Movie Review: Spider-Man: No Way Home

8/10

An emotional rollercoaster thrill ride that also manages to hit all the right nostalgia buttons.

While the first act of Spider-Man: No Way Home seems content to follow the routine Marvel movie formula, the film packs enough twists and turns to elevate it above the previous two installments.

I usually prefer superhero films that are grounded in an element of reality (i.e., The Dark Knight), and the latest three Spider-Man films are definitely not that. They are almost meta in their hyper-awareness of their fictionality and cartoonish crossovers to other Marvel films.

Then again, the story is about a teenage guy who swings via a spider-like web over urban landscapes. How much realism should I really expect?

This film picks up where the previous entry left off. Spider-Man’s identity has been exposed, and it’s giving both him and his loved ones hell. With the aid of Dr. Strange (another Marvel superhero), he attempts to revert the past to a version in which no one ever knows that he is Peter Parker. The attempt goes awry (of course) and opens up other dimensions. Characters from previous Spider-Man films who know of Spider-Man’s identity are invited into this world. That means that previous Spider-Man universe villains appear (they’re the main characters who know that Spider-Man is actually Peter Parker, after all), and they’re all too eager to wreck havoc.

The film really piqued my interest when the previous two actors who portrayed Spider-Man, Toby Maguire and Andrew Garfield, show up too. They are also Peter Parker, after all, albeit in different universes. They provide a much-needed emotional punch to the film and a few life lessons to pass on to this universe’s Peter Parker.

This film is ultimately a story about forgiveness and redemption, and bringing in the previous Spider-Man stars was the perfect way to explore these themes. The heavy emotional weight of the final act adds substance to the characters and plot that the previous films didn’t provide. I was glad that the movie dared to take a few unexpected and highly emotional turns.

As far as Marvel movies go, this is the best one in a long time.

Movie Review: Candyman (2021)

5/10

A somewhat interesting reimagining/sequel that’s sorely lacking in scares and compelling characters

The 2021 Candyman serves as both a sequel to the hit 1992 film and a reinterpretation of the classic storyline. Produced and co-written by Jordan Peele, the core of the film’s scare tactic remains the same: say “Candyman” five times in front of a mirror, and a malicious spirit appears to kill you.

Like the original film, the 2021 comes equipped with social commentary. The horror genre is an excellent medium for social commentary. In this rendition, “Candyman” isn’t so much a specific spirit as it is the collective energies of an oppressed and predominately black district, and the tragedies within it (tragedies that repeat in various forms for over a century). As one character in the film puts it, “Candyman is the whole damn hive.” There are several iterations of Candyman, not just the original ghost: a spirit can emerge if a death comes equipped with enough injustice and brutality.

While the idea of the film is great, actor Tony Todd (who played the original Candyman, aka Daniel Robitaille) is sorely missed. He steals the show in the original film because his dialogue is terrifying and his voice is utterly mesmerizing. He doesn’t just take Helen as his victim: he completely seduces her.

Without Tony Todd, the force that is “Candyman” loses a lot of dimension and terror. I never felt the same chills down my spine.

I can’t recommend the film because there was not a moment of it that seemed remotely suspenseful. We see sequences where an invisible force violently guts its victims with a hook, but there is little buildup and minimal anticipation of danger.

It probably doesn’t help that most of the victims are basically cardboard cutouts who leave about as quickly as they’re introduced. We never really feel invested in their safety.

The film’s pacing also leaves a lot to be desired. It meanders for long stretches with only a quick and somewhat random killing to keep the audience’s attention. The ending ultimately feels abrupt and rushed.

While the film has some great moments (the animated sequences are stunning) and a solid theme for the urban legend to explore, as a horror film it’s just too bland to be effective.

Movie Review: Dune

6/10

A visually arresting but emotionally cold sci-fi epic.

The critics raved about Denis Villeneuve‘s adaptation of Dune. As a fan of Blade Runner 2049, Sicario, and Arrival, I wanted to deem it a masterpiece. But I just couldn’t.

The latest Dune adaptation is faithful to the classic Frank Herbert novel. The cinematography is breathtaking, the performances are solid, and the narrative hits the same major points as the novel. Political games and conniving leaders vie for control of Arakis, and ultimately “the spice”, which we are told is a key material for space transport.

Ultimately, I just didn’t feel anything for any of the characters. The film felt like a 2.5 hour introduction to a story, which leads little room for arcs or a full sense of a “hero’s journey”. Villains are only glimpsed and romantic arcs are only hinted at. Maybe that’s the problem: I need to see the saga in its entirety to really make a judgment call.

Still, I didn’t find Paul Atreides to be particularly arresting as a protagonist. The film didn’t really give us a reason to want him to ultimately become a “Messiah” for the Fremen, the natives on Arakis who have long been tormented and repressed by exploitative colonialists. I just didn’t really care. Maybe it’s because Paul himself doesn’t really seem to care for most of the film.

And maybe that’s the point, that everyone in the film is a political pawn for someone else. Duke Atreides is tragically just a pawn for the emperor, just as Paul is a pawn for the Bene Gesserit and their creepy breeding program (they are experimentally breeding with powerful figures in hopes of creating some sort of “savior” for the universe). I find that interesting, but it still didn’t make me feel much for anyone in the movie.

I may change my opinion when I’ve seen the second half of Dune. It has been officially greenlit and is slated for a 2023 theatrical release. Until then, I have to be honest with my reaction to the film, as someone who already read the book and watched the 80’s version: cool visuals, but meh.

Movie Review: Malignant

6/10

A bonkers and preposterous thriller that’s also a stylishly good time.

Having director James Wan attached to this film gave me false expectations. The Conjuring and Insidious are deftly crafted nail biters. They showcased Wan’s mastery of suspense, and I expected more of that with Malignant.

The plot centers on a woman who’s head trauma seems to awaken a demonic entity from her past, Gabriel. Gabriel knows her and they share an uncanny connection that leaves the audience wondering: are they the same person? Are they siblings? Is Gabriel the spirit of someone our protagonist killed?

Although this sounds like it could be genuinely horrific, Malignant isn’t remotely scary, nor is it remotely believable. At times it’s absurd enough to be laughable.

Yet it’s also visually stylish and often exciting. Wan seems to have shunned suspense here, but he made Malignant overwrought with gothic visuals and captivating action sequences.

The ending is too over the top to take seriously. But at the same time, it’s macabre fun.

There is some sort of Freudian psychoanalysis going on in the background of the film. It’s a little too Hollywood to go deep into that. But it’s there nonetheless.

I say just go along for the ride and don’t take it seriously. Malignant is a violent but rollicking good time.

Movie Review: The Suicide Squad

8/10

The often-hilarious romp has an excellent cast and brings hope for brighter days in the DC Universe.

I have superhero movie fatigue. In fact I had superhero movie fatigue twenty superhero films ago. The narrative structure is the same in just about all of the films, regardless of which comic book universe the films spring from. The heroes and villains blend together along with their storylines. They are woven mostly into mediocre fabric that is typically overhyped by the social media verse.

Even the recent DC box office successes did little to intrigue me. Wonder Woman and Aquaman mostly stuck to the same formula that skyrocketed the Avengers universe to success. They featured some great lead performances but little distinguishable or memorable outside a “grand final battle”.

The original Suicide Squad was a complete disaster, an exercise of style (and poorly edited style at that) over substance.

James Gunn was the perfect writer-director to revamp the franchise.

With Harley Quinn being the only returning character, I was glad to see Margot Robbie reprise the role. It was a highlight of the first Suicide Squad film. Surrounding her are a new band of misfits that are immediately more engaging and more likeable than the original cast. Highlights are John Cena as Peacemaker and Sylvester Stallone as King Shark. King Shark is arguably the greatest DC character to ever be put to screen. You wouldn’t think it possible that a giant shark/man hybrid with a dad bod who mistakenly tries to eat his own team member could be so endearing. Stallone’s voice is perfect for the character. John Cena, meanwhile, has a comedic talent that will hopefully be more widely recognized as a result of this film. I’ll take a Peacemaker film over anything from the Marvel universe.

Leading the new band of misfits is the always-engaging Idris Elba as Bloodsport, a hired assassin who was imprisoned for “putting a kryptonite bullet in Superman that sent him to the hospital.” Elba is perfect in the role, managing to be at once gritty, reckless, villainous, and likable.

The narrative as a hole adheres to the traditional superhero structure, but does so with enough twists and turns to distinguish this as a comic book move worth the theater price. Characters both good and bad die unexpectedly; the final battle is one for the history books. The movie’s introduction is arguably the greatest opening in superhero film history.

The script provides plenty of laughs. This was easily the funniest superhero film I’ve seen since Deadpool, even managing to be a superior romp to my favorite of the Marvel films, Thor: Ragnarok.

Here’s to hoping Gunn gets the reigns to the sequel!

Movie Review: Pig

10/10

A tour de force performance by Nicolas Cage and a contemplative narrative about loss, love, friendship, and materialism in modern society.

Pig is the first 2021 film I watched that left a strong imprint on my mind afterwards. The remarkable debut film by writer/director Michael Sarnoski tells the story of Rob Feld, an outsider living in what seems like self-imposed exile in the wilderness outside Portland with his pet trotter pig. He gets mugged and his pig gets stolen, and he embarks on a quest into the city to find her.

The story reveals Feld’s backstory layer by layer, and as we follow him we learn that he was once a renowned chef; we also learn of a loss that sent him away from the city. Actor Nicolas Cage is the perfect choice for Feld. Cage, an enigmatic actor whose career has spanned the full spectrum of artistic quality, delivers a masterpiece here. He is utterly believable, and our heart breaks with his through the course of this story.

Also impressive is actor Alex Wolff as Amir, the closest thing Feld has to a friend on his quest into the city. Amir needs the trotter pig for his own aspiring entrepreneurial endeavors. A genuine and believable friendship develops between the two of them.

Slow and deliberate in pace, the film is more meditative than a typical thriller that one might expect from such a narrative. Instead the film lets its themes shine over any action set pieces, with subjects including the contrast of nature and civilization, the things we give up in our quest for materialism, love, and loss.

The Pacific Northwest has a stunning and majestic natural landscape and the cinematography deftly captures its beauty.

This is a film that will sit in my mind for a long time. For me, it’s 2021’s best surprise.

Movie Review: Army of the Dead

6/10

Another overlong Zack Snyder film inundated with slo-mo, but with some solid action sequences and decent performances.

Clocking in at 148 minutes, Zack Snyder’s Army of the Dead clearly aims for an epic scope. The opening sequence presents an origin for the zombie apocalypse, as well as an origin for its ill-fated protagonists. A military vehicle containing something sinister crashes with a reckless driver just outside Las Vegas (sound familiar?), unleashing the imprisoned zombie within. This original zombie is very “Snyderized”: he’s well-muscled, intelligent, and a capable fighter. One would argue he’s essentially the Henry Cavill version of Superman, but in zombie form.

Las Vegas quickly gets sealed off by the government, and we are greeted by a montage of the film’s human warriors as they fend for themselves in the carnage. The main protagonist, Scott Ward (played convincingly by former WWE wrestler Dave Bautista), evokes elements of protagonists from most standard heist and zombie films. He killed a lot of zombies but lost his wife and now regrets a strained relationship with his daughter. But he’s dragged into “one last mission” to venture back into the walled-off Vegas and retrieve a millionaire’s fortune from a well-secured bank vault. And of course, he needs to assemble his old team to do so. They have to hurry because the US government plans to bomb the city in order to permanently destroy the zombie threat!

The supporting characters are mostly forgettable and of course the Vegas mission goes awry quickly. The film has elements of Ocean’s 11: the millionaire may not be telling them everything they need to know, double crossings ensue, and of course a master thief is needed to decode the vault.

There are some nice changes to the typical zombie tropes. The zombies form a sort of hierarchy within the walled-off Vegas, with the original zombie acting as “king” and showing emotion for his impregnated zombie queen. The further removed from the original zombie an infected person is, the less intelligent and more primal that person seems to become.

The film is a perfectly fine Saturday diversion, but it doesn’t break any new ground. It’s Dawn of the Dead meets Oceans 11 with a bit less intelligence than either. I found myself checking my watch a few times during the final thirty minutes, perhaps because I’ve seen so many of these films. Of course the film ends with a helicopter escape and a big explosion. Of course.

That said, if you haven’t seen many zombie or heist films, this is a perfectly acceptable introduction. Some of the action sequences are stunning and the film does provide a good sense of fun, even when its human characters are getting chomped up.