“ANT-MAN & THE WASP” Review (✫✫✫)

SOURCE: Walt Disney Studios Motion Pictures

Quantum-realm conundrums.

Out of all of the new heroes introduced into the Marvel Cinematic Universe, the one with the worst timing is easily Ant-Man. Here is a guy who, no pun intended, is much smaller than his Marvelite peers. He shrinks to Honey, I Shrunk The Kids size and zips around like the Road Runner from “Looney Tunes.” His sidekicks are literal insects. And he has released not one, but two movies directly after the Avengers’ last two outings. When will this guy learn you can’t piggyback off of the Avengers? The only insect-based hero capable of doing that is Spider-Man, and something tells me we won’t be hearing from him for quite some time.

In this sequel to both Ant-Man and Captain America: Civil War, Scott Lang (Paul Rudd) is under house arrest after helping Captain America and crew fight Tony Stark in Germany. Sick of his frequent bouts with the law, Scott just wants to take it easy on the superheroing gig and finish his sentence so he can be a free man and reunited with his daughter Cassie (Abby Fortson).

Unfortunately, his mentor Hank Pym (Michael Douglas) and his daughter Hope (Evangeline Lily) have other plans for him. After Scott escaped from the Quantum Realm in the first movie, Hank has been eager to travel back to search for his wife Janet (Michelle Pfeiffer), who has been lost to the Quantum Realm for several years. Believing that Scott somehow still harbors a connection to the realm, they recruit him into their scientific endeavors to shrink back into the Quantum Realm and save Janet. Meanwhile, a mysterious new enemy called Ghost (Hannah John-Kamen) is following them, also seemingly interested in the Quantum Realm and Janet.

First thing’s first, I love Paul Rudd. Watching him playing a character who is one part superhero and another part awkward dad, I was reminded of why I like him so much: he’s just such an earnest performer. In his introductory scene, he’s seen pretending to be Ant-Man with his daughter Cassie, and he navigates her through his own cardboard maze complete with its own giant-sized ants and wasps replicas. Watching the way he seemed so excitable with Cassie, filling this young child with the wonder and imagination of being a superhero, it was sweetly sentimental in the way it reminded me of times when I was a kid playing pretend with my own father.

That speaks to Rudd’s skills as an actor, and also exemplifies why every scene he’s in just feels so natural. Part of why Ant-Man is so appealing is because of how unassuming he is. He’s not a high-strung billionaire like Iron Man, or a literal Norse deity like Thor, or even a Star-spangled super soldier like Captain America. He’s just some guy, and he’s trying to juggle superhero life with his everyday problems as an ex-convict and a father the best he can. That makes him shine throughout the picture regardless if he’s trying to be dramatic or comedic. There was one part in particular where he mimicked Michelle Pfeiffer so well that I wondered if the real Michelle Pfeiffer would have done any better. It had me dying in laughter.

But it isn’t just Rudd who improves his artistry for the second outing: Peyton Reed also fleshes out his skills as a director to make a much more creative action movie. One of the things that underwhelmed me from the first film was how basic Scott’s abilities were. The full extent of his powers basically involved shrinking, controlling ants, and once in a while enlarging objects, and that’s it. I was bored watching Ant-Man, but here I’m exhilarated seeing Ant-Man and the Wasp shrinking, expanding, zipping, zooming, and zapping their enemies back-to-back. If you don’t think superheroes named Ant-Man and the Wasp can be taken seriously, think again. Their lightning-quick reflexes and their special effects-heavy spectacle was so dizzying that I was surprised at how immersed I really was in all the action. And be honest here, fellow reader: there’s something really satisfying about watching a giant Pez dispenser nearly crush an exasperated criminal chasing the miniature duo.

As with most Marvel movies, the villain isn’t very interesting and lacks the depth and complexion that made villains like Killmonger in Black Panther and Thanos in Avengers: Infinity War stand out in their movies. Some of the gimmicks and jokes repeated so much that they got old after a while, and there was one part of the film that was so eye-rollingly cheesy that I wondered when the director was going to yell “CUT!” and show the next outtake.

Still, for all of its immaturity and childishness, Ant-Man & The Wasp is a fun, lighthearted outing: a breather we desperately needed after being emotionally exhausted from the other two Marvel movies released earlier this year. The first Ant-Man movie seemed to struggle between deciding whether it wanted to be a heist movie, a comedy, or a superhero film and split itself into three different parts. Ant-Man & The Wasp demonstrates a better understanding of its characters and premise. For once, I’m excited to see what the third installment will bring in a trilogy. Somebody just needs to tell Scott to wait a little while longer after the next Avengers movie releases.

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Jennifer Hudson, Taylor Swift Join ‘Cats’

Cats like Taylor Swift, like, a lot. And no, I’m not talking about Olivia and Meredith.

COURTESY: @taylorswift

In case you didn’t know already, the broadway musical Cats is getting the live-action treatment from director Tom Hooper, whose work ranges from the Oscar-winning The King’s Speech, to the operatic Les Miserables, to the daring The Danish Girl. The cast was announced earlier this week, and it is nothing short of spectacular.

First of all, Jennifer Hudson is cast in the lead as Grizabella, the former “Glamour Cat’ of the Jellicle tribe. This in and of itself is exciting, because Hudson has starred in a slew of musicals, including Black Nativity, Sing, and her Oscar-winning performance in 2006’s Dreamgirls.

But that’s not all. The film also casted late night host James Corden, Lord of the Rings and X-Men actor Ian McKellen, and of course Grammy award-winning pop singer Taylor Swift. Cats will be Swift’s fourth film role, with the first three being Valentine’s Day, The Lorax, and The Giver.

Creative Commons

I never saw the Cats musical (I know, I know, I’m ashamed of myself too), but looking at the cast alone, I must say I am very excited for this picture. Hudson and McKellen themselves are incredibly talented dramatic actors, and Corden is a comical force to boot.

I’m even excited for Swift’s inclusion as well. While her former film roles retorted to stupid, silly clichés and included Swift seemingly just for name recognition, Cats looks like it will be the first of her roles to truly utilize her talents as a vocal performer. I’m very excited to see how well she does performing in a musical, even if I’m still lacking confidence in her acting ability. But who knows? Cats might give her the big break she needs in the movies.

What do you guys think? Are you excited for these actors to take on Cats, or do you wish they’d get dragged off of the stage? Comment below, let me know.

– David Dunn

SOURCE: The Daily Mail, Deadine

“JURASSIC WORLD: FALLEN KINGDOM” Review (✫✫)

CREDIT: Getty Images

Dinosaur activism gone awry.

The smartest guy in Jurassic World: Fallen Kingdom by far is Jeff Goldblum. No, I don’t mean his character Ian Malcolm. I mean Jeff Goldblum. He’s the smartest person in the movie for three reasons. One: Being a series staple since 1993, he probably got paid a lot for the small role he had in this movie. Two: He only had a couple of lines, so in total he saved time, money, and effort in accepting this part. Three: When the dinosaurs are facing an extinction-level event that could potentially wipe them all out, he says the most intelligent thing out of anyone else in the movie: just let them die. “Man tampered with nature the way it wasn’t supposed to,” he says. “This is nature correcting itself.”

If only more people had listened to him, then we could have avoided two catastrophes: one on Isla Nublar, and the other in the movie theater. In this sequel to the Jurassic Park reboot Jurassic World, Fallen Kingdom follows Claire (Bryce Dallas-Howard) and Owen (Chris Pratt) teaming up to save all of the dinosaurs from an erupting volcano expecting to engulf the entire island. While on their venture, Owen is reunited with Blue, the raptor that Owen has trained in the park ever since she was a infant. Now racing against time and a whole slew of dinosaurs chasing after them, Claire, Owen, and Blue have to save the dinosaurs, all while avoiding being eaten by them.

Before we hop into the review, I’d like to take you through a quick recap of the Jurassic Park series. Ever since 1993, we’ve been watching these dinosaurs chomping, stomping, clawing, and ripping their way through one human body after another. We’ve seen T-Rexes, Velociraptors, Spinosauruses, Phterodactyls, Mosasauruses, and until recently Frankenstein’s dinosaurs killing people in all sorts of grisly, gruesome fashions. It’s been 25 years guys. I think the consensus is pretty clear by now: Dinosaurs are dangerous.

So when I see a screenplay where its main characters are getting weepy-eyed about man-eating monsters on the verge of going extinct, my first impulse is to take a PETA pamphlet and use it to choke myself into unconsciousness. Fallen Kingdom is bad, and not the kind of bad where it’s cheesy, over-the-top, and kind of fun in a B-movie way. More like mind numbingly half-baked and forced with such on-the-nose social justice themes that even Madonna wouldn’t want to be associated with it.

I’m not saying that the premise itself isn’t interesting. The whole question of whether dinosaurs have the same rights as animals do is an interesting concept, and a question I would at least like asked in a movie like this. The problem is that it isn’t asked: it’s beaten over your head with a dinosaur bone multiple times, whacking you over and over again while shouting at you “Do you feel sad for the dinosaurs yet? Do you feel sad now? HOW ABOUT NOW?! NOW??? NOW?!?!”

There’s zero nuance to the story. If it had simply asked the question and allowed the audience to come to their own conclusions, then I would be supportive of this premise. But instead of leaving the answer open-ended, writers Derek Connolly and Colin Trevorrow have to spell everything out for you, belittling the audience by thinking that all they want to see is big-budget dinosaur action while rushing through all of the development behind it. And I’ll be honest, humanitarian questions or big-budget dinosaur action, I’m fine with either one. But the movie fails to fully deliver on either front, and in doing so it leaves the audience frustrated and unfulfilled.

That’s not to say that there aren’t enjoyable moments in a picture like this. In its subtler moments, director J.A. Bayona (The Impossible, A Monster Calls) elevates the movie above mediocrity, manipulating his environments to usher in a sense of unease and paranoia similar to the first film. I find that in most movies, it’s not the threat itself that is so unsettling, but rather the anticipation behind it that makes it so riveting. Steven Spielberg understood this in the first movie when we saw the T-Rex for the first time. It wasn’t the dinosaur itself that made us so tense, but the way we heard its heavy breathing through the forest trees, its ominous footsteps pounding onto the ground, water rippling from the shockwaves of its steps. More often than not, it’s not just the creature alone that is so scary; it’s our own perceptions of it as well.

Bayona, at some level, understands that exercising his film similarly leads to the best thrills. When dinosaurs are running away from an exploding volcano in his picture, I’m yawning. When carnivorous beasts are fighting, clawing, and biting at each other, I’m looking at my watch. But when the humans are cornered in a dark, isolated mansion and are quietly evading a mutated Velociraptor hunting them? There’s your moneymaker. Now I’m on the edge of my seat.

Overall, Jurassic World: Fallen Kingdom is not the worst Jurassic Park movie (see Jurassic Park III), but it definitely isn’t anywhere near the quality of the first film. Even the second movie The Lost World had the good sense to not take itself too seriously, something that would have drastically improved Fallen Kingdom if it had taken a similar approach. Where will the series go from here? Unfortunately to a sixth movie, which I sorely do not want but in any case am powerless to stop anyway. I know one thing for certain: if they call it anything besides Jurassic Planet, I will be extremely disappointed.

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Miles Teller Cast As Goose’s Son In ‘Top Gun’ Sequel

SOURCE: Vulture.comMiles Teller is feeling the need for speed.

After waiting over 30 years for a sequel to Tom Cruise’s highly popular Navy action film Top Gun, Paramount Pictures confirmed that a sequel was coming out next year titled Top Gun: Maverick and will be directed by Joseph Kosinski (Tron: Legacy, Oblivion).

But that’s not all they confirmed. They also announced that actor Miles Teller would be playing Goose’s son Bradley in the sequel as well.

Fans of the original Top Gun will remember that Maverick’s best friend Goose, portrayed by Anthony Edwards, died after an ejecting accident in the first movie. Although details for the sequel are kept under wraps, we do know that Tom Cruise and Val Kilmer are reprising their roles as Maverick and Iceman respectively.

And of course, Teller is involved with the project as well.

Teller is really starting to develop a name for himself as an actor. Making his debut years ago in the 2010 drama film Rabbit Hole, Teller has gone on to star in numerous successful projects, including the coming-of-age film The Spectacular Now, the musical thriller Whiplash, and more recently the military drama Thank You For Your Service. He even collaborated with Kosinski before on the firefighter picture Only The Brave.

All the same, I just don’t see the resemblance between Teller and Anthony Edwards. Other actors in the running included Nicholas Hoult and Glen Powell, and both of them look more similar to Edwards than Teller does. Teller, meanwhile, looks more like Tom Cruise than he does Anthony Edwards.

Granted, looks aren’t everything, and if we’re only looking at talent exclusively, then Teller’s got that in spades. Still, it never hurts to look more like the character you’re related to, and when the movie comes out, that is an obstacle Teller and crew will have to overcome together.

What do you guys think? Are you excited to see Teller hop into a fighter jet, or do you wish he would have stayed grounded? Comment below, let me know.

– David Dunn

SOURCE: The Hollywood Reporter, Entertainment Weekly

“THE INCREDIBLES 2” Review (✫✫✫)

SOURCE: Walt Disney Studios Motion Pictures

One childhood later…

Can a good thing come too late? You tell me. Can a thief return your wallet after spending all of your money? Can a firetruck put out the fire after your house already burned down? Can a lover apologize after admitting to cheating on you? The answer is yes, a good thing can absolutely come too late. And like Syndrome once said a long time ago, Incredibles 2 came too late: 15 years too late.

In perhaps the most unnecessary sequel since Cars 2 (oh yeah, I went there), Incredibles 2 picks up right after the Incredibles encountered the Underminer at the end of the first movie (which is incredibly frustrating, since Violet, Dash, and Jack-Jack haven’t aged a day, whereas I’m so old that I’ve grown a beard). Despite saving the day not once but twice, supers are still outlawed by the federal government and are still considered menaces to society, despite the good that they try to do.

Enter Winston Deavor (Bob Odenkirk), a telecommunications CEO and super-fan that wants to legalize superheroes and bring them back into the spotlight. Pouring his investments into a massive PR campaign to make supers well-liked again, Deavor enlists in the help of Helen Parr, a.k.a. Elastigirl (Holly Hunter) to carry out missions and change the public perception of superheroes. With Elastigirl busy out superheroing, Bob (Craig T. Nelson) is left at home to watch over the kids, and despite being Mr. Incredible, he is certainly not the most incredible Mr. Mom.

First thing’s first: Incredibles 2 looks gorgeous. That’s to be expected of course, considering we waited a decade and a half for the bloody thing to come out. Regardless, the visual feats Incredibles 2 achieves are nothing short of spectacular. It not only deserves to be compared to its predecessor, but it demands to be seen as superior.

The action is much more proliferate in Incredibles 2, and that’s generally to be expected, considering how heavy a role the action played in the first Incredibles. Still, I was impressed at how unique and clever the spectacle was and how Pixar didn’t just repeat themselves from the first movie. In one exhilarating chase sequence, Elastigirl was chasing a runaway train on her Elasti-cycle, which separated into two halves, allowing her to make flexible leaps with her torso while driving. That was an incredibly inventive way to use Elastigirl’s abilities, and I caught myself being on the edge of my seat as I watched her leap on top of cars, railroads, and buildings chasing the train. My favorite scene from the film had to be when the adolescent Jack-Jack’s powers were emerging and he fought a raccoon rummaging through his trash in the backyard. No, this is not some special, super-powered raccoon. It’s just a super-baby fighting an everyday, average, frightened raccoon. Rocket from Guardians of the Galaxy would have been mortified.

The visuals and the action were great in the the first Incredibles, and they’re just as fantastic to watch here. Where its sequel begins to falter is its plot. Unlike the first movie, where its writing was fresh, organic, and addressed real-life family issues and emotions, Incredibles 2 feels too generic for its own good; like it knows it has to churn out a sequel and just came up with the most basic concept it could just to save time on its production schedule. Now don’t get me wrong, I wasn’t expecting anything ground-breaking with Incredibles 2. Lord knows the movie could have been The Godfather of animated superhero sequels and still not be up-to-par with the first movie. Even with that expectation, however, I was disappointed at how unspectacular the film’s premise really felt.

Take for example the movie’s villain Screenslaver (Bill Wise). Simply put, he’s your average supervillain megolomaniac, a guy conjured up just to fight our heroes with nothing more to add to their personal stakes. Compared to Syndrome from the first movie, who had a traumatic childhood experience where he reasonably felt betrayed by his heroes, Screenslaver simply does not have the gusto to be a driving force behind this movie’s conflict. Yes, his powers are interesting and unique enough to control the supers against each other. So what? That doesn’t make him a compelling character, and his motivations for fighting the Incredibles are just plain weak. One of my best friends even turned to me in the theater and told me how he thought the movie was going to end. Sure enough, the film ticked on like clockwork, and my friend’s predictions almost happened word-for-word.

I’m not surprised by the simplicity of this film’s story. Quite honestly, I was expecting it. What I am surprised by is how long it took for writer-director Brad Bird to make this. It’s been 14 years since The Incredibles came out. Since then, Bird has released multiple stellar pictures, including the masterful and moving Ratatouille, the exciting and revitalizing Mission Impossible: Ghost Protocol, and even the mediocre Tommorrowland was filled with vision and imagination. Time and time again, Bird has proved his worth as a creative storyteller. And you mean to tell me you waited half of my literal life span for the right inspiration???

Sorry, I’m not buying that. I was Dash’s age when the first Incredibles was released, and now here I am older than Violet, expected to feel the same way about it when I was younger. Real life doesn’t just pause like that. Even Toy Story 3, which also had a 10-year release gap between Toy Story 2, had the good sense to fast forward in time with its characters. That’s because as Andy grew, so did we. I was a little kid playing with my favorite toys when Toy Story 2 came out, and then I grew up, becoming a young adult by the time Toy Story 3 was released. I even graduated from high school the same year that Andy did. But with The Incredibles, there is no growth, no reflection that we’re supposed to look back on. I’m just an adult expected to go back in time to my youth so I can feel the same about The Incredibles as I did when I was 11. How is that reasonable? How is that fair?

I’m tasked with answering the most basic question here: Is Incredibles 2 good? The simple answer is yes, it is very good. Like the first movie, Incredibles 2 is fast-paced, funny, and exciting, further challenging the blurred lines between animated and live-action films and what they can accomplish for their audiences. The complicated answer is that its quality doesn’t matter. I’ve long left my childhood behind, just like millions of eager fans like myself have years ago. Time has passed. We’ve already grown up. And Incredibles 2 means less to us now than it would have if it were released seven or eight years ago.

In either case, be on the lookout for Incredibles 3 in the future, where it will undoubtedly come out when I turn 60.

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“THE INCREDIBLES” Review (✫✫✫✫)

SOURCE: Buena Vista Pictures

Mister and Misses (Plus the kids)

I’ve never seen a film like The Incredibles before, and I doubt I will ever see another one like it again. Oh, don’t get me wrong, I’ve seen plenty of my fair share of superhero movies before, including more recently X2 and Spider-Man 2. But The Incredibles in particular is special even compared to those movies. Like Toy Story, Monsters Inc., and Finding Nemo, The Incredibles challenges the visual and emotional capability of the animated motion picture and asserts it as equal to its live-action peers, and so it is. The Incredibles has earned every right to be compared to the likes of Superman, Batman, Spider-Man, and the many others that will come after it.

Taking place in a world where Supers are as common as regular folks are, The Incredibles follows one super-heroic family trying to re-accommodate into normal American life. Bob Parr, a.k.a. Mr. Incredible (Craig T. Nelson) is the super-strength super-dad of the family going through a mid-life crisis of sorts, while his wife Helen a.k.a. Elastigirl (Holly Hunter) is just trying her best to be a good housewife and mother for her kids. Speaking of the kids, they’re facing adolescent issues of their own, with the force-field wielding Violet (Sarah Vowell) struggling with her shyness around a school crush, the speedster Dash (Spencer Fox) frustrated that he isn’t allowed to participate in school sports, and the baby Jack-Jack (Eli Fucile)… well, everything and anything that can go wrong with being a super-baby.

One day, Bob gets a secret message enticing him back into superhero work, despite it being outlawed by the federal government. Reminiscent of the old days of superheroing and wanting to give it one last go, Bob suits up as Mr. Incredible and sets off for one incredible adventure with his family.

The visuals are nothing short of astounding in this movie. Just like with Toy Story and Finding Nemo, The Incredibles is a colorful, vibrant adventure beaming with impressive detail and saturation. Yet, even by Pixar’s already impressive standards, The Incredibles still manages to stand out. How? Simple: the speed and motion of character’s animation is fast-paced and exciting, on-par with other superhero fan-fares that features similar exhilarating action.

It doesn’t take long for us to notice this. In fact, in the first 10 minutes alone, Mr. Incredible 1) Saves a cat from a tree, 2) Stops a high-speed car chase, 3) Interrupts a rooftop robbery, 4) Saves a citizen from leaping off of a building, 5) Fights a super villain in the middle of a bank heist, 6) Saves a child from a bomb attached to himself, 7) Stops a train from derailing off of its tracks, and 8) Makes it just in the knick of time for his own wedding. When I say this movie feels like the Spider-Man, X-Men, or Superman movies, I mean it. This movie is so exciting to watch that you feel like it can compete with most action movies, let alone animated ones as well.

I wondered why this movie felt so different compared to the rest of the animated genre? It doesn’t feel like its aimed at children, after all. What with its highly-stylized action violence, explosive spectacle, and more darker, mature moments, I wondered why this felt so adult-oriented despite its PG rating? Then I remembered: this film was directed by Brad Bird, who also helmed the animated science-fiction film The Iron Giant years ago. Like The Iron Giant, The Incredibles is a movie filled with ambitious vision; daring in its visual art and far-reaching in its emotional range. In many ways, they’re both very similar films. They both portray the modern American family robbed by normalcy and dysfunction. They are both thrown into extraordinary circumstances that they find mesmerizing and fascinating. And ultimately, they pull themselves out of their dire situations through the greatest superpower of all: family.

You’ll also notice how the movie has an aesthetic that satires 90’s spy movies such as James Bond and Mission Impossible. I wasn’t sure how exactly that was going to work for an animated superhero movie like The Incredibles, but it works beautifully. The scenery evokes the feel and grandeur of MI6 headquarters, while the Incredibles’ gadgets are reminiscent of the toys that Q provides Bond to bring with him on his missions. Speaking of Q, there’s a spoof of the character here named Edna Mode, who’s hilariously voiced by Brad Bird himself, and she provides a personality so melodramatic and overbearing that she couldn’t help but remind me of those high-strung fashionites not unlike Edith Head or Anna Wintour. And the music by Michal Giacchino is especially sleek and snazzy, with its jazz horns blaring and its drums beating like those smooth spy jams you listened to growing up.

Go and see The Incredibles. My review cannot get much simpler than that. It’s an exciting, action-packed, suspenseful, funny, and wildly entertaining thrill ride that not only blows most of its animated competition out of the water, but also most of its live-action superhero counterparts as well. To put it in one word, the movie is simply… incredible.

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Joke’s On You: Joaquin Phoenix Cast As Martin Scorsese’s Joker

We’re going to be getting a lot of Joker for the next several years.

Several projects attributed to Batman’s arch-nemesis has been making its way out of the woodwork for the past several weeks now. For one thing, DCEU confirmed a Joker spinoff following Jared Leto’s portrayal of the character after his debut in David Ayer’s Suicide Squad. The character is also reportedly rumored to make an appearance in upcoming movies from DCEU’s slate, including Suicide Squad 2, Gotham City Sirens, and The Batman.

Beyond that, however, there’s another Joker movie that functions as a prequel and is being produced by Martin Scorsese (Goodfellas, Wolf of Wall Street) and directed by Todd Phillips (The Hangover trilogy). The casting for Martin Scorsese’s Joker has just been announced, and it is none other than Walk The Line actor Joaquin Phoenix.

At first glance, this casting seems like an odd choice to play the Joker, especially in a Martin Scorsese production. With roles in movies including I’m Still Here, The Master, and Her, Phoenix is more recently known for playing the introverted, quiet character. He isn’t really known for playing extroverted, animated characters outside of Gladiator and Walk The Line. With that in mind, it seems odd to cast him as a psychotic criminal who wears a purple suit and clown makeup on his face.

That is until you realize this is a Joker prequel, and most of the scenes presumably are going to portray the character before he took on the villainous mantle. Rumored to be loosely adapted on The Killing Joke storyline by Alan Moore which showed the Joker before going on a downward spiral of madness, it’s very possible that Phoenix’s portrayal is just going to be a regular old Joe that has one very bad day that transforms him into the Clown Prince of Crime. Through that scope, Phoenix’s casting is pitch-perfect, and it will be fascinating to see how he slowly turns from a Gotham City everyman into Batman’s greatest nemesis.

What do you guys think? Are you excited to see Phoenix become the Joker, or are you going to skip it in favor of Jared Leto’s portrayal? Comment below, let me know.

– David Dunn

SOURCE: The Independent, Screen Rant

Ewan McGregor Cast In ‘The Shining’ Sequel

Ewan McGregor is having a great year.

First, he’s starring in the titular role of Walt Disney’s upcoming live-action Winnie the Pooh movie Christopher Robin. Then Disney announced an upcoming Obi-Wan Kenobi movie, which is potentially looking at McGregor to reprise his popular role. Now he’s being tapped to play the lead in the upcoming sequel to Stephen King’s horror saga, The Shining.

Indiewire first broke the news that McGregor officially signed on for the role of Danny Torrence in Doctor Sleep, which shows what happens to an older Danny and his mother after his father Jack (Jack Nicholson) goes mad in The Shining. Details of the film are still being kept under wraps, however much of it is expected to loosely follow the events of the book which it is based on. It’s also going to be written and directed by horror filmmaker Mike Flanagan, who gained notoriety years earlier for directing the slasher film Hush and Stephen King’s Gerald’s Game.

Ewan McGregor? Stephen King? The Shining? Yes please, sign me up for all of it. Stephen King has had no shortage of success in the film industry, his most successful adaptations including The Shawshank Redemption, Misery, The Mist, Carrie, and more recently It. Hearing that we’re going to get more Stephen King horror goodness is exciting enough on its own. The fact that an actor as talented as McGregor is going to be on board with it is downright heart-stopping.

What do you guys think? Are you excited that McGregor is going to be entering the Stephen King universe, or do you wish they’d leave King’s classics alone? Comment below, let me know.

– David Dunn

SOURCE: IndieWire, Entertainment Weekly

“SOLO: A STAR WARS STORY” Review (✫✫)

SOURCE: Walt Disney Studios Motion Pictures

Ron shot first.

There are two key problems with Solo: A Star Wars Story. First, nobody asked for nor wanted a Han Solo movie. Second, this isn’t a Han Solo movie. If it were, it would have the real Han Solo in it with Harrison Ford, or at the very least, somebody who looked like him. As it stands, all we have is the kid from Hail, Caesar! wearing a Han Solo costume playing pretend on a film set. A more accurate title for this film would have been Star Wars Cosplay: The Movie.

The plot follows a younger Han Solo (ish) played by Alden Ehrenreich, growing into the smuggler that we know of before the events of the original Star Wars. The film shows us everything that has made Han Solo (ish) become Han Solo, from how he got his name, to meeting Chewbacca (Joonas Suotamo), to where he got his signature blaster, to getting the Millennium Falcon. Because, you know, all of those were glaring questions we had from the first eight movies.

There are several things wrong with Solo: A Star Wars Story, but let’s start with its execution. Reportedly the biggest point of contention between producer Kathleen Kennedy and previous directors Phil Lord and Chris Miller, Solo was previously going to be handled in a loose, improvisational style similar to Thor: Ragnarok. After Kennedy got fed up with Lord and Miller’s direction and fired them, she brought on Academy Award-winner Ron Howard (A Beautiful Mind, Rush) to finish production, sticking closer to the script and deviating less from what was on the page.

That’s a problem for Solo, because the script is monotonous at its best and insipid at its worst. Written by veteran Star Wars scribe Lawrence Kasdan and his son Jonathan, Solo is a muddled, incoherent mess, forcing an explanation for every small, insignificant detail that never came into our minds. Some scenes were done well, like when Han met Chewie for the first time after the Wookies were forced out of Kashyyyk in Revenge of the Sith. Other scenes, however, are downright pompous and silly. For instance, were you ever curious how the Millennium Falcon got its iconic shape (besides being simply designed that way)? Did you know that a giant squid was chasing the Falcon during the Kessel Run, as if it wasn’t impressive enough that it ran it in 12 parasecs? And what about the biggest shocker: how Han Solo got his name? Hint: his parents didn’t give it to him.

All of this leads to the core issue here: who, in their right science-fiction fanboy mind, wanted a Han Solo prequel? I would think that out of all of the Star Wars characters, Solo is the least you would need backstory on next to the Skywalkers. What was the point of all of this? Was a prequel so desperately necessary that we needed an explanation for every single mundane detail surrounding Han Solo? Did this story really need to be told? Did Harrison Ford’s legacy really need to be brought back from the grave just so it could be tarnished at the box office?

Speaking of Harrison Ford, Ehrenreich is downright cringeworthy as the younger Han Solo. And to be fair, it isn’t his fault. Hell, it was damn near impossible from the get-go making a Han Solo movie without Harrison Ford. But it wasn’t completely hopeless. Australian actor Anthony Ingruber gave a great Han Solo impression way back in 2008, and he even impeccably mimicked Harrison Ford’s mannerisms in 2015’s Age of Adaline. So a movie portraying a younger Han Solo wasn’t completely out of the question; only far-reaching at Galaxy length.

So what went wrong with Ehrenreich’s portrayal? Besides looking nothing like Harrison Ford, his mannerisms are completely wrong. When you look at the smooth, coy, inherently self-centered smugness of Ford’s Solo in the original trilogy and compare it side-by-side with this kid, you see a guy tripping over his blaster pretending to be a character he isn’t. Ford was cool and confident. Ehrenreich was clumsy and clueless. Ford was sharp and smooth. Ehrenreich was awkward and out of place. Ford has personality and attitude. Ehrenreich had no personality and wishes he had attitude.

Admittedly, not everything in Solo was terrible. The visual effects are impressive as always, and the action is fast, thrilling, and exciting to watch. The small Easter Eggs scattered are about as fun as they always are, with one cameo from the prequel trilogy in particular surprising me quite a bit. And the performances outside of Ehrenreich’s are mostly reliable, with Donald Glover shining in particular as he channels Billy Dee Williams into a younger, spunkier Lando Calrissian (although he had a romance with a droid character that felt, for a lack of a better word, artificial).

All of this just further reinforces how unnecessary Solo: A Star Wars Story was. Again, why was this movie made? A fan of the franchise could not give you an answer that would make any sense. Walt Disney Studios, meanwhile, could give you several reasons relating to the box office. Pray that the studio doesn’t decide to milk the franchise any further to the point where we’re getting a Jabba the Hutt movie. And before Kathleen Kennedy asks, no that was not an actual recommendation.

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“DEADPOOL 2” Review (✫✫✫)

SOURCE: 20th Century Fox

Really? Three stars AGAIN?!

SCREW David Dunn. First, he has the balls to give Logan half a star higher than my first movie after it rode MY R-rating (Yeah that’s right, you’re a freeloader Hugh Jackman), but then his balls grew to tumor-size to give my second movie the same rating?!?! WHY DO YOU KEEP DOING THIS TO ME, DD???

First, don’t compare my initials to a bra size. Second, since you basically did the same thing twice, so am I (hence why we’re also having this conversation a second time).

Oh, shut up. I have Josh Brolin and a metal arm! Doesn’t that count for something?!

Not particularly, since the Marvel Cinematic Universe also has both of those things. What’s he doing in your movie again?

He time-traveled from a dystopian future to kill a kid and save his timeline.

So… he’s the Terminator?

Pretty much, yeah.

Gotcha. So, run the whole thing by me again. How exactly is Deadpool 2 different from the rest of the superhero genre?

I’m glad you asked! First, [INSERT SPOILER ALERT] dies at the beginning of my movie! Second–

That’s already happened.

I beg your pardon?

[INSERT SPOILER ALERT] dying at the beginning. That’s literally happened in every superhero movie like… ever.

Baloney sandwich. Name ten.

Superman, Blade, Spider-Man, Batman Begins, X-Men Origins: Wolverine, Guardians of the Galaxy, Batman V. Superman, Captain America: Civil War, Black Panther, and Avengers: Infinity War. The last two, by the way, were also released this year and are better than both of your movies.

Curses. Outdone by Disney again.

Not for much longer, I suspect.

Okay, but what about everything else in the movie? The action? The drama? The jokes? The Easter Eggs? The cameos? I mean, you HAD to enjoy all that?!

Actually, I did, and I suspect your fans will enjoy it just as much as well. Profane, loud-mouthed, and obnoxious as you are Wade, the one thing you keep proving is that you’re consistently funny. And man, did you have me rolling on the ground laughing. I really liked the opening sequence where you spoofed the James Bond credits, and how you parodied team-up movies like The Avengers and X-Men by bringing together the X-Force. And don’t even get me started on how you commented on the financial stinginess of 20th Century Fox.

Hahaha, hell yeah. Thanks Double-D, I’ll take that fourth star now.

Sorry Wade, but no can do. That’s only reserved for movies that I feel really deserve it.

WHAT THE ****, YOU ************** *** ** * *** ***** *******, WHY DOESN’T DEADPOOL 2 DESERVE IT?!?!

Wade, it’s the same movie. It’s the same freaking movie. Deadpool 1 IS Deadpool 2. You even bring in the same roided-out Russian at the end to solve all of your biggest problems.

Ah, yes. Just like Donald Trump.

Please keep the politics to a minimum, Wade.

Alright, so give it to me straight. What do I have to do to make you give me four stars and an MTV Movie Award?

Wade, I don’t think it’s about a star rating. You found your niche. You’ve made not one, but two fantastic movies that deliver a hilariously violent spoof of the superhero genre. Yeah, it’s not quote-unquote “outstanding.” So what? Maybe the fact that you aren’t some profound, emotional, culturally relevant blockbuster isn’t your weakness: it’s your strength. Maybe you don’t need to be like Captain America, or Spider-Man, or Iron Man, or Wolverine. Maybe you just need to be yourself.

… it’s because I’m white, isn’t it?

Wade.

It’s because I’m white.

I’m very uncomfortable talking about this.

Is that why you gave Black Panther four stars?

I’m done with this conversation. Hit me up when you release X-Force. And a four-star movie.

Oh, you piece of—

I’m sorry, I couldn’t help myself.

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