger than we're used to, due to the fact that we're in 1995. The de-aging effect, used sparingly but impressively in previous Marvel movies is simply incredible here, given that it is being relied upon for the entire movie in order to make the young Nick Fury believable. And it totally works too.
Up until this point in the movie, I felt that it was all just a little bit bland. We don't really get much time to get acquainted with our hero, or the alien world she inhabits, and the space-team-field-mission elements have all been done previously, and much better, in the Guardians of the Galaxy movies. Coincidentally, Ronan and Korath who star in those movies both appear early on in Captain Marvel, providing some nice backstory for them and a link to the rest of the cinematic universe. It's only when Vers arrives on Earth, and teams up with Nick Fury in order to stop the Skrull invasion, that the movie really finds its footing, becoming a great deal more interesting and enjoyable. Things really lighten up too, accompanied by a great 90s soundtrack and giving off a cool 90s buddy cop movie vibe. It's also great to see Nick Fury acting much less serious and having a lot more to do than in previous Marvel movies. As for Vers, we finally begin to learn a lot more about her too as she begins to piece together her forgotten history and learn more about her life on Earth as Carol Danvers.
The movie is made all the more fun by a couple of very good additional characters. Ben Mendelsohn is outstanding as Talos, providing just the right combination of menace and humour. Special mention also for Goose the cat, who joins Danvers and Fury on their journey. Although, if you're familiar with the comics (where he is known as Chewie), you'll know that there's more to him that meets the eye and he literally manages to steal every single scene he's in, providing some of the movies laugh out loud and surprising moments.
The final third of the movie is where things really kick in though with Carol Danvers unlocking her full potential, despite being repeatedly told throughout life that she's too emotional and too weak. Unleashing hell in an epic, breathtaking and extremely satisfying space battle. With just over a month to go until the release of Endgame, Thanos better be scared. He's not going to know what hit him!
Bob Mann (459 KP) rated Stuber (2019) in Movies
Sep 28, 2021
An action comedy that takes you for a ride.
Kumail Nanjiani hits my funny bone… again.
Like no other genre, comedy is highly personal and one person’s comedy gold is another person’s comedy nightmare (“Mrs Brown’s Boys” anyone?). Similarly there are some comedians that I really engage with and others that really irritate. For me, stand-up comedian Kumail Nanjiani falls into the former category. Although having had bit-part roles in many films over the last ten years, it was his starring role playing… well… basically, himself in “The Big Sick” that first caught my attention. Here he repeats that starring role and delivers a deft performance as the shy and ‘scaredy-cat’ driver making a pick-up he won’t forget in a hurry.
He’s paired here, in an unusual ‘buddy cop’/’not buddy cop’ manner, with “Spectre” bad-guy Dave Bautista, a giant of a man who displays a knack for comic delivery (albeit as the straight man) that I was not expecting.
The seeing-eye Uber man.
Bautista plays cop Vic Manning who is in an obsessive pursuit of bad-guy Oka Tedjo (Iko Uwais). Suffering from increasingly bad eyesight, Manning undergoes laser eye surgery on the very day that the “big tip-off” comes through. Being almost blind, Manning hires (read kidnaps) Stu to be his unwilling partner in a battle that puts Stu as well as Manning’s attractive artist daughter (Natalie Morales) in harm’s way.
There’s comedy to be mined in the blind cop set-up…. it’s similar in some ways to the Gene Wilder/Richard Pryor comedy “See No Evil, Hear No Evil”.
Surprisingly visceral action.
We all know that Bautista can do a good fight scene. That fight onboard a train in “Spectre“, with Daniel Craig‘s Bond, was almost on a par with the famous Connery/Shaw fight in “From Russia With Love”. Here, Bautista gets to brawl with gusto in a few scenes.
In general, the “action” in this “action-comedy” is pretty full-on and entertaining. The opening scenes in particular, with Manning and officer Sara Morris (the ever-watchable Karen Gillan) taking on Tedjo in an upper floor of a high-rise building are exciting and dramatic. This is due in no small part to the acrobatic capabilities of Iko Uwais. (Uwais is an Indonesian champion at the martial art Silat… and it shows).
Slick writing that delivers some great lines.
The script is by Tripper Clancy, with this being his first US film after penning two previous German films. And it really made me laugh a lot, both in terms of some of the set up scenes (one in an animal hospital is particularly funny) and in some of the dialogue. As an example, when pushed to the limit of his stress, Stu wails “So I’m gonna have to get cheap student therapists who quote white guys with Indian names and tell me that I should meditate. I…DO…MEDITATE!!!!”.
Also top-notch is the use of music in the film. A use of the Hollies classic “Air that I breathe” during the above mentioned Animal Hospital scene was brilliant.
Summary
Comedies need to make me laugh. This one did. Repeatedly. It even made the illustrious Mrs Movie Man laugh too. Repeatedly. As such “Stuber” comes with a “recommended” from me.
Like no other genre, comedy is highly personal and one person’s comedy gold is another person’s comedy nightmare (“Mrs Brown’s Boys” anyone?). Similarly there are some comedians that I really engage with and others that really irritate. For me, stand-up comedian Kumail Nanjiani falls into the former category. Although having had bit-part roles in many films over the last ten years, it was his starring role playing… well… basically, himself in “The Big Sick” that first caught my attention. Here he repeats that starring role and delivers a deft performance as the shy and ‘scaredy-cat’ driver making a pick-up he won’t forget in a hurry.
He’s paired here, in an unusual ‘buddy cop’/’not buddy cop’ manner, with “Spectre” bad-guy Dave Bautista, a giant of a man who displays a knack for comic delivery (albeit as the straight man) that I was not expecting.
The seeing-eye Uber man.
Bautista plays cop Vic Manning who is in an obsessive pursuit of bad-guy Oka Tedjo (Iko Uwais). Suffering from increasingly bad eyesight, Manning undergoes laser eye surgery on the very day that the “big tip-off” comes through. Being almost blind, Manning hires (read kidnaps) Stu to be his unwilling partner in a battle that puts Stu as well as Manning’s attractive artist daughter (Natalie Morales) in harm’s way.
There’s comedy to be mined in the blind cop set-up…. it’s similar in some ways to the Gene Wilder/Richard Pryor comedy “See No Evil, Hear No Evil”.
Surprisingly visceral action.
We all know that Bautista can do a good fight scene. That fight onboard a train in “Spectre“, with Daniel Craig‘s Bond, was almost on a par with the famous Connery/Shaw fight in “From Russia With Love”. Here, Bautista gets to brawl with gusto in a few scenes.
In general, the “action” in this “action-comedy” is pretty full-on and entertaining. The opening scenes in particular, with Manning and officer Sara Morris (the ever-watchable Karen Gillan) taking on Tedjo in an upper floor of a high-rise building are exciting and dramatic. This is due in no small part to the acrobatic capabilities of Iko Uwais. (Uwais is an Indonesian champion at the martial art Silat… and it shows).
Slick writing that delivers some great lines.
The script is by Tripper Clancy, with this being his first US film after penning two previous German films. And it really made me laugh a lot, both in terms of some of the set up scenes (one in an animal hospital is particularly funny) and in some of the dialogue. As an example, when pushed to the limit of his stress, Stu wails “So I’m gonna have to get cheap student therapists who quote white guys with Indian names and tell me that I should meditate. I…DO…MEDITATE!!!!”.
Also top-notch is the use of music in the film. A use of the Hollies classic “Air that I breathe” during the above mentioned Animal Hospital scene was brilliant.
Summary
Comedies need to make me laugh. This one did. Repeatedly. It even made the illustrious Mrs Movie Man laugh too. Repeatedly. As such “Stuber” comes with a “recommended” from me.
Listen Again: A Momentary History of Pop Music
Book
Arguing that pop music turns on moments rather than movements, the essays in Listen Again pinpoint...
Gareth von Kallenbach (980 KP) rated Underworld: Blood Wars (2017) in Movies
Jul 12, 2019
The latest installment of the Underworld franchise will not make you happy, but it may entertain you.
Let my preamble consist of this important note: I am a huge fan of the property. With that in mind, we’ll continue.
Kate Beckinsale is back in her black, skin-tight vinyl to deal death and continue the war that’s raged for 1500 years. While a few characters from previous movies show up in this film, most roles are taken by fresh faces. Scenes from the old movies as inserted under the guise of memories narrated by Selene, as well as the jumpy blood memories.
With so many films preceding this one, the creators were kind enough to run us through the major events that set up the current plot. However, as happens with most sequels, I cursed myself for not remembering to watch the previous film beforehand. I recommend doing so; it had been so long I’d forgotten connections and details.
The story of the war continues. The current crisis is coming to a head with a powerful Lycan named Marius in command of the pack. They are intent upon winning the war, once and for all, with a concentrated assault.
Both sides seek avenues to make their species more powerful, and in this case, it’s Selene’s daughter.
The action sequences are shot in the same choppy style as in previous films, but are somehow not captured as beautifully as before.
The plot proceeds at a breakneck pace, often too fast for its own good. Whether it’s due to poor writing, poor direction, or some combination of both, the short scenes feel forced. They exist purely as plot points and do little to attach the audience to the characters. Though the film was marketed as “the final showdown,” it lacks the same epic feeling of the previous one. It’s clear they are trying to milk this franchise for all it’s worth. The payout we all desperately want — a conclusive ending — just won’t come.
The crowning failure comes at a pivotal point when two characters are screaming at each other while pushing bullets out of their skin. It made me feel like I was watching a campy, low-budget action flick. It was so bad that my movie buddy and I started laughing out loud.
We are both huge fans of the property, but were greatly disappointed by poor movie-making and the lack of closure to the story. They probably won’t be given another chance to finish it.
Despite all of this, the acting is actually pretty good. And let’s be honest here: if you are a fan of this franchise, you’re going to go watch it no matter what I say. That’s fine, but don’t go in with high expectations. You can extract some entertainment, but this is just not a good film.
Let my preamble consist of this important note: I am a huge fan of the property. With that in mind, we’ll continue.
Kate Beckinsale is back in her black, skin-tight vinyl to deal death and continue the war that’s raged for 1500 years. While a few characters from previous movies show up in this film, most roles are taken by fresh faces. Scenes from the old movies as inserted under the guise of memories narrated by Selene, as well as the jumpy blood memories.
With so many films preceding this one, the creators were kind enough to run us through the major events that set up the current plot. However, as happens with most sequels, I cursed myself for not remembering to watch the previous film beforehand. I recommend doing so; it had been so long I’d forgotten connections and details.
The story of the war continues. The current crisis is coming to a head with a powerful Lycan named Marius in command of the pack. They are intent upon winning the war, once and for all, with a concentrated assault.
Both sides seek avenues to make their species more powerful, and in this case, it’s Selene’s daughter.
The action sequences are shot in the same choppy style as in previous films, but are somehow not captured as beautifully as before.
The plot proceeds at a breakneck pace, often too fast for its own good. Whether it’s due to poor writing, poor direction, or some combination of both, the short scenes feel forced. They exist purely as plot points and do little to attach the audience to the characters. Though the film was marketed as “the final showdown,” it lacks the same epic feeling of the previous one. It’s clear they are trying to milk this franchise for all it’s worth. The payout we all desperately want — a conclusive ending — just won’t come.
The crowning failure comes at a pivotal point when two characters are screaming at each other while pushing bullets out of their skin. It made me feel like I was watching a campy, low-budget action flick. It was so bad that my movie buddy and I started laughing out loud.
We are both huge fans of the property, but were greatly disappointed by poor movie-making and the lack of closure to the story. They probably won’t be given another chance to finish it.
Despite all of this, the acting is actually pretty good. And let’s be honest here: if you are a fan of this franchise, you’re going to go watch it no matter what I say. That’s fine, but don’t go in with high expectations. You can extract some entertainment, but this is just not a good film.
Bob Mann (459 KP) rated Bad Boys for Life (2020) in Movies
Mar 9, 2020
Welcome to Miami - again!
Will Smith seems to have been having a lacklustre period in his career. His genie from "Aladdin" got a rather lukewarm reception. And his last movie - "Gemini Man" - billed as a big summer blockbuster - failed to impress. True it wasn't a commercial disaster (raking in at the time of writing about 150% of budget), but it's still a film on a plane for me that, even if I'm bored, I'll say "nah" to.
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
James P. Sumner (65 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 1, 2019
A surprisingly pleasant thrill-ride!
The Fast & The Furious franchise paused to allow two of it's most memorable, larger-than-life characters to branch out on their own with this action-packed offering of explosions and humour.
I have to admit, I had my reservations about this one. Firstly, it's basically a F&F movie... we all know what they are and what to expect, which is why we love them. Except it's not a proper F&F movie, and I was worried labelling it as part of that story universe would burden it with unrealistic expectations. Secondly, I've spent the last few months trying to avoid trailers for it, when I realised they were basically showing the entire film in them. After the first three or four, I was left genuinely concerned they had nothing left to show me. I thought there was no way they could have any eye candy that I hadn't at least seen a snapshot of.
So, I entered the cinema expecting very little. Which is probably why I left the cinema feeling very happy and satisfied.
Saying this is a F&F movie is like saying Captain America and Guardians of the Galaxy are Marvel movies. Yes, they technically are, but they are two hugely different types of movie. The similarities are obviously more prevalent here, along with the formulaic and predictable buddy-cop routine, but this film manages to confidently and successfully stand on its own two feet, and not in the shadow of Vin Diesel as I first feared.
And yes, the trailers showed snippets of pretty much every major action sequence, but weirdly, they didn't give away as much you would think. There are also some nice surprises in there. I won't spoil them, but let's just say I'm very impressed at how they managed to keep the cameos under wraps!
Okay, let's get into it. The plot (such as it is) revolves around a mysterious tech firm trying to get a hold of a deadly virus, using Idris Elba's enjoyable villain, Brixton to track it down. It takes all of five minutes for things to go sideways, leaving Hattie Shaw on the run from the bad guys. The Powers That Be (the CIA and MI6) decide they need the best bad guy trackers in the business to hunt down Brixton and retrieve this virus, and the girl... thus saving the world. The former recruits Mr. Johnson; the latter, Mr. Statham. As we know from the trailers, Vanessa Kirby portrays Shaw's sister - it becomes a family affair and we're off to the races.
The on-screen chemistry between Statham and Johnson is clear to see. The comedic dialogue they have lands a lot more than it misses. There's perhaps a bit too much gung-ho stereotyping and fan-service catchphrases, but again, you have to expect that kind of thing from a film like this.
What I liked about it was that whilst they didn't re-invent the wheel, it didn't feel like a carbon-copy of every other action film, like so many others do. It had heart. It had character. Yes, some of the stunts were silly. Yes, the bad guy being genetically-enhanced was a bit weird - blending sci-fi with real-world action whilst never actually acknowledging it took some getting used to. But the film just kinda worked. It was very good without being great. It was predictable but still managed to be enjoyable. It's a good two-hour investment of your time for an afternoon/evening out with the family.
Hobbs and Shaw is proof that whatever your criticisms, whatever your reservations, anything Dwayne Johnson touches turns to gold right now. It's also what a potential future Expendables reboot will probably look like.
Meanwhile F&F9 is now filming (sans Statham and Johnson, apparently) and with an inevitable H&S sequel surely not too far away, you can't help but wonder if they're gearing this all up to be a super-charged, car-based competitor to the MCU. The ending, two mid-credits and one post-credits scene in this film clearly set up another outing and tease a sinister, overarching enemy with ties to the character's pasts... could this be a way to link it all back to Vin Diesel and Co? Could a crossover Summer blockbuster be the only way to tell this story? If early box office figures are anything to go by here, the smart money would say yes.
Go, enjoy, eat popcorn and leave your brain and the real world in the car.
I have to admit, I had my reservations about this one. Firstly, it's basically a F&F movie... we all know what they are and what to expect, which is why we love them. Except it's not a proper F&F movie, and I was worried labelling it as part of that story universe would burden it with unrealistic expectations. Secondly, I've spent the last few months trying to avoid trailers for it, when I realised they were basically showing the entire film in them. After the first three or four, I was left genuinely concerned they had nothing left to show me. I thought there was no way they could have any eye candy that I hadn't at least seen a snapshot of.
So, I entered the cinema expecting very little. Which is probably why I left the cinema feeling very happy and satisfied.
Saying this is a F&F movie is like saying Captain America and Guardians of the Galaxy are Marvel movies. Yes, they technically are, but they are two hugely different types of movie. The similarities are obviously more prevalent here, along with the formulaic and predictable buddy-cop routine, but this film manages to confidently and successfully stand on its own two feet, and not in the shadow of Vin Diesel as I first feared.
And yes, the trailers showed snippets of pretty much every major action sequence, but weirdly, they didn't give away as much you would think. There are also some nice surprises in there. I won't spoil them, but let's just say I'm very impressed at how they managed to keep the cameos under wraps!
Okay, let's get into it. The plot (such as it is) revolves around a mysterious tech firm trying to get a hold of a deadly virus, using Idris Elba's enjoyable villain, Brixton to track it down. It takes all of five minutes for things to go sideways, leaving Hattie Shaw on the run from the bad guys. The Powers That Be (the CIA and MI6) decide they need the best bad guy trackers in the business to hunt down Brixton and retrieve this virus, and the girl... thus saving the world. The former recruits Mr. Johnson; the latter, Mr. Statham. As we know from the trailers, Vanessa Kirby portrays Shaw's sister - it becomes a family affair and we're off to the races.
The on-screen chemistry between Statham and Johnson is clear to see. The comedic dialogue they have lands a lot more than it misses. There's perhaps a bit too much gung-ho stereotyping and fan-service catchphrases, but again, you have to expect that kind of thing from a film like this.
What I liked about it was that whilst they didn't re-invent the wheel, it didn't feel like a carbon-copy of every other action film, like so many others do. It had heart. It had character. Yes, some of the stunts were silly. Yes, the bad guy being genetically-enhanced was a bit weird - blending sci-fi with real-world action whilst never actually acknowledging it took some getting used to. But the film just kinda worked. It was very good without being great. It was predictable but still managed to be enjoyable. It's a good two-hour investment of your time for an afternoon/evening out with the family.
Hobbs and Shaw is proof that whatever your criticisms, whatever your reservations, anything Dwayne Johnson touches turns to gold right now. It's also what a potential future Expendables reboot will probably look like.
Meanwhile F&F9 is now filming (sans Statham and Johnson, apparently) and with an inevitable H&S sequel surely not too far away, you can't help but wonder if they're gearing this all up to be a super-charged, car-based competitor to the MCU. The ending, two mid-credits and one post-credits scene in this film clearly set up another outing and tease a sinister, overarching enemy with ties to the character's pasts... could this be a way to link it all back to Vin Diesel and Co? Could a crossover Summer blockbuster be the only way to tell this story? If early box office figures are anything to go by here, the smart money would say yes.
Go, enjoy, eat popcorn and leave your brain and the real world in the car.
Gareth von Kallenbach (980 KP) rated Flight (2012) in Movies
Aug 7, 2019
I’m not good with dramas. I like to watch movies to escape reality and dramas are all about reminding you of the turmoil and awkwardness and unpredictability that is reality. But, only if they’re good. Dramas require an emotional response from the viewer, which can only be achieved through great performances, enhanced by story, music and editing. (don’t quote me I could be missing one). If one or more elements are missing, at best it’s an unexpected comedy, at worst you’ve just wasted time and money that you’ll never get back.
Flight in my opinion delivered. We start off with gratuitous nudity (for me it didn’t add to the story but guys will like it) from flight attendant Katerina Marquez (Nadine Valazquez) and a man, Captain Whip Whitacker (Denzel Washington) who’s about to hit his rock bottom. After a night of drinking and snorting some cocaine, together they take to the skies only for it to go horribly wrong, the plane begins an uncontrolled nose dive. Lot’s of close up shots put you right into the aircraft and you almost feel as if you’re on the flight as it’s going down (seriously my heart involuntarily started pounding faster).
Afterwards, the movie really hits its’ stride and gets into the gritty reality of what life can become. Denzel does an excellent job of bringing you in to the internal struggles with his demons; he’s so good in his denial. John Goodman plays a drug dealer Harling Mays, almost as a comic relief which actually works. Don Cheadle plays Hugh Lang, a criminal attorney sent to help Cpt Whitacker as questions arise about what really caused the plane to crash. He plays a great attorney, not smarmy, not slick, but intelligent and sharp, and in his own way, caring.
Nicole Maggen (Kelly Reilly), a drug addict who we witness goes through a relapse that puts her into the path of Cpt Whitacker. Co-pilot Ken Evans (Brian Geraghty) was a convincingly green pilot whom I would not want flying any plane I’m in. And flight attendant Margaret Tomason (Tamara Tunie), a good friend of Whitackers for several years and Pilots union rep Charlie Anderson (Bruce Greenwood) a long time military buddy who comes back into his life because of the crash. I liked both their performances, they really did great in their supporting rolls; you couldn’t have one without the other.
There is a question of devine intervention and redemption, but I think the movie steers clear of being overly religious. (I could have done without Ken Evans wife, overkill in my opinion and not necessary to the story). Anything more I say will spill the beans on the ending, so I’ll leave you with this; it really is unpredictable, you never quite know what Cpt Whitacker’s going to do until he does it. There are beautiful moments and bittersweet moments that create a powerful, emotional ride that I would recommend to someone who likes a good drama. And, even to people like me, who generally try to avoid them.
Flight in my opinion delivered. We start off with gratuitous nudity (for me it didn’t add to the story but guys will like it) from flight attendant Katerina Marquez (Nadine Valazquez) and a man, Captain Whip Whitacker (Denzel Washington) who’s about to hit his rock bottom. After a night of drinking and snorting some cocaine, together they take to the skies only for it to go horribly wrong, the plane begins an uncontrolled nose dive. Lot’s of close up shots put you right into the aircraft and you almost feel as if you’re on the flight as it’s going down (seriously my heart involuntarily started pounding faster).
Afterwards, the movie really hits its’ stride and gets into the gritty reality of what life can become. Denzel does an excellent job of bringing you in to the internal struggles with his demons; he’s so good in his denial. John Goodman plays a drug dealer Harling Mays, almost as a comic relief which actually works. Don Cheadle plays Hugh Lang, a criminal attorney sent to help Cpt Whitacker as questions arise about what really caused the plane to crash. He plays a great attorney, not smarmy, not slick, but intelligent and sharp, and in his own way, caring.
Nicole Maggen (Kelly Reilly), a drug addict who we witness goes through a relapse that puts her into the path of Cpt Whitacker. Co-pilot Ken Evans (Brian Geraghty) was a convincingly green pilot whom I would not want flying any plane I’m in. And flight attendant Margaret Tomason (Tamara Tunie), a good friend of Whitackers for several years and Pilots union rep Charlie Anderson (Bruce Greenwood) a long time military buddy who comes back into his life because of the crash. I liked both their performances, they really did great in their supporting rolls; you couldn’t have one without the other.
There is a question of devine intervention and redemption, but I think the movie steers clear of being overly religious. (I could have done without Ken Evans wife, overkill in my opinion and not necessary to the story). Anything more I say will spill the beans on the ending, so I’ll leave you with this; it really is unpredictable, you never quite know what Cpt Whitacker’s going to do until he does it. There are beautiful moments and bittersweet moments that create a powerful, emotional ride that I would recommend to someone who likes a good drama. And, even to people like me, who generally try to avoid them.
BankofMarquis (1832 KP) rated The Greatest Beer Run Ever (2022) in Movies
Oct 10, 2022
Touched Me In The End
The new Apple TV+ original film THE GREATEST BEER RUN EVER is being advertised as kind of a “wacky buddy comedy” with a bunch of New York slackers looking for beer in Viet Nam.
This advertisement is doing this film a great disservice for this movie is much, much more than that and deserves some attention - and eyeballs looking at it.
Starring Zach Efron (who has turned into an actor who is much, much more than Troy Bolton of HIGH SCHOOL MUSICAL fame) and directed by Peter Farrelly (one of the Farrelly brothers that brought you such comedies as THERE’S SOMETHING ABOUT MARY and KINGPIN), THE GREATEST BEER RUN EVER tells the tale of a New Yorker in the late 1960’s who is big on talk and little on action. To shut those around him up, Chickie Donohue (Efron) decides to bring his buddies that are fighting in Viet Nam some beer from home. What starts out as a lark, evolves into something much more serious…and meaningful…for both Chickie and the audience.
Efron is quite good in the central role as Chickie and this film needs his inherent charisma in the center of this film as he is in every scene. Efron exudes goodness and sincerity even though, at times, he his speaking out of the sides of his mouth - or a place much further down his anatomy. And, as his character learns more and more about what is really going on in the war in Vietnam, his bravado and bluster fade and we get a glimpse of the real person underneath who is horrified by what he sees in this war.
Russell Crowe - who is finding a career renaissance in Supporting Roles - is strong (naturally) as a war photographer who befriends Chickie and takes him under his wing while the myriad of young, unknown actors who play Chickie’s friends scattered across various theaters of action in Viet Nam are appropriately played as folks who think what Chickie is doing is hilarious to those who are horrified that Chickie would voluntarily enter this war zone.
The tone of the film shifts from fun and silly to deep and meaningful throughout it’s 2 hour, 6 minute run-time, all under the watchful eye of Farrelly. He really has a handle on the deeper war-torn aspects of this film, while he (purposefully, I would imagine) shies away from his expected comedy and zaniness that could have been the first part of this movie. IMHO, Farrelly could have imparted some more zaniness at the start - to give the film a better kickstart (the beginning is a little slow) while also more starkly contrasting the beginning and end of the film - and the change in Chickie because of this experience.
I was drawn in - and touched - by the latter part of this BEER RUN and would strongly encourage everyone to check out this fine film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
This advertisement is doing this film a great disservice for this movie is much, much more than that and deserves some attention - and eyeballs looking at it.
Starring Zach Efron (who has turned into an actor who is much, much more than Troy Bolton of HIGH SCHOOL MUSICAL fame) and directed by Peter Farrelly (one of the Farrelly brothers that brought you such comedies as THERE’S SOMETHING ABOUT MARY and KINGPIN), THE GREATEST BEER RUN EVER tells the tale of a New Yorker in the late 1960’s who is big on talk and little on action. To shut those around him up, Chickie Donohue (Efron) decides to bring his buddies that are fighting in Viet Nam some beer from home. What starts out as a lark, evolves into something much more serious…and meaningful…for both Chickie and the audience.
Efron is quite good in the central role as Chickie and this film needs his inherent charisma in the center of this film as he is in every scene. Efron exudes goodness and sincerity even though, at times, he his speaking out of the sides of his mouth - or a place much further down his anatomy. And, as his character learns more and more about what is really going on in the war in Vietnam, his bravado and bluster fade and we get a glimpse of the real person underneath who is horrified by what he sees in this war.
Russell Crowe - who is finding a career renaissance in Supporting Roles - is strong (naturally) as a war photographer who befriends Chickie and takes him under his wing while the myriad of young, unknown actors who play Chickie’s friends scattered across various theaters of action in Viet Nam are appropriately played as folks who think what Chickie is doing is hilarious to those who are horrified that Chickie would voluntarily enter this war zone.
The tone of the film shifts from fun and silly to deep and meaningful throughout it’s 2 hour, 6 minute run-time, all under the watchful eye of Farrelly. He really has a handle on the deeper war-torn aspects of this film, while he (purposefully, I would imagine) shies away from his expected comedy and zaniness that could have been the first part of this movie. IMHO, Farrelly could have imparted some more zaniness at the start - to give the film a better kickstart (the beginning is a little slow) while also more starkly contrasting the beginning and end of the film - and the change in Chickie because of this experience.
I was drawn in - and touched - by the latter part of this BEER RUN and would strongly encourage everyone to check out this fine film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated End of Watch (2012) in Movies
Aug 7, 2019
Director/Writer David Ayer (Street Kings, Training day) once again takes us into the world of the Los Angeles police department in the new movie End of Watch. Only this time rather than go in the corrupt police officer direction he has gone before, Ayer instead takes audiences on a honest and somewhat realistic emotionally charged ride along with two young and confident LAPD patrolmen.
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
BankofMarquis (1832 KP) rated Captain Marvel (2019) in Movies
Mar 9, 2019
Chemistry between Brie Larson and Samuel L. Jackson (1 more)
As always, END CREDITS SEQUENCE
A Marvel-ous "Buddy Cop" film
For those of you who read my reviews regularly know, I am a fan of the films produced in the MARVEL CINEMATIC UNIVERSE. There has been a bit of a hiatus in these films (the last one was ANT MAN AND THE WASP last July) so it was with some excitement that I headed to the multiplex to check out the latest installment in this film franchise.
And...after an opening that paid tribute to the late, great Stan Lee, I settled in for what, I hoped would be a fun time at the movies. I started to become a little concerned in the first half hour of this film as it jumbled things around, trying to tell an origin story of a person who has no memory of where she came from while Jude Law was "man-splaining" the new worlds and the new people that the audience needs to know about it. I was becoming concerned that this film was going to become a "hot mess".
And then came Samuel L. Jackson.
Mr. Jackson is a MOVIE STAR and his presence in this film instantly catapulted it to another level. The star power, energy and pacing of the film improved and (if I am honest with myself) the performance of Brie Larson as Carol Danvers/Captain Marvel improved as well. The film stopped being an "alien Super Hero" film and it become a "buddy cop film" along the lines of LETHAL WEAPON, 48 HOURS and (my personal favorite) MIDNIGHT RUN.
The chemistry between Jackson and Larson is undeniable and they play off of each other very well, bantering and bouncing lines back and forth while chasing - and being chased - by the bad guys. This dynamic raised the level of this film from a "middle of the road" SuperHero film to a fun action/comedy that is in the upper third of the Marvel Cinematic Universe.
Aside from Jackson, Larson (eventually) is terrifically cast as the titular character. She has a difficult balancing act to fulfill in the first 1/2 hour of the film, since her character has no memories, she also was in danger of having no personality. I've heard the word "bland" thrown around to characterize her performance, but I wouldn't quite go there (especially once Jackson shows up and her character's memories start to return). This is a well rounded, fierce performance and I don't think we've really seen the "best" that this character - or Larson's portrayal - has to offer.
Jude Law, Annette Benning(!) Lashana Lynch and Clark Gregg are all "fine" in supporting roles, but they pale in comparison to Larson/Jackson. Only Ben Mendehlson was able to "up" his performance to match these two, so when Jackson/Larson/Mendehlson were on the screen together, things crackled. Oh...and I would be remiss if I didn't mention one of the best feline performances in film in quite some time - GOOSE, the cat (yes, named after the character in TOP GUN). The less I say about this character the better - but it was really fun. The only disappointment for me was the usage of Gemma Chan (CRAZY, RICH ASIANS) as Minn-Erva. She just didn't have much to do, probably because at the time of filming Chan was not much of a "name". I know here character is crucial to some Captain Marvel storylines in the comics, so I am hoping they bring her back and use her more in the future.
But...as for this film...it is a fun romp, with good action and a truly memorable pairing of Jackson/Larson - one that does not disappoint. Stay, of course, for the TWO end credits scene - the first one sets up AVENGERS: ENDGAME and the last one is...
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(OfMarquis)
And...after an opening that paid tribute to the late, great Stan Lee, I settled in for what, I hoped would be a fun time at the movies. I started to become a little concerned in the first half hour of this film as it jumbled things around, trying to tell an origin story of a person who has no memory of where she came from while Jude Law was "man-splaining" the new worlds and the new people that the audience needs to know about it. I was becoming concerned that this film was going to become a "hot mess".
And then came Samuel L. Jackson.
Mr. Jackson is a MOVIE STAR and his presence in this film instantly catapulted it to another level. The star power, energy and pacing of the film improved and (if I am honest with myself) the performance of Brie Larson as Carol Danvers/Captain Marvel improved as well. The film stopped being an "alien Super Hero" film and it become a "buddy cop film" along the lines of LETHAL WEAPON, 48 HOURS and (my personal favorite) MIDNIGHT RUN.
The chemistry between Jackson and Larson is undeniable and they play off of each other very well, bantering and bouncing lines back and forth while chasing - and being chased - by the bad guys. This dynamic raised the level of this film from a "middle of the road" SuperHero film to a fun action/comedy that is in the upper third of the Marvel Cinematic Universe.
Aside from Jackson, Larson (eventually) is terrifically cast as the titular character. She has a difficult balancing act to fulfill in the first 1/2 hour of the film, since her character has no memories, she also was in danger of having no personality. I've heard the word "bland" thrown around to characterize her performance, but I wouldn't quite go there (especially once Jackson shows up and her character's memories start to return). This is a well rounded, fierce performance and I don't think we've really seen the "best" that this character - or Larson's portrayal - has to offer.
Jude Law, Annette Benning(!) Lashana Lynch and Clark Gregg are all "fine" in supporting roles, but they pale in comparison to Larson/Jackson. Only Ben Mendehlson was able to "up" his performance to match these two, so when Jackson/Larson/Mendehlson were on the screen together, things crackled. Oh...and I would be remiss if I didn't mention one of the best feline performances in film in quite some time - GOOSE, the cat (yes, named after the character in TOP GUN). The less I say about this character the better - but it was really fun. The only disappointment for me was the usage of Gemma Chan (CRAZY, RICH ASIANS) as Minn-Erva. She just didn't have much to do, probably because at the time of filming Chan was not much of a "name". I know here character is crucial to some Captain Marvel storylines in the comics, so I am hoping they bring her back and use her more in the future.
But...as for this film...it is a fun romp, with good action and a truly memorable pairing of Jackson/Larson - one that does not disappoint. Stay, of course, for the TWO end credits scene - the first one sets up AVENGERS: ENDGAME and the last one is...
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(OfMarquis)