One of these things is not like the other…
Let’s get it on.
Directed by Jason Reitman
Written by Matt Bai & Jay Carson & Jason Reitman, based on the book All The Truth Is Out by Matt Bai
Cast: Hugh Jackman, Vera Farmiga, J. K. Simmons, Alfred Molina, Sara Paxton, Mamoudou Athie, John Bedford Lloyd, Bill Burr, Kaitlyn Dever, Molly Ephraim, Josh Brener, Mike Judge, Kevin Pollak, Ari Graynor, Mark O’Brien, Alex Karpovsky, Toby Huss, Tommy Dewey, Spencer Garrett, Nyasha Hatendi, Steve Zissis, Chris Coy, Jennifer Landon, Oliver Cooper, Courtney Ford, Jonny Pasvolsky, Randy Havens, Steve Coulter, Jenna Kanell, Gabriel Manak, Evan Castelloe
Soundtrack: Rob Simonsen
The Front Runner has gotten mixed reviews, and I think I know why (Rorschach test-type situation), but ultimately I don’t understand why. Given that we live in the Golden Age of the Documentary, and based-on-true-story movies often fail to justify themselves, this one was a refreshing exception.
I’ll admit that I haven’t seen a Jason Reitman film since Thank You for Smoking, which I enjoyed and which The Front Runner compares favorably to, though they are distinct from each other, but to me you can’t really ask for more from a non-fantastical film-making perspective. It’s a period piece that takes itself very seriously in that regard (which I appreciated to no end), it’s slick, the performances are by-and-large very good if not excellent (a few questionable casting decisions, but nothing unforgivable), and, at least in my opinion, it lets you make up your own mind (which is perhaps why some people are down on it).
Truthfully though, this is the Hugh Jackman show. Not that he doesn’t have plenty of help (Vera Farmiga in particular is her usual wonderful self), but it’s certainly among the best performances I’ve ever seen from him, maybe the best so far. I don’t know if it’ll be “impressive” enough to earn him awards season love, but it would not shock me to see him earn some nods.
It may not be an entirely life-changing experience (although it is about not only a life-changing experience, but a societal-changing experience), but given how down this year has been for movies, I have no problem giving The Front Runner a quality recommendation.
Rating: ★★★★☆
Directed by Steven Caple Jr.
Written by Sylvester Stallone (story and screenplay), Juel Taylor (screenplay), Sascha Penn (story), and Cheo Hodari Coker (story)
Cast: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Dolph Lundgren, Florian Munteanu, Wood Harris, Russell Hornsby, Andre Ward, Phylicia Rashad, Jacob “Stitch” Duran
Soundtrack: Ludwig Göransson
Alright, Rocky IV: Part 3-D. Let’s do this.
It’s crazy, because the main fulcrum of Creed II is like something a couple of kids would have thought up on a playground thirty years ago: “What if Apollo Creed had a son and Ivan Drago had a son and they fought each other?”
And yet, it works. As predictable as it may be at times, as a sequel to a sequel to a sequel will be, Creed II still has enough in its core to be satisfying.
Story-wise, it’s not as cohesive as I remember its predecessor being, but it brings out just as much emotion (cribbing good story elements from Rocky II, III, and IV helps with that), and, frankly, from a visual standpoint, I actually think it’s a better looking film (I can’t find any numbers, but I’m guessing this had a bigger budget than the $35 million for Creed, which would be one explanation why).
In terms of performances, not everybody gets a whole lot to do (even Stallone seems to have less screen-time than in the last one), but I can’t think of anyone who sticks out in a bad way (except maybe for Max “Where’s My Camera” Kellerman). Even Dolph Lundgren (who I like more than most other people seem to) brings his fair share to the table. And, he only gets about three scenes, but I really liked Russell Hornsby as the fight promoter.
I know I rag on Hollywood’s lack of originality these days quite a bit, but at the same time I try to judge every movie I see on it’s own merits, and I like what Creed II brings to the table, especially as a Rocky IV fan.
Rating: ★★★★☆
Directed by Phil Johnston & Rich Moore
Written by Phil Johnston (story and screenplay) & Pamela Ribon (story and screenplay), Rich Moore (story), Jim Reardon (story), Josie Trinidad (story)
Cast: John C. Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, Gal Gadot, Taraji P. Henson, Bill Hader, Alfred Molina, Alan Tudyk, Ed O’Neill, Flula Borg, Hamish Blake, Ali Wong, GloZell Green, Timothy Simons, Ana Ortiz, Jason Mantzoukas
Soundtrack: Henry Jackman
On the one hand, I want to hate on Ralph Breaks the Internet for being a giant corporate self-pleasure session (which, to be fair, it is).
On the other hand, it’s a lot of fun and it tugged at my heartstrings.
Life is complicated sometimes.
I don’t remember why I didn’t see Wreck-It Ralph in theaters, I think I was just too skeptical to pull the trigger, but eventually I came around to it on DVD and was pleasantly surprised; and the sequel is an even more pleasant surprise because it might actually be better than the original.
Does it go too far sometimes with the references for references’ sake? Most certainly yes, but, strip all of that away (and, honestly, sometimes it is handled in clever and humorous ways, especially the princess elements), and you still have a solid story of friendship. Simple, but solid.
It might seem obvious, given that it’s an animated film, but beyond the voice performances, which are by-and-large on point, and the music, the movie’s biggest strength is it’s detailed visual creativity. Little things like how players in the not-Grand Theft Auto game move with a little lag as opposed to the free-flowing non-player characters, and just overall in how the Internet as a setting is portrayed, as I said, it’s a lot of fun.
Will Ralph Breaks the Internet hold up in ten to fifteen years? Maybe, maybe not, but somehow it feels more substantial than a lot of other “time-capsule” movies. I mean, it’s clearly geared towards Disney fanatics, of which I am not one, and I still give it a high recommendation, so, take that for what it’s worth.
Rating: ★★★★☆
Directed by Otto Bathurst
Written by Ben Chandler (screenplay and story) and David James Kelly (screenplay)
Cast: Taron Egerton, Jamie Foxx, Ben Mendelsohn, Eve Hewson, Tim Minchin, Jamie Dornan, Paul Anderson, Josh Herdman, Cornelius Booth, Björn Bengtsson
Soundtrack: Joseph Trapanese
Hey, remember Batman Begins? That was a good movie.
No, but seriously, as much as this version of Robin Hood wanted me to hate it, I can’t say I hated it. I wouldn’t say it’s good, but it’s not all bad either.
I don’t know that it entirely works or makes sense (in fact, it’s a bit jarring at times), but I don’t fault the filmmakers for trying to do something different in terms of visual style and fight choreography. After all, when you’re the fifty-seventh (numbers approximate) Robin Hood movie in film history, you’ve got to do something to distinguish yourself.
Honestly, even story-wise, I wouldn’t say things are entirely poor, but there are moments when the writing is so awful you can’t even believe it. Add to this a dose of ham-fisted social and political commentary (The War on Terror is the new Crusades! The Church is evil!), which is no surprise given that one of the producers is Leonardo DiCaprio, and some related tonal inconsistencies (much of the movie is played pretty straight, but then there are scenes, in order to paint people as cartoonishly evil, that are like The Hunger Games meets Mad Max), and you go from a pretty good movie to something you’d randomly find in a Redbox.
As I keep saying though, it’s not all bad, and most of the good comes down to Taron Egerton as Robin Hood. Occasionally there’s a line or two that not even Laurence Olivier could make good, but on the whole his performance is charming and enjoyable, yet deeply human.
Still though, as most remakes are, 2018’s Robin Hood isn’t really worth your time or money.
You might even say that it’s a Thanksgiving turkey.
Rating: ★★½ (out of five)
, because it’s definitely not a parody, but it knows what it is and makes no apologies for never getting too, too serious.
was panned enough at the time to earn three Razzie nominations, but who cares about that now? I certainly don’t.
, if only based on the strength of its second half (which is much more action-packed).
would be another good example, though Paul Verhoeven’s satire is much more biting). Some people might say the future is played too cheesy here, and, yeah, it goes a little too far with that at times, but on the whole the fact that it seems off-putting actually works in the movie’s favor, because you’re seeing things through the eyes of our primary characters; and let’s face it, if you suddenly woke up 36 years into the future, you’d probably think everything and everybody was pretty weird.
is great because it makes you feel great, and if you don’t like it, you hate America. End of story.