The Last Jedi: Saving What You Love

SPOILER WARNING: DO NOT PROCEED FURTHER OR READ ANY OF THIS REVIEW UNTIL AFTER YOU'VE SEEN THE LAST JEDI!
























FINAL WARNING - SPOILERS COMIN' AT YA!




















Since J.J. Abrams and Kathleen Kennedy delivered The Force Awakens, it's safe to say the franchise has never been more popular – or more obsessively analyzed.

This current trilogy is doing something truly unique – ushering in a new era of films that introduce a fresh cast of characters, dovetailing them with the original cast from the vintage trilogy. For me, they’ve succeeded on all fronts. But as giddy as The Force Awakens made me, it was that first film’s ending that really knocked me out – the slow reveal of an older, haggard Luke Skywalker, staring with suspicion at the young woman offering him his long lost lightsaber – and saying nothing. End credits. That was a risky way to end a film, but I was hooked. And for two years I’ve waited eagerly to find out what happens next.

The idea of a new film that prominently featured Luke was intoxicating to think about, a character we haven’t heard speak in 34 years.

Then factor-in for this second outing, an entirely new writer-director – Rian Johnson (Looper) – which left many wondering how different in tone this new outing might be?

Well stop worrying – you can breathe now. Because Johnson has delivered a simply phenomenal second-chapter of this new story, that’s at the very least the equal of The Force Awakens – quite probably surpassing it. If you liked Abrams’ movie, you really ought to love this one, because Johnson’s script deftly builds on everything we experienced in Force Awakens, and takes us to a whole new level. It’s a galaxy-spanning epic that dazzles and challenges, paying respect to what’s come before, while actually daring to expand the mythos of the Force in new ways.

The film begins with a white-knuckle space chase – the malevolent First Order is hot on the tail of Princess Leia (Carrie Fisher), Poe Dameron (Oscar Isaac), Finn (John Boyega) and the tattered remnants of the Resistance. Leia and our heroes are outgunned by a massive warship, closing fast, their only hope a desperate bombing run that’s cut together for maximum suspense. It’s clear from the outset that the rebels are suffering major losses and are in dire need of hope.

You don’t have to wait long to get a better look at Supreme Leader Snoke (Andy Serkis), who does not disappoint. The Emperor Palpatine of the trilogy, Snoke is ghastly to behold, with a head that’s somehow half-twisted and seemingly severely damaged. He’s strong with the Dark Side of the Force, and he’s none too happy with the failures of his young apprentice, Kylo Ren (Adam Driver), even dissing Ren’s signature helmet. He is not a happy boss and he wants Luke Skywalker, recognizing his symbolic importance to the Resistance. A striking group of crimson-armored samurai with massive blades stand guard around the Supreme Leader’s throne. Also, the animosity between Ren and General Hux (Domhnall Gleason) has only grown worse.

Back on his island of self-imposed exile, Luke (Mark Hamill) takes the cherished lightsaber Rey (Daisy Ridley) offers…and tosses it away over his shoulder. In that one moment, Rian Johnson lets us know that things are not going to always follow safe and predictable expectations – an inspired choice. Haunted by guilt, Luke blames himself for Kylo Ren’s ascendance and the loss of his other pupils at their fledgling Jedi temple. He’s turned his back on the Jedi, and maybe even on the Force. Rey’s pinned all of their hopes on not only finding this legendary Jedi, but on getting him to come back with her and help the Resistance. Hamill has simply never been better. He tackles a wide range of emotions here, and he beautifully conveys the weight of the years and losses he’s carried since Endor. It’s a remarkable performance. Can it be that Luke has forever turned his back on the Jedi? Hamill does a tremendous job, and his scenes with Daisy Ridley’s Rey are superb, with Luke inhabiting a Pai Mei reluctance to Rey’s Beatrix Kiddo.

Meanwhile, for the Resistance, time is running out. Finn and newcomer Rose (Kelly Marie Tran) – a plucky flight mechanic – have developed a plan to deactivate the First Order’s tracking systems, which involves an undercover detour to the surreal casino planet Canto Bight – a journey that may seem a bit diversionary, but which very deliberately highlights the oppressive class-divide the First Order is built upon. Finn and Rose are in search of a legendary code-beaker who can help them overcome those tracking systems. It’s a little weird to see Benicio Del Toro in a Star Wars movie, but he’s cut from the same shifty, rascally cloth as Han Solo and Lando Calrissian.

Near the end of The Empire Strikes Back, there’s a moment when Luke and Leia (and later, Luke and Vader) are able to sense one another and call out to each other from different locations. Johnson takes this notion and dramatically expands upon it, allowing brief contact and dialogue between Rey and Kylo Ren. Granted, this is something we haven’t really seen before, but I think it works. If you look at what Rey and Kylo do in both this film, and Force Awakens, this new generation of Jedi seem much more powerful than Luke during his heyday. “I’ve seen this raw strength only once before,” he exclaims. Rey’s able to move massive boulders, something Luke himself struggled to do on a much smaller scale during his training. This new use of the Force lets Ridley and Johnson do some terrific character work with Rey, as she’s pulled by two influences – Kylo and Luke – on an island that itself is highly attuned to both sides of the Force.

There are several truly astonishing set pieces in The Last Jedi. Ultimately, Rey does find herself back with both Kylo Ren and Supreme Leader Snoke. Things do not go as one might expect – and those red guards of Snoke’s end up showing us they’re far from just ornamental, in what’s got to be one of the wildest combat sequences of any Star Wars movie to-date. It’s dazzling close-quarter combat.

We’ve got to talk about that ending – an ending I absolutely loved. In a scene that evokes the last stand at Minas Tirith, the First Order is about to lay siege to the final refuge of the Resistance. Things are at their darkest. When out of the shadows appears Luke Skywalker. Like Henry V, he moves among the grim soldiers and old friends until at last he finds her – Leia. And they connect. Given everything that’s happened – the death of Han Solo; a child lost to the dark side  – it’s an incredibly poignant moment. But it’s just the beginning. As the massive Walker armada lumbers towards them, a lone figure stands against them – again, it’s Luke. Rey’s pinned her hopes on his returning to join them – and here he is. Beginning with a solitary face-off against impossible odds, things quickly change to a master and apprentice lightsaber duel between Luke and Kylo Ren. It’s an amazing sequence. The planet’s surface is stark white salt over vivid red crystal – (red is a choice replete throughout Jedi) – sabers flashing, they dance across the battlefield like something out of Sergio Leone. Ren grows increasingly frustrated and filled with rage. Luke is always just out of reach. Their blades never actually make contact – because Luke isn’t actually there! He’s still on his Jedi planet of Ahch-To, astral-projecting himself across space – to say goodbye to his sister, and to stand against the First Order in an act of mythic defiance – a gesture that can only fuel the Jedi legend, and an act that also serves as a distraction, giving the remnants of the Resistance time to escape. Back on Ahch-To, we see Luke disappear, becoming one with the force, his cloak blowing off into the wind.

I’m sorry, but that’s an ending! I felt incredibly lucky with my Last Jedi viewing experience – first, I managed to avoid all spoilers, which these days ain’t easy. Second, I did not realize how many fans are taking issue with this movie! Currently, Jedi’s sporting 93% on Rotten Tomatoes – pretty damn solid (same score as The Force Awakens, btw). But look at the comments on IMDB. Serious, contentious backlash – which I absolutely do not understand. Many of these complaints seem to take issue with the film veering away from tightly held fan expectations, a lot of which seem to hearken back to the “expanded universe” stories and collective fan fiction they grew up with, and who seem to really have it out for Disney as some kind of Big Bad. But given the massive disconnect between strong critical reviews, an “A” Cinemascore rating and truly massive box office, these backlash reactions feel a little too bot-fueled for comfort. The audience I saw Jedi with absolutely loved it. I've seen it twice now, and I’m pretty confident this tide of “fan betrayal” is going to evaporate very quickly. Because I’ve been a lifelong, passionate Star Wars fan since the first film came out, and I felt Jedi exceeded my wildest expectations.

Johnson, and cinematographer Steve Yedlin shot on film, and they bring an awesome widescreen palette to bear here. Their use of color and depth of field is striking, and the location environments of Luke’s planet are just amazing to behold. Ahch-To is full of amazing creatures – from Porgs, to briefly-glimpsed sea beasts. It feels like a mysterious, real place. Just wait ‘til you see what Luke’s been drinking all these years. The editing from Bob Ducsay is top-drawer. That opening space battle and the combat sequence in Snoke’s throne room are beyond superb. And again, that sequence with Luke – impeccably and subtly cut for maximum effect. Beautiful work.

This cast is fantastic. It’s pretty heart-wrenching to watch Carrie Fisher’s performance here, especially with the transcendent near-resurrection sequence that has a pathos to it now that no one could have imagined when filming. “No one’s ever really gone,” as one character remarks. Particular notice must be paid to Adam Driver. If you had any issues with his casting previously, they should be annihilated by his work here. Ren is a challenging, conflicted character, and Driver does superb work, as do Ridley, Boyega and Isaac, all finding new nuance and complexity in their roles. I was particularly taken with Andy Serkis as Snoke. He continues to project incredible power in his motion-capture performance work. I’m very fond of these new characters. We don’t learn anything about how Snoke came to be, or who he is, and the mystery of Rey’s parents is yet another element that’s not what fans may have expected. There’s no “lineage of familiarity” that some may have hoped for, and I think that’s actually a better choice. She’s possesses no magical pedigree, it seems. She has to make what she can of her circumstances in spite of her past, not thanks to it.

Thematically, The Last Jedi’s credo is that you won’t win by fighting the things you hate – you win by saving what you love. Maybe some of the films’ naysayers should consider that. Because believe me, there’s a lot I loved in The Last Jedi. It’s a fantastic middle chapter to what’s becoming one of the great pop sagas of our age, and Rian Johnson deserves credit for taking real risks along with a willingness to bring humor, pathos, and even heartbreak to this dazzling, epic second act. Very highly recommended.

Coco: Death Takes a Holiday

This one is super overdue, as I actually saw Coco back over Thanksgiving - but it's stayed with me, and it's no stretch - or surprise - to say that Coco is easily one of the best animated films of the year.

Hot off this summer's Cars 3, Pixar Animation Studios has served up a richly imagined fantasy of a young boy caught between family and destiny, with Mexico's Día de los Muertos serving as the connection between past and present, between the living and the dead. 12-year old Miguel Rivera (Anthony Gonzalez) burns with the desire to be a musician - just like his idol, the late-great Ernesto de la Cruz. The only problem is that music is forbidden in Miguel's family, thanks to his great-great-grandmother having been abandoned by her freewheeling musician husband - and the family has toiled away as dedicated shoemakers ever since. But what if fabled Ernesto de la Cruz was Miguel's great-great-grandfather?! 

Miguel has a secret hideaway where he watches old de la Cruz videos, practicing his heart out on the coolest homemade guitar you've ever seen. His heart set on competing in a Día de los Muertos music contest, he sneaks into the legendary singer's crypt and borrows his storied guitar - which has the power to transport him to the Land of the Dead itself, where as a living boy (accompanied by his enthusiastic canine sidekick), he meets the skeletal forms of his departed relatives, who he enlists to help him find the mythical de al Cruz himself (Benjamin Bratt). 














Co-directed by Lee Unkrich (Toy Story 3, Finding Nemo) and former Pixar storyboard artist Adrian Molina, Coco is visually transcendent - an eye-popping explosion of fluorescent audacity that at times may evoke a more buoyant Tim Burton. Coco explodes with color and music, both of which completely delight and transport. 

When Miguel finally meets the dashing de la Cruz in the flesh (so to speak), he's like Rudolph Valentino or Pedro Infante by way of Chinatown or a John Huston film - he may be a few degrees askew from the icon Miguel's always imagined. 

Coco does many things beautifully, but perhaps most importantly, it depicts Hispanic culture with incredible respect, and brings to the front of the stage protagonists who are too often relegated to the sidelines. Pixar manages to avoid stereotypes and cliches with remarkable success, maintaining a rich depiction of family and heritage throughout every aspect of the film's story and its characters. 

It also prominently features older characters, most importantly Miguel's great-grandmother, Mama Coco, with an incredibly weathered face that would be so easy to just look past. It's refreshing to see older characters revered, and treated as valued repositories of history and wisdom. 

To get a sense of our household's representation of the Pixar fan base, we loved Cars 3 more than most, while Inside Out left us a little cold - but we all loved Coco. For a colorful fantasy, it doesn't shy away from the loss death leaves behind, and its emotional wallop may sneak up on younger viewers. But it's hard to imagine a more uplifting film the whole family can see together that so poignantly reminds you of the treasure you all are to each other, while making you laugh and dazzling your senses. Above all, Coco's afterlife is overflowing with heart, and as one of the film's ballads suggests, if you still have a chance to catch it in theaters, seize your moment. 

Justice League's Frustration Fatigue

The Justice League drinking game would be every time a character jumps down from a great height and lands dramatically, knees bent...you take a shot. And you may just want to.

With a 40% Tomato score and an underwhelming box office, I went in harboring no illusions. But I had to go. But I also have to acknowledge that was the longest-feeling 2-hour running time I've sat through in a while. Still: Justice League isn't awful - but it's pretty far from great. 

The story behind the making of Justice League is a lot more compelling than the film itself. Midway through production, director Zack Snyder (and his wife, producer Deborah Snyder) lost their daughter to suicide. We can’t begin to fathom the pain that family endured. Snyder had to leave the picture and the studio managed to bring in Joss Whedon to finish shooting and do a little punch-up to the dialogue. Snyder retains sole directing credit, and while there are many scenes that feel like they have Whedon’s fingerprints on them, overall the film has a relatively uniform look and feel. If only it looked and felt better.

Batman v Superman ended with the death of the Man of Steel, a loss that’s left a gaping hole in the world, having seemingly drained the hope out of it. Headlines mourn Supe’s passing in the same breath as the death of Bowie and Prince. Why have our icons left us? The world is becoming hard, with briefly-glimpsed skin-heads attacking hijab-wearing shopkeepers, evoking the times we live in. It’s a fairly promising beginning. More than anything, Superman is about the idea of hope. And when hope is absent, evil often steps in to fill the void.

And therein lies the biggest problem with Justice League – its villain, a Godlike being called Steppenwolf, who’s virtually identical to Ares, as depicted in the vastly superior Wonder Woman – another giant, inexpressive evil dude in scary armor. Steppenwolf is cut from the Thanos mold, a being who moves through the galaxy conquering planets, with the aid of his ubiquitous flying “Parademons,” who are the most boring CGI creations since the Hammer drones in Iron Man 2. The Parademons buzz around constantly, evoking The Wicked Witch of the West’s flying monkeys more than anything else. The villainy in Justice League is dull and worse still – annoying. We learn that Steppenwolf once visited Earth ages ago, in a crazy Lord of the Rings-style flashback that even has a “King of Men.” If Steppenwolf (voiced by Ciarán Hinds) can get his mitts on three “Cosmic Cubes” (hmmm…), our world will fall.

With Superman gone, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) have to find all the other folks with special abilities – and that’s where most of the good stuff in Justice League lies. Jason Momoa is a terrific presence as Aquaman. He’s super rock-surfer and contemporary, but he’s incredibly fun and charismatic. He’s also got what’s probably the best scene in the film. Now if Momoa had been cast as the villain, then we’d have something, as you’d be seriously worried for Bruce and Diana. Nobody can look as fierce as Jason Momoa. He brings a welcome infusion of energy to every scene he’s in. As does Ezra Miller as The Flash. My guess is Miller may be channeling a lot of Whedon dialogue, but he’s just hilarious and perfectly cast. I didn’t expect Flash to be even remotely interesting, and he was one of my absolute favorite parts of the picture, bringing a welcome dose of angst and glee to his scenes. It should go without saying that Gal Gadot is phenomenal as Wonder Woman, and she brings the same 1000-watt star power she’s showed previously here. When these three characters are on screen, you’re having a good time.

I felt bad for Ray Fisher, as Cyborg, who’s severely underwritten and trapped under a mountain of prosthetics and CGI. He’s dark and brooding and it’s his plot function to be the tech support for anything involving getting devices or technology to cooperate. It looks like such a thankless role, and the unfortunate “Booyah” he exclaims at one point painfully scratches the needle across the record. But he’s an absolute live wire next to Affleck. He sure looks the part as Batman, but whenever the cowl’s off, Affleck looks like he’s had too many shots of Novocain, and he’s stuffed so tightly into his outfits he looks like he must have just finished spooning down an entire tub of body-builder whey protein powder.

I love Amy Adams, but she’s wasted here, and her commiseration scene with Diane Lane had me wincing painfully. “Can we get back to Flash and Aquaman now?” You can always count on Batman to have some cool tech, and here we get a new flying troop carrier, as well as a kick-ass multi-legged tank called The Knightcrawler. Also, look fast for Mindhunter’s fantastic Holt McCallany in a rooftop scene with Batman.

Whatever happened with the script for Justice League, for me, it’s where most of the problems lie. It must have seemed like a great idea to use a Jack Kirby character for the villain (it sure worked in the recent Thor: Ragnarok), but the execution was deadly dull. The emphasis on channeling a more “Avengers” brand of camaraderie and humor is a welcome ingredient, but next time, maybe remember to put equal effort into making the bad guy more engaging as well – and we’re begging you: enough with the swarming CGI minions already. There’s just way too much CG in Justice League, and much of it’s sub-par. If you hated Batman v Superman, you’re probably going to like this one a little more, but this in no way measures up to the level of audience satisfaction we got from Wonder Woman.

There are two bonus scenes in the end credits – one I loved, and one I hated – hinting at even more generic villainy to come, and we really need to turn that ship around, and sail in the opposite direction.

Thor: Ragnarok and Roll!

Oh, but is Thor: Ragnarok a fun time at the movies. The Marvel Cinematic Universe continues to expand and reinvent itself, and one of Marvel honcho’s Kevin Feige’s great talents is reliably choosing the right - and often unexpected - director. With Thor: Ragnarok, he surprised everyone with New Zealand director Taika Waititi (What We Do in the Shadows, Hunt for the Wilderpeople), the choice was inspired, because Ragnarok is easily one of the funniest, most enjoyable of Marvel’s offerings, right up there with the Guardians of the Galaxy films.

Waititi lets you know right away this is going to a comedy, with some really deft delivery from Chris Hemsworth. Thor’s never been more enjoyable as a character. His realm of Asgard emperiled by the arrival of a sister he never knew he had – Hela, the Goddess of Death, delighting in sleek villainess mode – Thor finds himself stranded on a distant planet and cast into a gladiator arena where (as we’ve all seen) his surprise opponent is The Hulk! The reunion of these two makes up the most of Ragnarok’s reason for being, and it’s fantastic – and hilarious. In fact, Thor: Ragnarok is really a hysterical buddy-cop movie, with The Hulk (Mark Ruffalo) getting more screen time - and more dialogue - than he's ever had before. There's really no explanation why the big guy is so much more verbal than he's been in the past, but Hulk and Thor make a satisfying Odd Couple that generates more laughs than just about any other picture this year. Word has it a very high percentage of the film's dialogue was improvised, which is easy to believe, as the humor always feels surprising and in the moment. In fact, the crowd-pleasing "He's a friend from work!" line came from a child on a Make-A-Wish visit, the day that scene was filmed. How fantastic is that?!

Particularly drool-worthy for comic fans is the film's design, which is massively influenced by the art of the great Jack Kirby. Giant demons, crowns, monsters and space vehicles all have a fantastically surreal and off-kilter otherness that screams Kirby, which only makes Ragnarok that much cooler. And if you need any more evidence of coolness, the movie even features Immigrant Song, by Led Zeppelin, who notoriously almost never license the use of their music.

The supporting cast is huge. I was surprised at the odd, smaller role Karl Urban takes on, as Hela's principle henchman - he's nearly unrecognizable - but he does a terrific job and makes the most of it. A completely unhinged Jeff Goldblum, Benedict Cumberbatch, Anthony Hopkins, Idris Elba, Tom Hiddleston - even voice work by the always amazing Clancy Brown! But two performers must be singled-out: Newcomer Tessa Thompson is charismatic, fierce, and hard-drinkingly hilarious as Valkyrie, an exiled defender of Asgard turned mercenary. She's definitely got the goods and has the wattage to easily hold her own with the likes of Ruffalo and Hemsworth. She'll be going places. And director Waititi nearly steals the picture as a rock-encrusted fellow gladiator, with a far lighter disposition than his appearance suggests. He adds yet another welcome layer of humor to a film that's already threatening to explode with fun antics. Thor: Ragnarok is a welcome and truly satisfying escape from the oppressive chaos of current reality.

Blade Runner 2049: Self and the Stranger

"I prefer to keep an empty stomach, until the hard part of the day is done." One thing that's always made Ridley Scott's 1982 Blade Runner stand apart from other films of the genre was that first and foremost, it was a hard-boiled detective noir, served with all the tropes. It was also visually stunning to behold. So fans of the original should breathe easy knowing both those aspects loom large in director Denis Villeneueve's long-anticipated sequel, Blade Runner 2049.

We'll try and stay spoiler-free here, which won't be easy. But it's worth emphasizing that Blade Runner 2049 is no hastily assembled cash-grab follow-up. 2049 is clearly a labor of love by all concerned. A film that realizes the impossible task that's been asked of it - to deliver a worthy 2nd chapter to one of the most adored cult films in modern movies. Fortunately, Denis Villeneueve's the right man for the job. With Arrival and Sicario, he's become one of the top visionary directors working today, right up there with Christopher Nolan. The script is by original Blade Runner screenwriter Hampton Fancher (along with Logan scribe Michael Green), and that familiarity (like Lawrence Kasdan's involvement on Star Wars: The Force Awakens) gives the new film familiar rhythms and tones that fit cleanly, without visible seams.

Ryan Gosling is K, a Blade Runner 30 years removed from the story of Rick Deckard and Roy Batty. He's capable, shrewd and weary, with no reluctance to do what needs to be done. I was a bit leery of Gosling's casting, but he is absolutely perfect in this role. From the opening scene opposite a hulking recluse played by Dave Bautista, you're drawn in. K's boss at the LAPD (another fantastic Robin Wright performance) expects him to do her bidding, get results and don't ask questions.

But the past just won't stay buried, and K's curiosity - fueled by a detective's need to get to the bottom of things and close loose ends - draws him off his normal beat and onto a larger game board. Thirty years from the events of the original, Replicants are more a part of society than ever, thanks to the work of a new genetic industrialist, Niander Wallace (Jared Leto). Leto is creepy in the extreme - but it kills knowing that Villeneueve originally wanted David Bowie for this part, who sadly died before filming began. Wallace is far more ruthless than Eldon Tyrell appeared to be, and his reach is vast. Sylvia Hoeks is terrific as one of the more forceful instruments of his authority.



Blade Runner 2049 is thrilling. Villeneueve has once again partnered with legendary cinematographer Roger Deakins, who tops himself here, painting on a vast, surreal canvas. The use of light and shadow in 2049 is going to be studied for a long time. His compositions meld seamlessly with special effects, creating a steely, saturated world of pale longing and fleeting eruptions of color. It's a staggering achievement. The film manages to evoke influences as diverse as Chinatown, Angel Heart and Stanley Kubrick, while feeling very much its own unique place and time. It's thrilling that for his next film, Villeneueve is mounting his own version of Dune - easily the film I'm most excited to see made right now. God, I hope he gets Deakins to join up again on that one!

If Blade Runner 2049 has a fault (and I'm not sure it does), it's that it might be too long for its own good. Clocking in at 2 hours and 43 minutes, the story takes its time, and modern audiences may find their patience tested at times. Enthralling as it is, there are some side-steps and lulls that feel like they hurt the story's momentum - but there's so much going on in this story, I just don't feel like one viewing is enough to say that's the case. I suspect subsequent viewings are going to close their own loose ends, and make the choices clearer and the subtlety of plot that much richer. It's a lot to take in.

Like Ridley Scott's original, Blade Runner 2049 is an existential noir about self, identity, memory and the past. Parts of our selves may be hidden from us, but in the end, its our choices that reveal who we really are.

"You look like a nice boy, I bet you have a lot of friends..." The terror of It.

It’s no secret this was Hollywood’s weakest summer at the box office in more than a decade – down almost 15% from last year. Yeah, that’s pretty scary, alright. But not nearly as scary as the welcome arrival of director Andy Muschietti’s adaptation of Stephen King’s It, which slammed the door on summer with a colossal $123 million opening weekend – the 3^rd biggest opening of the year, trailing only Beauty and the Beast and Guardians of the Galaxy Vol. 2 – yep,it even walloped Spider-Man: Homecoming. It’s a terrific horror picture – which I’ll get to in a moment – and while it’s devouring the box office, It’s also delivering some very potent lessons: the horror genre is incredibly profitable – and so are R-rated films. It is rated R and earned a 51% female audience opening weekend – chew on that. Also, It features a cast of unknowns – the marquee value here is Stephen King, who still carries massive appeal, when a movie bearing his name delivers the goods, which The Dark Tower didn’t. Despite that picture tanking, it didn’t taint King’s name value in the slightest. What audiences care about is if the movie is a good experience or not – and oh, baby, is It an experience.

First filmed as a miniseries in 1990, It planted itself into the pop culture firmament thanks in large part to Tim Curry’s unhinged portrayal of Pennywise the Clown, which freaked out more than a couple of generations thanks to home video, and left a Mt. Everest-like challenge for any actor who’d dare to try and fill that character’s clown shoes – how do you top that?! 

The good news is that Muschietti (with screenwriters Chase Palmer, Cary Fukunaga and Gary Dauberman) have stayed pretty faithful to King’s source material while keeping things feeling fresh and new. Where the original miniseries followed the novel by jumping back and forth between the characters as adolescents and adults (27 years later), It focuses solely on the kids of the story as they first discover what an evil, messed up place the town of Derry is. And that’s not just because of Pennywise. All the kids (who dub themselves “The Losers Club”) have it pretty rough: Stuttering, chronic health problems, being the only minority – being the fat kid. Like The Goonies or the kids in
King’s own Stand By Me, these characters are just trying to get through their early teens – but in addition to being badgered by a truly despicable gang of older kids, it’s the adults in their world that are some of the most terrifying parts of their lives. A key presence in the Losers Club is Beverly Marsh (Sophia Lillis), a disruptive presence in their world, both alien and hypnotic – she’s a girl. Beverly’s been tagged with an undeserved bad reputation at school, while trying to avoid the skin-crawling advances of her own father – she’s an outcast, so a perfect candidate to join the other young Derry misfits. It’s unsettling that Beverly’s the target of an incestuous pedophile while the filmmakers

deliberately make her a sexualized presence. But thanks to Lillis’ performance, it’s never cheap or sensational – despite walking right up to that line. It’s a star-making performance, and Beverly is practically the main character in this version of the story.

The film stunningly depicts the iconic opening of little Georgie Denbrough losing his paper boat into a sewer opening, where we first meet Pennywise, in a sequence that’s even more upsetting than I was prepared for, and unforgettably sets the tone for where we’re going. Georgie’s disappearance haunts his grief (and guilt)-stricken older brother Bill (Jaeden Lieberher) with incredible sadness. All the young actors in It are fantastic, but Lieberher deserves special notice, as his depiction of someone trying to build courage out of shattered heartache is really compelling.

Muschietti updates the original’s late 1950’s setting to the 1980’s (the novel was published in 1986), which gives the story a crazy, serendipitous kinship with Stranger Things, which itself felt wildly inspired by It (they share one cast member, Finn Wolfhard). It’s as if there were suddenly a Stranger Things feature film in theaters, but that’s just good timing, because the filmmaking and sense of place and character in It is entirely unique – as is this new version of Pennywise, performed by Bill Skarsgård. We learn that this isn’t the first era that this evil presence has haunted the town of Derry, and Pennywise is dressed here in turn-of-the-century clown garb, with aging lace and frills. Skarsgård makes the character entirely his own, which looks like it was incredibly painful to inhabit. Pennywise is beyond disturbing, and what visual effects there are in no way upstage the dark insanity that comes from the craft of acting. Skarsgård’s a real original, and hard to shake.

Muschietti (Mama), abetted by Oldboy DP Chung-hoon Chung’s stunning cinematography, puts together a ravishingly dark and involving series of sequences that engage the audience so deftly, I was reminded of Tobe Hooper’s Poltergeist. You’re in the grip of a master manipulator (that’s a compliment) who knows that scares work best when you’ve come to powerfully care for the characters. It’s easy to see why It is doing so well at the box office.

If there’s one bit of mysterious disservice, it’s to the character of Mike Hanlon (Chosen Jacobs), who becomes the bookish town librarian in the novel, and who I remember being the one who did all the research into Derry’s past. Here, he’s less the intellectual and is forced to work in a slaughterhouse, which feels a lot more dated and stereotypical. But Jacobs is awesome, and you’re with him every inch of the way – it just feels like a shame and a step backward.

We’ll be returning to Derry in the “adult” version, 27 years later, with new actors bringing us the sequel. For the life of me, I hope they cast unknowns, because it’s already a tall order to make a film as enthralling as this one, where you’ve got the vulnerability of children being such a potent driver for the audience. But Muschietti and Skarsgård have more than proven their chops at overcoming
difficult challenges, so it’s going to be fascinating to see how they tackle it. It is one of the strongest horror movies of the last few years, and easily one of  the best Stephen King adaptations. Given
its current domination of the box office, Pennywise and his red balloons aren’t going anywhere but up.

Spider-Man: Homecoming - Peter Parker Comes of Age

As a card-carrying Marvel Universe enthusiast, there’s no way I’m missing any new Marvel flick in the theater, so after a hectic couple of weeks, I finally got a chance to check out Spider-Man: Homecoming, the latest crowd-pleaser from Marvel’s cinematic domination of the box office universe. By my count this is Marvel’s 16^th feature, since Iron Man debuted back in 2008. These days, we get 2-3 Marvel films each year, which is really something, with audience appetite showing no signs of slowing down – this latest outing coming between Guardians of the Galaxy Vol. 2 and this November’s Thor: Ragnarok.

Now old Spidey’s had his fair share of movies since Sam Raimi first debuted him back in 2002, and you’d have to be crazy not to be a little daunted at the prospect of the fan community skeptically sighing, “Again, with another reboot?!?” But this is Marvel Studios, and they don’t leave much to chance – and director Jon Watts (Cop Car) has served up a terrific new iteration of the trials of Peter Parker that manages to feel modern, fresh and new, while maintaining a satisfyingly old-fashioned comic book vibe, all at the same time.

Homecoming picks up right after the events of Captain America: Civil War (feels like that was a lot longer than 14 months ago!), so Pete’s already fought side by side with The Avengers, but he’s still barely 15, and still in high school, fer cryin’ out loud. He’s got twin obsessions, Liz (Laura Harrier), the willowy girl on his academic decathlon team (in this high school, it’s way refreshingly cooler to be a brain than a jock), and his desire to prove to mentor Tony Stark (Robert Downey Jr.) that he’s ready to be a full-time Avenger. How you gonna keep the boy down in the borough of Queens, after he’s seen Black Widow?!

So, he’s the lovable Peter Parker of the comics – a young kid who’s got a whopper of a secret to hide from his peers. One of the reasons Spider-Man: Homecoming is so entertaining is Tom Holland, who is just self-effacingly, awkwardly, unabashedly, enthusiastically awesome, as young Pete. He’s terrific here, and he instantly brings the audience along with him every step of the way. You want him to impress the girl and prove he’s worthy and he’s hilarious when he screws things up – and when he hurts, man – you hurt right there with him.

We’ve seen New York smashed to bits in The Avengers, and have you ever wondered who cleans up that gigantic mess after the dust settles? A bunch of roughneck construction guys, that’s who. When one of these subcontractors realizes they’re about to get squeezed out of business, Adrian Toomes (Michael Keaton) pockets some damaged alien technology, and a black-market weapons business is born. Before long, Keaton’s devised a massive winged attack suit that lets him swoop down – like a…Vulture! – and plunder whatever he desires. I ask you: who’s crazy enough to try and stop a guy like this?!?

Holland and director Watts work incredibly well together, and let you feel Peter’s angst, but never let you get mired in it. Spider-Man: Homecoming never forgets to be fun, perhaps best personified by Peter’s best pal Ned (Jacob Batalon), a delightfully enthusiastic one-man fan club, a loveable sidekick role similar to Michael Peña’s in Ant-Man, but very much his own guy, and a good friend who helps give Peter all kinds of perspective – and encouragement – on his choices. 

Pitting Holland’s affable adolescent against Keaton’s threatening talons makes for great popcorn. Keaton’s got such great chops, and he brings a menacing, yet relatable quality to a guy who’s not out to conquer the world, but who’s just turned criminal – and who likes it. I’m happy to say this Spider-Man is a fantastic fit in the Marvel Cinematic Universe, and you can swing by our neighborhood anytime, web-head.  

Dunkirk: Christopher Nolan's Miracle of Deliverance

There are plenty of good movies being made these days, great films; strong stories. But it's few and far between that something comes along that knocks the wind out of you - that's both steeped in the craft of classic filmmaking, but that also feels fresh and immersive and new. A release that's not just a movie - but that reminds you that Cinema still exists. With Dunkirk, director Christopher Nolan not only does all that, he's made his strongest film to date, and delivered what's more than likely to be the best motion picture of the year.

I'm lucky enough to live near one of the few theaters that's showing Dunkirk on actual 70mm film, and like Hateful Eight a couple of years back, seeing it with an audience on a massive screen is a rare experience indeed. Christopher Nolan's a purist, in this case foregoing digital for actual large format film, and sharpness of the resolution and depth is just overwhelming - probably the best word to use to describe what Dunkirk feels like.

Based on the actual events of May 1940, when over 300,000 Allied soldiers were cut-off and trapped on all sides by the German army. It could have been one of the worst bloodbaths in history. It's a situation that's almost a reversal of the typical war movie dynamic. There's no objective for the soldiers - no bridge to be captured or siege to perform. The objective here is to somehow just avoid being killed - by some miracle, to just survive.


Nolan depicts three different overlapping storylines, each with its own timeline. On land, Fionn Whitehead is one of several young soldiers trying to figure out how to avoid death. At sea, Mark Rylance (Bridge of Spies) is one of the hundreds of civilian British boat captains who cross the Channel in an effort to help bring home their stranded countrymen. In the air, Tom Hardy is a Spitfire pilot who's low on gas amidst a sky that's full of enemies. All the while the propulsive score by Hans Zimmer keeps escalating, the steady tick-tick-tick tempo getting into our bloodstream, taking us from anxiety to all-out dread.

Dunkirk is an epic, but it's lean and efficient, clocking in at just 106 minutes. Thanks to the large-frame format, the near documentary feel at times, the use of sound and editing, it's one of the most immersive film experiences I can recall. Nolan avoids digital effects in favor of the real thing. Actual Spitfire aircraft flying over the English Channel. Actual ships. You feel like you're right there in that cockpit with Hardy, shuddering and hanging on while you're trying to down another plane. There are some simply staggering set pieces in Dunkirk that I'm dying to learn how they achieved. They don't look or feel even remotely like special effects, but I mean, they must be...? Nolan and his Interstellar cinematographer Hoyte Van Hoytema plunge their cameras right into the middle of every scene.

The cast is fantastic, all delivering performances that emphasize immediacy and emotion over grandstanding. Mark Rylance is a wonder here, as is Tom Hardy - you almost feel like you're watching Spencer Tracy and Steve McQueen in a film co-directed by David Lean and Stanley Kubrick. Kudos also to Kenneth Branagh, as the Naval officer trying to hold the coast together and save as many lives as possible, against crushingly overwhelming odds.

If you see one picture in a theater this year, make no mistake, this is mandatory. Seek out the largest screen you can find (and 70mm if at all possible), and see one of the great war films of all time. Dunkirk is an absolute classic, and will restore your faith that they truly do make them like they used to - and then some. An incredible achievement on every level.

Ape-ocalypse Now: War for the Planet of the Apes!

“Apes together, strong!” You better believe it! After two wildly successful chapters (Rise and Dawn), the rebooted Apes trilogy comes to a resoundingly Old School and satisfying conclusion (at least, for now), with director Matt Reeves’ War for the Planet of the Apes. Reeves previously directed the last Apes outing, and along with screenwriter Mark Bomback, has emphasized two crucial imperatives – maintaining the focus on depicting Caesar (Andy Serkis) and the apes as rich relatable characters, while pushing the motion-capture visual effects to simply astonishing new heights.

Caesar and his simian stronghold just want to be left alone to live in peace, but a lingering band of human soldiers is determined to wipe them out. After a particularly devastating raid on the ape community – led by Woody Harrelson’s ruthlessly determined Colonel – Caesar gets his Josie Wales on, and aims to settle the score once and for all. War has a really refreshing old fashioned vibe, at times often feeling like a classic western, or John Sturges picture, with Caesar and his mounted band heading into the snowy Sierras in search of the Colonel’s base. There are some great little surprises in the script, with Steve Zahn doing terrific work as a new character Caesar meets on his quest. Newcomer Amiah Miller is also outstanding and effective as a young human girl the apes are compelled to look after. But make no mistake, Andy Serkis is an absolute marvel. You completely forget that effects are at work to depict these characters. Caesar’s ability to speak has markedly improved, but it’s his face that emotes and captivates, from poignant empathy to unchecked fury. He's a hirsute Henry V  –  a natural leader –  but he’s also a Charles Bronson vigilante out for vengeance.

Which all serves to make Harrelson’s self-righteous Colonel that much more one-dimensional in comparison. He’s much better at opining exposition than he is at running his base camp. The Apes films have always had social commentary on their mind, and this Colonel is a leader determined to build a great wall – an effort others see as “madness” – which gives War a rather timely context.

War for the Planet of the Apes is another example of what happens when filmmakers are given the freedom to tell a strong story and stick to the basics of entertaining the audience. This Caesar has plenty to say about the human condition, and audiences will have a rip-roaring good time, and still leave hungry for more.

#SDCC 2017: Day One at Comic-Con: NECA does del Toro!

Color me blown away. NECA is never predictable, and this year, it seemed a little surprising that they made so many big announcements and reveals before Comic-Con: Blade Runner 2049, Valerian, Aliens Burke and James Cameron figures – were they showing all their cards before the Con even began? Then Preview Night was heavily dominated by lots of Ninja Turtles and arcade-style renditions of Aliens and Predator. Not really my thing, as I focus on figures as depicted in their actual screen incarnations.


Then today happened. NECA revealed the Guillermo del Toro Signature Collection, with 2-Up prototypes of The Pale Man and Faun from Pan’s Labyrinth as well as Santi from The Devil’s Backbone.
 
These are works of art, and a fantastic tribute to the films of one of the most unique and visionary voices in cinema. Coming right on the heels of the new trailer for del Toro’s The Shape of Water, this was truly a jaw-dropping reveal, and beautifully timed. NECA continues to show us that with patience, anything is possible.
We also saw MacFarlane’s new Stranger Things figures, with Eleven and Hopper.
 

The day’s not over yet, so stay tuned!

#SDCC 2017: Preview Night at Comic-Con!

It's Christmas in July! Preview Night at San Diego's International Comic-Con! So far, not too much that's really jaw-dropping, but the night is young.

Hasbro has new The Last Jedi figures of Jedi Master Luke and Rey. The face sculpt for Luke is looking pretty decent here:

Then a nice posed look at Grand Moff Tarkin. 

Hasbro's Rathtar from The Force Awakens. Way, way too small, scale-wise...

NECA Blade Runner 2049, with what looks to be a Spinner from their Cinemachines line...

From Dark Horse, Game of Thrones "Battle of the Bastards" Jon Snow and Season 1 Daenerys...

A good look at Mezco's One:12 Dr. McCoy...

...and "casual" James Kirk with display chair:

This is just the first taste, so expect more updates and breaking news through Sunday! 

Despicable Me 3's Sibling Rivalry

"Face it, Gru - Villainy is in your blood!" It's amazing how much Illumination Entertainment becomes a part of your life when you're a parent. You've likely been Despicable Me'd and Minion'd and Secret Life of Pets'd so frequently that you're dizzy at the very mention of it. But part of the massive appeal of Chris Meledandri's pixelated empire is that these films always have a boatload of content that's just as appealing to adults - and for the most part, Despicable Me 3 is no exception.

Reformed super-villain Gru (Steve Carell) is now a family man, and anti-villain special agent. Who better to track down and apprehend super-villains, I ask you?! But Gru finds out he has a long-lost twin brother - Dru - a twin brother who's more successful and infinitely better coiffed than he is. When Gru loses his job after letting a major bad guy get away, reunited sib Dru enthuses that they take up the family business again - super-villainy - and team up!

Carell - voicing both parts - continues to be deliriously entertaining in this franchise. One foot in domestic travails, the other in larger than life Bondian mayhem. But he wants to be a good father and husband (to Kristen Wiig), and he doesn't want to disappoint anyone. Directed by Kyle Balda (Minions) and Pierre Coffin (also Minions plus Despicable Me and DM2), Despicable Me 3 has a pleasing family-meets-Bond vibe that strongly evokes The Incredibles. All the scenes with Gru and Dru sorting out their relationship are terrific and very funny. Dru's family estate is in the country of Freedonia (!) and the pig and cheese-occupied villagers and daughter Agnes' (Nev Scharrel) obsession to find an actual unicorn in the local forest create some of the funnier moments.

But DM3 is lacking the incessant spark and unexpected hilarity that made other Illuminations films like Minions and Secret Life of Pets such smash, repeatable hits. Yeah, the Minions are pretty hilarious, but nowhere near as novel or inventively employed as they were in their titular film. Plus, a big problem with the film is the antagonist - a parachute-pants-wearing former child star of the 1980s who's still living that decade. Balthazar Bratt (Trey Parker) wears thin right out of the gate, and becomes painfully annoying by act 3. He may have sounded funny on paper, but falls flat in execution. That makes for some rough sledding, make no mistake.

Still, Carell's dual roles carry most of the picture, and parents looking to enjoy a kid-friendly summer outing could do soooooooo much worse. It's not classic Illumination, by any means, but it's a lot of fun, has a good heart, and your family will laugh pretty hard - though pretty forgetfully.

Conflict: Star Trek Discovery's Final Frontier

It's been a source of frustration for many Stardates - as part of creator Gene Roddenberry's vision of a more enlightened future, Star Trek writers have long had to contend with developing stories that shied away from any conflicts between crewmembers, or portrayed them in a negative fashion. "Drama is conflict" has been a mantra since the Greeks. But it's been a limitation on Star Trek that's caused many who've worked on the various iterations of the franchise to feel a bit hobbled over the years.

Thanks to a fascinating story in the current Entertainment Weekly, we're learning that the showrunners on the new CBS Star Trek Discovery have 86'd this age-old condition of the series in the hopes of telling more dramatic stories. This is good news, and a hopeful sign that they're spending a good amount of time working on good stories - putting the emphasis on the writing.

Showrunner Aaron Harberts explains, "We're trying to do stories that are complicated, with characters with strong points of view and strong passions. People have to make mistakes - mistakes are still going to be made in the future. We're still going to argue in the future. The rules of Starfleet remain the same. The thing we're taking from Roddenberry is how we solve those conflicts. So we do have our characters in conflict, we do have them struggling with each other, but it's about how they find a solution and work through their problems."

One other significant departure from previous Star Treks is that Discovery's narrative will be highly serialized, as opposed to the "planet of the week" model Star Trek began with.

I found this to be extremely encouraging news. Not that we should expect a darker, more brooding Star Trek. But that the showrunners are trying to find a workable mix between what makes Star Trek unique, while making sure the format connects with modern audiences. After all, Star Trek veteran Ronald D. Moore launched his Battlestar Galactica update largely in response to the storytelling limitations imposed while working on Deep Space Nine and Voyager. Just knowing that the people involved in Star Trek Discovery care enough to avoid serving us leftovers is pretty fantastic. Star Trek has always been about pushing past the borders of the frontier, and it sounds like we're in for a fresh new perspective that goes where no previous outing has gone before.

Star Trek Discovery debuts September 24th.