Thursday, January 2, 2025

2024 Movies Viewed/Ranked

Viewed/Ranked
  1. A Complete Unknown
  2. Conclave
  3. The Ministry of Ungentlemanly Warfare
  4. The Bikeriders
  5. The Beekeeper 
  6. Horizon: An American Saga
  7. Joker: Folie à Deux
  8. Piece by Piece
  9. Gladiator II
  10. The Exorcism 
  11. Daddio
  12. Trap
  13. The Book of Clarence 
  14. Deadpool & Wolverine
  15. Sleeping Dogs
  16. Dune: Part Two
  17. We Live in Time
  18. Mother’s Instinct
  19. Civil War
  20. Borderlands
  21. It Ends with Us
  22. Red One
  23. Argylle
  24. Blink Twice
  25. In the Land of Saints and Sinners
  26. Ghostbusters: Frozen Empire
  27. Challengers
  28. Venom: The Last Dance
  29. Sonic the Hedgehog 3
  30. Slingshot
  31. Land of Bad
  32. Drive-Away Dolls
  33. Madame Web
  34. Twisters
  35. Reagan
  36. Bad Boys: Ride or Die
  37. Beetlejuice Beetlejuice
  38. Sasquatch Sunset
Other Notable Releases
  • A Real Pain
  • Bonhoeffer: Pastor. Spy. Assassin
  • The Brutalist
  • Despicable Me 4
  • The Fall Guy
  • Furiosa: A Mad Max Saga
  • Here
  • IF
  • Inside Out 2
  • Juror #2
  • Kraven: The Hunter
  • Megalopolis 
  • Moana 2
  • My Old Ass
  • Nosferatu
  • The Order
  • The Return
  • September 5
  • Wicked
  • The Wild Robot


Saturday, December 21, 2024

Gladiator II (2024) Review

 the story: Nearly twenty years after Maximus took on Commodus with the fate of the Roman Empire at stake, his story unexpectedly concludes.

rating: ****

review: As someone who's enjoyed Ridley Scott's stream of historical epics since Gladiator, I figured I was in a good position to understand his vision for its much anticipated and also much delayed sequel.  From Kingdom of Heaven to Robin Hood to Exodus: Gods and Kings to The Last Duel to Napoleon, I found his meditations on the complexities of leadership brilliant.  Gladiator II, I determined, was much the same.

It's not at the same level as Gladiator or Last Duel, but it's not trying to be.  Its sole mission is to finish the original narrative.  Since Russell Crowe's Maximus dies at the end of Gladiator, how exactly a sequel was supposed to happen was always going to be a challenge.  The speculation always drifted in the direction of revisiting Maximus in the afterlife, which for those keeping score who still haven't seen Gladiator II, does not happen.  Rather, the plot follows two key players from the first film as they manage lives caught up in the further turmoils of empire.

Now, Ridley Scott was never playing strictly from the historical record.  He plays fast and loose with facts, as he did the first time around.  Faster and looser, actually.  But his point isn't really fact, but rather searching for heroes.  We don't live in an era chalk full of heroes.  Or rather, we don't spend a lot of time worrying about them.  We actually go out of our way to poke holes in the halos of past heroes, which reckless abandon.  It seems relevant, in such times, to find heroes in a more creative fashion.  Actually, when you stop to wonder why all the heroes are fictional superheroes these days, it begins to make a lot more sense.  Ridley Scott found himself with a Roman superhero the first time around.  Then he simply revisited as closely as he could.

You want spoilers?  The little boy from Gladiator grew up, and through circumstances found himself repeating much of Maximus's arc.  This isn't mindless duplication.  That boy turns out to be Maximus's own child, the product of an affair with the sister of Commodus, once again played by Connie Nielsen.  If you want the compelling reason to have a movie called Gladiator II once again hinge the plot on someone being a gladiator and trying to save the empire, it's really in the dramatic potential fully realized by how Nielsen's Lucilla reacts to the agonies that follow.

Actually, the title gladiator isn't even the one who most closely follows Maximus's arc, but rather the character played by Pedro Pascal, the latest actor beloved in TV roles but constantly struggling for respect in the movies (see: James Gandolfini, Bryan Cranston), who once again acquits himself well, in case you really doubt it.  The title gladiator is played by Paul Mescal, who in his breakthrough role was never going to challenge Russell Crowe, and again, didn't need to.  The draw here is the legacy, and the outcome. Derek Jacobi is the other returning actor from the first film, though he's mostly here as a link and a demonstration of the weakness of the senate, and old man on the sidelines trying desperately to make a difference, but it's just out of his grasp.

The true calling card of the movie is Denzel Washington.  This deep into the review, and it's only here I even mention him, because it really shouldn't be necessary.  Washington's presence is the true distinguishing feature of Gladiator II, its biggest claim to be more than just a sequel to Gladiator.  It's by definition at least as much a Denzel Washington picture just by his presence.  He's showy, but not in a Training Day way.  He's not always dialed in, and he doesn't need to be.  When he has something to do, you know it, and when he's trying to hide, you know it, and that's a new kind of role for Washington, and nothing that was part of Gladiator, and everything you need to know about Gladiator II and its vision of politics pivots around that description.  

It's great filmmaking by extension.  It's utterly gratuitous in its depiction of politics, the cheat code Maximus used in the first film removed, and all the dangers reinstalled.  There are consequential deaths.  There are rewarding deaths.  They're all shocking, effective moments, some of the most deft ever depicted in film, and for that, Gladiator II earns more than it needs to, since without a Russell Crowe to root for, you wonder why you should care, and that's the reception the movie's gotten, and again, again, this is beside the point.

The point is, the story is finally finished.  Good truly prevails, even though we know the empire's rot into oblivion soldiers on anyway.  In the story of Gladiator, Marcus Aerelius had a dream that seemed unattainable, and certainly so when the hero he hoped would help him gain it is dead at the end.  At the end of Gladiator II, the hero is still standing, and so, too, is the dream.  It pivots the narrative to definitive hope.  And that's the point.

These are the times we live in.  We need heroes, even fictional ones.  It doesn't hurt to have them grounded in some grand past in the real world, even if their stories are fictional.  This is a perfect coda, and perfect storytelling, even if it isn't perfect filmmaking.

Saturday, November 16, 2024

Theater visits so far 2024...

 Since I've done such a horrible job of blogging here at Film Fan this year, let's have a look at what I've seen in theaters so far this year, possibly because I wanna spend some time talking about one movie in particular...

Argylle I found entertaining in its several layers, reminiscent of Lost City but certainly its own distinct flavor.  Sam Rockwell I'd basically follow anywhere and is alone worth the price of admission.  Funny, too, since there's a book based on it, since like Lost City it follows an author thrust into an adventure straight out of her books.  By the third act it makes more sense but rests on a less convincing lead performance than its predecessor.

American Fiction was something I needed to catch up on from last year, and I'm glad I did (the author of the book it's based on, Percivall Everett, has been getting better notices on his newest book, James, but as far as I can tell, not a large amount of additional sales), although it seems a little more focused on elites having elites problems than a real connection to the black experience it's technically about.  But I'd follow Jeffrey Wright anywhere, and am glad he got a spotlight like this.

The Beekeeper was instantly my favorite Jason Statham movie ever, and I realize I'm fairly late to the party, but interestingly, for me, it was a marked counterpoint to the elitism I found troubling in American Fiction, in that Statham's rampage is against the unchecked nature it currently enjoys.

Dune: Part Two I've certainly already written about, here, and how it's a technical achievement I find difficult to engage with emotionally, which is odd, since I had a very different reaction to Arrival, where both states existed so exquisitely well together.

The Ministry of Ungentlemanly Warfare is, like Beekeeper, a violent delight, featuring a pitch perfect ensemble cast, and has been since release one of my leading contenders for best of the year.

Sasquatch Sunset falls short of its intended mark, spending too much time in silent wonder at its strange world only for a last minute reveal at a deeper layer.  Even if we never see humanity, it would've been worth seeing more of what these creatures are living in the margins of in order to appreciate some actual context.  Instead it's just a curiosity.

Civil War is fascinating and horrifying at the same time.  Most of the film is fascinating, a glimpse at journalism in its rawest form.  Then it has to go ahead and let everyone, including the journalists, just watch as a president is assassinated.  It's a terrible, off-note ending that all but spoils the preceding pleasures.

Horizon: An American Saga, since I grew up on Westerns, was very much another welcome homecoming, a splendid tapestry that looks past pretty much the remaining romanticism still lingering in the genre.  But the release schedule was far too optimistic, and if anything scared more viewers away than the typically long running time of the modern historical blockbuster (which, while pursuing what streaming services can't, has yet to produce a winner at the box office).

Daddio is one of my favorite random discoveries, an intimate conversation between strangers exploring relationships and modern life.  Dakota Johnson I'm happy to enjoy in something other than the sitcom I first saw her in, and Sean Penn, it's the first time in a long time I've just gotten to enjoy one of his performances after years of burying his talent behind Hollywood hype (which I trace back to Mystic River), which drive even him away for years.

The Bikeriders is another leading contender for best of the year, easily.  Just perfect, a throwback to a bygone era, much like everything else I've loved this year, which is clearly the running theme of an industry trying desperately to justify itself while also looking for things that aren't packed with CGI.

Bad Boys: Ride or Die is another steady entry in the franchise, practically a sequel to the last one.  It's just wild that Will Smith actually survived that Oscars slap.

Deadpool & Wolverine, since I was always more interested in Wolverine than Deadpool, was a wild ride of a return engagement, for both, the first time Ryan Reynolds had an actual story to tell and somehow the juiciest turn Hugh Jackman has gotten, in a role that has been determined to pump in melodrama from the very start.

Trap is another classic work of M. Night Shyamalan filmmaking.

Borderlands, of which I am the only one who actually enjoyed it.  Too many times fans of things have absolutely no perspective.  Nobody outside of them holds the games to be a sacred cow.  If the movie fails, no one is going to rush to revive popular interest.  The thing will die on the vine.  And once again, this is what happened.  If you liked the recent Jumanji movies, there's no discernable reason you wouldn't like this, too.  If you liked the recent Dungeon & Dragons movie, this is right up your alley.  

Conclave is hugely compelling for a Catholic, great drama ending on a curious note that kind of fiddles with its conclusions, wondering if the Church is somehow ready for a woman (in effect) in the papacy.  I don't really see how that was necessary, but I'm not going to quibble.  On the whole, another of the shining notes of the year.

Venom: The Last Dance kind of forgets that this is the final film in a trilogy for most of its runtime, finding a villain from the comics to close out the story but then getting lost in trying to explain how, since by the end we're left with the villain still out there, no other film forthcoming (and highly unlikely to be revisited), and only the sad goodbye between Eddie Brock and the symbiote.  But spending most of it just watching Eddie trying to survive despite nothing sticking to put him at risk, just kind of stumbling along, with a random off-the-maps family continually intersecting in his efforts.

We Live In Time is a fine little relationship drama.  Still kind of shocked it happened at all, much less in regular theaters (recently the domain of streaming services, such as A Marriage Story).

Joker: Folie a Deux has gotten so much exposure, and not a bit of it good, of course it's the one I was talking about at the start of this.  I have no idea what happened here, who mailed everyone excrement to provoke such a reaction.  This is exactly the second part of what happened in the first film.  Exactly.  Same flights of fancy, just with added song, since for the first and only time in his life, Arthur Fleck has an actual dance partner.  What some people seem to have considered, this isn't a movie about the Joker, but a Joker.  We've reached a point where The Dark Knight is far enough in the past that people are forgetting what exactly made Heath Ledger's Joker so great, that this second of Christopher Nolan's Batman movies is beginning to be lumped anonymously as just one of the three that resulted.  And so of course we're now at the point where another Joker is just another Joker.  Critics of the first one really just wanted to dismiss it as Taxi Driver cosplay, just as many viewers of Joker really just saw it as Ledger cosplay.  They just couldn't distinguish or analyze the first one for its own achievements.  It's no surprise, then, that neither has made heads or tails of the follow-up.  If you're looking for a classic predecessor to this one, that would be One Flew Over the Cuckoo's Nest, mixed up with, I don't know, A Star is Born.  But ultimately this one can't help but fail to connect with audiences since it's another, along with most of Sony's Spider-Man villain movies (including, of course, the Venom movies, of which this last one was easiest to lump in).  Most critics don't understand superhero movies, and most fans don't understand supervillain movies.  This Joker was never really a hero (despite the first movie's ending), and he was never really a villain.  He was always a victim.  Just try finding sympathy for those, unless they're faceless.

Saturday, July 13, 2024

Alas, poor Redbox…

And so another era has come to an end. The final years of Redbox are reaching their final stretch. The service officially announced its closure the other day, after a disastrous ownership changeover a few years ago wrecked the remainder of the business, one of the last bastions of physical media, much less the last holdout of the rental market.

Surprisingly, I only got into Redbox circa 2016, when I accidentally rented, instead of bought, the trio of Passengers, The Magnificent Seven, and Fences (although later I did make up for that). I used to rent movies all the time, even worked at a video store, which was how I caught up on the vast chunk of movie history that served as the foundation for my appreciation of the medium. By the time Redbox was the last of the rental services, I was buying outright in stores any movie (new and used) that interested me. But once I understood that Redbox sold used movies at a considerable discount, I started buying at their kiosks at a decent clip.

I found a lot of interesting movies through them, some mainstream that I had skipped and probably would never have seen without such an opportunity, some obscure movies that I would almost certainly have never even heard of and was glad of the chance to discover them, and sure, a lot of movies that weren’t really worth the time or scant money it took to spend on them.

I was very much aware that the market was skipping along to digital and streaming as outright replacement. I didn’t care. 

2020 was the breaking point for Redbox. Disney stopped shipping new MCU titles that year, possibly in the interests of shoring up their streaming service, suddenly so crucial even to them, when I really would’ve preferred to catch those releases without investing too much in them. I still haven’t seen Shang-Chi or Eternals, and I might never at this point. But otherwise new releases continued to populate. 

That was also the year the market started to cut loose from physical media in general, which again, was an obvious side effect of the pandemic. 

Eventually Redbox started to more heavily feature B- and C-level movies in the purchase tab, since they were receiving fewer mainstream movies as they lost business from major studios. The listings started stretching out with slower turnover rates for new titles. 

The last major, and almost the only major, release last year was Barbie. But this was one miracle Barbie couldn’t pull off.

The “coming soon” tab was deactivated. Then it became clear that there weren’t new movies populating at all, and some of us wondered if there could possibly be a turnaround. But it wasn’t to be.

On Friday I attempted to scoop up a few titles still of some interest from the purchase tab, but the box shut down in the effort. I tried again an hour or so ago, and it was functioning again. What Redbox does with all the inventory that wasn’t for sale previously, if they’re listed for purchase at some point, who knows?

I may have just bought my last movies from Redbox. It was a fruitful time.

Saturday, May 25, 2024

Revisiting Dune: Part Two, and Excalibur

A few weeks back I did another rewatch of Excalibur, the movie I compared Dune: Part Two with in an unofficial (read: not a review) take, and then yesterday I did a rewatch of Dune: Part Two itself.

Let's start with Excalibur.  I'm still not writing reviews of either.  They're complicated, in much the same way Peter Jackson's second and third Lord of the Rings films are for me, or 2001: A Space Odyssey.  Some critics would list, say, Heaven's Gate in this kind of category, a production they could only ever hate for the kind of arrogance artwork on display.

I've been trying to watch Excalibur more some twenty-five years.  I find it very easy to fall asleep watching anything (in fact I can't offer a review of Dune: Part Two since that's exactly what I did for a large chunk of it yesterday, missing among other scenes Austin Butler's gladiatorial debut, which was a highlight the first time around).  For me it's not an indictment, it's just a fact of life.  In past attempts I slept through much of Excalibur's excess, its inability to tell the difference between art and artifice.  This time I found myself suitably amused by Nicol Williamson's irreverent Merlin, likely a response to Empire Strikes Back's Yoda, while everyone else struts to the pomp, even wasting the young Liam Neeson, not to mention Patrick Stewart, allowing Nigel Terry to ineffectually carry the load as King Arthur (surely one of the worst casting jobs in the history of film).  Yet the grandeur is there.  It justifies the Lady of the Lake as the truly indelible visual of the film, the only element to truly rise to the occasion.

Dune: Part Two is almost a complete visual affair.  It struts its actors as they chew the scenery in amusing ways (although this is probably Javier Bardem's second best Hollywood role, the Alec Guinness who relishes the old believer role previously occupied by Laurence Fishburne, having the chance to nail the exact act in a second film entry as few enough viewers have credited Fishburne; Josh Brolin is the only other member of the ensemble allowed complete dignity, but then he's been a pro at that since before he was taken seriously).

But this is still Villeneuve, one of the best directors working today, and there are echoes of Arrival, here, which I imagine is what drew him to the project in the first place, that and the prospect of reviving another 1980s sci-fi relic looking for redemption, and he comes closer to the mark in making a statement this time than in the first act.  My disappointment is mostly that he dithers on a desert world rather than plunges into something more meaningful, but that's why I'll continue giving the results further chances, more than I ever will Peter Jackson, or Excalibur, why I'll more happily recommend Villeneuve's work to those looking for something meaningful in Hollywood's yearning for greatness in genre material than its nearest competitors.  

Anyway, it's a long game.   

Saturday, April 6, 2024

Beauty and the Beast (2017) Review

rating: ***

summary: Belle meets and falls in love with a beast.

review: These Disney live action remakes have been such hit-and-miss affairs, it always depends on how much the director really wants to revisit the material.  Beauty and the Beast is at once a worthwhile and listless effort in the series.

It's a constant struggle to breathe free from its confines, to be the lively kind of movie it wants to be and hopelessly devoted to play-acting the animated film it's based on.  If this had been made, say, fifteen years earlier, it would've fit right alongside the Pirates of the Caribbean movies.  At heart that's what it desperately wants to be.  Obviously having to be a musical puts a damper on such ambitions.  Bill Condon, who staged such a brilliant adaptation of Chicago, seems incapable of bridging the divide, staging a series of karaoke scenes instead, the songs lost to the soundtrack as they seem stubbornly unmoored from the screen material.  It begins to feel more like a tribute than anything.

One of the great signifiers of all this is Josh Gad, not because of his overblown gay element, but that he can't compete, in live action, with the voice work did as Olaf in Frozen.  Luke Evans, if he didn't have to sing, might be able to sell his part, too.  If it had been Russell Crowe (how interesting would that have been!), no critic would've thought twice to mention it (although Crowe almost certainly has more credentials than Evans on every score).  Evans is constantly being undercut by the material he chooses; in most other eras besides the ones he keeps popping up in, he'd have been a much bigger deal.

I'd be lying if I said I decided to watch for any other reason, really, than seeing Emma Watson in another big story and a role other than Hermione Granger, but she'd swallowed whole, too, by the intended pomp, and like Evans has no answer to the jukebox playing around her.  Dan Stevens plays well as the Beast, but as the Prince isn't given anything at all to work with, the very embodiment of how hollow all this is.  Ewan McGregor is barely recognizable either in voice or when we finally see him, a wasted opportunity.  Emma Thompson, let's face it, is no Angela Lansbury (although the kid voicing Chip is great, even if he doesn't get much to do, and once transformed back into a human is thoroughly undermined by the production).

The two shining lights are Kevin Kline reimagining the father and Ian McKellen as Cogsworth.  McKellen's career has been one constant string of frustration for anyone expecting any kind of consistent interest from the industry.  For every Gandalf or Magneto or Da Vinci Code, there's really almost total silence, which is a terrible shame, even when he makes it clear he outclasses everyone and thing around him in something like this.  

Stanley Tucci and Gugu Mbatha-Raw show up in undercooked supporting roles, more examples of what might have been.  I guess they can't all be David Lowery's masterful Pete's Dragon.  Well, I suppose, of course not...

Archive (2020) Review

rating: ****

summary: In the near future, memory can be downloaded in an archive for loved ones.

review: Sometimes you just don't know what's worth discovering, since these days there's very little interest in collating these things beyond "everyone seems to like it" or "everyone seems to hate it," which also demolishes the old model of cult discoveries, since you never really know if the people who hate something or love something are themselves a cult , especially if it doesn't have obvious metrics like box office results behind it.  Archive might be the last interesting find I discover on Redbox (which seems to be in death throws after a seemingly-in-hindsight ill-advised sale to new owners a few years back, not necessarily just because its model still relies on physical media).  It's the kind of movie I probably would have had no idea even existed if it weren't for Redbox or, say, the credits of an actor or two I might browse absently (Theo James, from the Divergent movies, or Rhona Mitra).  The fact that it was released in the dead zone of the pandemic in 2020 would also help account for this, although in earlier years it might've been able to enjoy a little more publicity.

Director Gavin Rothery came up with the idea when he was in the production pool for Moon, one of the great it's-probably-at-least-a-cult-classic-but-it-really-doesn't-get-enough-attention movies of the past dozen years or so, and visually it's really not much of a surprise, another lone science type trying to unravel what increasingly seems like a conspiracy against him.  There's a considerable twist at the end about just what the circumstances really are, and robot companions who are responsible for filling out the atmosphere, but Archive depends much more than Moon did on the lead character's greater narrative than just the story playing out on the screen.  He's trying to download his dead wife into a robot capable of more or less helping her live again.  His third attempts seems like it'll work out, but all three are basically incapable of reconciling to new circumstances, so it's really how any of them are willing to cope with the results.

James is in a much more mature mode than the Divergent films; this is the first time, I think, I've seen him outside of them, so it's a good way to confirm he has some actual worth as an actor, although depressingly he doesn't seem to have become any casting director's favorite.  Toby Jones, one of film's great character faces this era, shows up, Mitra, Stacie Martin as the wife.  It's immediately apparent that Rothery is more than competent directing all this.  With Redbox you just never know.  Much of it is dreck with no discerning ability to know what good filmmaking looks like.  He has yet to tackle a follow-up, but I'd certainly be interested.

A great discovery.