Wonder Woman


Gal Gadot takes aim at stardom.

(2017) Superhero (Warner Brothers) Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya, Lilly Aspell, Lisa Loven Kongsli, Ann J. Wolfe, Ann Ogbomo, Emily Carey, James Cosmo, Wolf Kahler, Alexander Mercury, Martin Bishop, Flora Nicholson. Directed by Patty Jenkins

 

In a world where superheroes are nearly all men, the superhero movie reigns supreme at the moment. Audiences of superhero fans – also mostly male – have been streaming to these films for more than a decade, buoyed by advances in CGI technology which enable the deeds and superpowers to be rendered to live action. It’s a great time to be a fanboy.

But what about the women? While it’s true there are not very many female superheroes at either of the two major comic book houses – DC and Marvel – compared to male ones, there definitely are some and there have been few female-centric superhero movies, the not-well-remembered Elektra being the last one back in 2005. The most iconic distaff super heroine – DC’s Wonder Woman – hasn’t had a movie of her own, until now. Although her TV series starring Lynda Carter in the title role is fondly remembered from back in the 70s, there was a certain element of camp to it that gave it less serious consideration – which in many ways was true of all superhero TV shows until recently. Now it’s different for this is the age of the super heroine.

Diana of Themyscira (Gadot) lives on an island of all female Amazon warriors. Her mother Hippolyta (Nielsen) is reluctant for her daughter to be trained in the arts of war, although her aunt Antiope (Wright) trains her in secret, recognizing that Diana is destined for greatness. When Hippolyta finds out, she is furious and Diana becomes frustrated, chafing at the bit to learn how to fight from her aunt who is widely acknowledged to be the greatest of all Amazon warriors.

The world of Themyscira has been hidden from the world of Men and for good reason but all this comes to an end when a biplane carrying an American spy, Steve Trevor (Pine), splashes into the lagoon of Themyscira. The First World War is raging in Europe and when a German flotilla of ships chasing Trevor manages to find Themyscira, an all-out battle rages on the sands of their beach. They manage to defeat the Germans but at great cost.

Diana finds out more about the conflict and immediately recognizes the hand of Ares, God of War, in the insanity. Bound and determined to go and kill Ares and thus save the world, she gets reluctant but tacit approval from her mother to go. Diana reaches the London of 1919 and it is a confusing place to her. However, Trevor reports to the war council that Germany’s General Ludendorff (Huston) is planning on unleashing a new poison gas perfected by the mad Dr. Maru (Anaya) – who is known among the rank and file as Doctor Poison – that could turn the tide of the war. Sir Patrick (Thewlis), a Parliamentarian who alone seems to take Diana seriously, sends Trevor and Diana deep into Germany to find and destroy the factory manufacturing the poison gas.

Trevor and Diana are accompanied by three of Trevor’s operatives; Chief (Brave Rock), Sameer (Taghmaoui) and Charlie (Bremner). The five of them pass beyond enemy lines to witness the horrors of war and of the world of men firsthand. Diana’s sensibilities are thrown into disarray but she must put that all aside if she is going to save millions of lives. In order to do that however she is going to have to confront a god.

There has been much critical praise here with some critics stumbling all over themselves to label this a feminist superhero movie. I don’t really know how to react to that; part of me doesn’t think that the term “feminist” has a very strict definition to be honest. There are all sorts of feminists believing in all sorts of ideals. I imagine you could shoehorn Wonder Woman into a category that believes that women can be superheroes and just as badass as men can and I would be okay with defining this as a feminist film from that standpoint.

One thing positive I think the movie will do is dispel the Hollywood myth that women directors can’t do big budget action CGI films, James Cameron’s criticisms notwithstanding. Clearly Jenkins proves here that she can handle the many facets that go into a production of this magnitude and in some ways comes out with a product better than that produced by a number of Hollywood heavyweights. No longer can women directors be ghettoized into smaller more intimate films about love, feelings and empowerment which seemed to be all Hollywood – and indie producers as well – were letting women direct. Who wouldn’t want to see a woman handling a Star Wars film or a war epic after seeing this?

Gal Gadot is one reason the movie succeeds. She has always had screen presence in her supporting roles; here she proves that she has more than enough to tackle a lead role in a Hollywood blockbuster. She handles the fight scenes convincingly (not true for all A-list Hollywood men) but then again she actually served in the Israeli army, an organization that knows a thing or two about kicking butt. She also does well with the comic overtones during her fish out of water scenes in London. In fact, I wish there would have been more of this element to the film – Gadot is that good.

There is a lot to be said about the set design here. Everything is terrific, from the imaginative Themyscira sets (shot on the Amalfi coast in Italy) to the note-perfect London of the Great War era. The world we see may be fantastic but it is always believable and there is much to be said for that. The action sequences are also imaginatively staged with one exception and I’ll get to that in a moment.

The movie falls down on two fronts; first, that irritating theme music first introduced in Batman v. Superman: Dawn of Justice. We hear it again and again in this film and quite frankly it makes me want to stick a power drill in my ear. Secondly, the climactic battle is a nighttime set everything but the kitchen sink battle royal between Diana, Ares, the German army and Team Trevor. There is a lot of flying debris and dimly lit action sequences. It’s overwhelming considering the CGI overkill and I thought it almost came from a different movie, although there is a distinctly femme point of view to how the scene is resolved and that, I must admit, was much appreciated.

There was much buzz surrounding this film, which was heralded as a different take on superheroes. Wonder Woman, one of the most iconic characters in the DC Comics pantheon was finally getting her own live action big screen extravaganza and the film was to be directed by – *gasp* – a woman. Never mind that eight out of the ten producers are men as well as all five credited screenwriters; the glass ceiling has been shattered at last.

As any woman will tell you – well, not really. Certainly strides are made here and there is hope for the future as Marvel has a female superhero film (directed by a woman) in the pipeline and given its impressive box office receipts there is definitely going to be a sequel to this film and Jenkins is in line to direct it, although if she passes it will likely give another female director a chance to shine. This is to my mind the best DC comic book film not directed by Richard Donner, Tim Burton or Christopher Nolan and certainly a huge step for the DCEU (DC Extended Universe) to establish itself as a contender to Marvel.

This isn’t the greatest comic book superhero film ever. It isn’t even the best one being released this summer. However, it’s plenty good enough to be a worthy addition to one’s home movie library whether you are a feminist or a fanboy – or both. There’s no reason the two have to be mutually exclusive.

REASONS TO GO: Gadot is absolutely sensational in the title role. There’s enough action to make the film palatable to superhero fans but the different point of view will be attractive to those tired of the same old thing.
REASONS TO STAY: The climactic battle is a bit of sensory overload.
FAMILY VALUES: There is some superhero and war-related violence, some sexually suggestive content and a few disturbing images.
TRIVIAL PURSUIT: This is the first female-directed film to have a budget over $100 million, the first female-directed film to have a $100 million plus opening weekend and currently holds the title as the female-directed film to earn the most box office revenue ever.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 9/5/17: Rotten Tomatoes: 92% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Captain America: The First Avenger
FINAL RATING: 7.5/10
NEXT:
Baywatch

 

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Letters from Baghdad


Gertrude Bell, the iconic woman you’ve never heard of – but should have.

(2016) Documentary (Vitagraph) Tilda Swinton (voice), Eric Loscheider, Pip Torrens (voice), Michelle Eugene, Paul McGann (limited), Rachael Stirling, Helen Ryan, Christopher Villiers, Rose Leslie (voice), Adam Astill, Ahmed Hashimi, Simon Chandler, Anthony Edridge, Andrew Havill, Zaydum Khalad, Mark Meadows, Elizabeth Rider, Hayat Kamille, Michael Higgs, Joanna David, Lucy Robinson. Directed by Sabine Krayenbühl and Zeva Oelbaum

 

There are people who have made enormous contributions to history that have gone largely unnoticed. Not because their contributions have been any less important but simply because of their gender. Women who have been instrumental to shaping our modern world are often lost in the mists of time simply because they weren’t taken seriously by their contemporaries, particularly those uncomfortable with the thought that a woman could make more of a difference than a man.

Gertrude Bell isn’t a household name but she should be one no less than her contemporary colleague T.E. Laurence, better known as Laurence of Arabia. Bell helped shape the modern Arabic nation-state, particularly Iraq but she did labor with Laurence in creating the map of the Middle East that we see today, largely helping various countries achieve their independence from colonial powers following the Great War.

She is largely responsible for the foundation of the state of Iraq which might not make her popular nowadays with a certain segment of our society, but she is actually well-regarded by the Iraqi people. She had a special affinity for them as well as the Arabs, speaking both fluent Persian and Arabic. She regarded them as equals, which was not the general case with the British diplomats and bureaucrats they had contact with.

She was an avid letter writer and also a published author; although these days she’s not as well known as her contemporary Laurence who was an EXCELLENT writer, she was an accomplished writer in her own right and even today her words are evocative, bringing the desert and those who live here to life. Swinton reads the writing with a natural flair, making the penned words sound naturally spoken. She does a wonderful job of giving the not so well known historical figure depth and humanity. Bell was a formidable woman in her time (and would be considered so today) although she was also a victim of some of the less admirable qualities of the time; she speaks of “the better classes” when referring to those few she admitted to her inner circle, by which she meant the educated and mannered. I suspect if she lived in contemporary times her attitude would be a bit more progressive.

The filmmakers utilize archival footage, a good deal of which hasn’t been seen in almost a hundred years and some likely never exhibited publicly. The footage is quite amazing, evoking an era long past but lives on in romantic memory. There are also plenty of still photos as well, many of which were from Bell’s own collection. One of my favorite sequences in the film was a collage of photos showing Bell’s maturing from a young girl into a young woman. It’s only a few seconds of screen time but it is memorable; keep an eye out for it.

There are also actors reading from various missives, reports and personal letters about Bell; strangely enough they are attired in period costumes and appear onscreen (whereas Swinton doesn’t). The effect is less than scintillating and I think the film would have been better off having the actors read the lines in voice over and utilizing more of the footage and still photos.

This is a marvelous documentary that redresses a wrong in relegating Bell to the forgotten pages of history. Regardless of what you might think of her – and to be fair there are modern scholars who thought her a raging colonialist although I have to disagree with that – she was a mover and a shaker in a time when women were expected to be quiet and subservient. Her story is an incredible one and shows someone of great character, fortitude and courage who should be an inspiration to young women everywhere. Thanks to this documentary, now she can be.

REASONS TO GO: The still photos and archival film footage are marvelous. Swinton breathes life into Bell. The photo collage that captured Bell aging from young girl to young woman was nicely done.
REASONS TO STAY: The dramatic recreations and actors playing talking head interviewees work less well.
FAMILY VALUES: While some of the themes are a bit adult, generally speaking this is suitable for the entire family.
TRIVIAL PURSUIT: In her lifetime, Bell wrote more than 1,600 letters which the filmmakers had exclusive access to.
CRITICAL MASS: As of 6/4/17: Rotten Tomatoes: 80% positive reviews. Metacritic: 63/100.
COMPARISON SHOPPING: Queen of the Desert
FINAL RATING: 8/10
NEXT: Paris Can Wait

Death Race 2050


Marci Miller makes her point to Manu Bennett.

(2016) Science Fiction (Universal) Manu Bennett, Malcolm McDowell, Marci Miller, Burt Grinstead, Folake Olowofoyeku, Anessa Ramsey, Yancy Butler, Charlie Farrell, Shanna Olson, D.C Douglas (voice), Sebastian Llosa, Emilio Montero, Mark Doran, Karl Muse, Alberto Osterling, Robert Slattery, Daniela Vargas, Jonathan Fisher, Helen Loris, Hailey Livingston. Directed by G.J. Echternkamp

 

In all the annals of filmdom there hasn’t been anyone quite like Roger Corman. His oeuvre of cheap special effects and low budget with a dash of social satire and a low-brow tone has been with him through a nearly six decade career. The original Death Race 2000, made in 1975, was one of his biggest hits, starring David Carradine and a pre-Rocky Sylvester Stallone. In many ways a live action version of the Saturday morning cartoon Wacky Races, it has been considered a cult classic for decades. In 2008, a remake entitled Death Race was made with Jason Statham starring. Eschewing the light-hearted satire of the original, it was a darker hued straight action movie that was successful enough to spawn three direct-to-home-video sequels, all without Statham.

This one, with Corman’s presence as a producer, is not so much a remake as a reboot. It returns to the slightly off-kilter feel of the original as well as the approximate plot. The Chairman (McDowell) of the United Corporations of America convenes the annual Death Race, the biggest sports event in the world. In it, five racers with souped up vehicles weaponized to the teeth race from Nuevo York to New Los Angeles. It’s not about who gets there first; it’s about who kills the most pedestrians along the way.

=You see, robots have replaced human workers in nearly every job and consequently there’s 99% unemployment and overpopulation. The Death Race thins the herd so to speak. To placate the masses, the Race also offers a Virtual Reality version in which viewers can be in the cockpit of the car of their favorite drivers through proxies who carry cameras and microphones, periodically interviewing their heroes.

The drivers are Minerva Jefferson (Olowofoyeku), a hip-hop artist; Tammy the Terrorist (Ramsey) whose name is self-explanatory; A.B.E., a robotic entry not unlike Knight Rider; Jed Perfectus (Grinstead), a buff sexually ambiguous genetically engineered athlete and the favorite, Frankenstein (Bennett) who is the reigning champion.

Curiously, fans of the drivers line up in an attempt to sacrifice themselves for their favorite drivers. And drivers steal these easy group kills from one another. As they make their way across the country big rivalries develop between Minerva and Tammy and especially between Perfectus and Frankenstein.

There is also a resistance out there who aim to disrupt and destroy the Death Race by any means necessary. They are led by former network executive Alexis Hamilton (Butler) who has a mole; Frankenstein’s proxy, Annie Sullivan (Miller). However the further they get into the race, the deeper the corruption becomes until Annie, whom Frankenstein appears ambivalent towards – he only wants to win – is unsure of what side she’s really on.

The humor here is dark and over the top as is the violence and gore. This is for sure a throwback to Corman’s heyday both in tone and in execution and for that the filmmakers are to be commended. I’m not sure how involved Corman himself was with this but his name is in the credits and in some cases on the title. I’m guessing that if he didn’t have his hands directly in it, they are there in spirit. Certainly the filmmakers understood his style.

The acting is about what you’d expect it to be, but a special shout-out has to go to Bennett. He proves that his work as the smoldering Slade Wilson in Arrow was no fluke. The man has a bright future ahead of him if he gets a few breaks and the right role. He’s got the presence.

The special effects and CGI are bargain basement and that can be an acquired taste. Modern audiences may not tolerate it when they are used to big budget effects. Admirers of classic B-movies will likely be more tolerant but these days that seems to be pretty much a niche group. I also found the soundtrack to be a bit overbearing. It became noticeable on quite a few occasions.

This isn’t for everybody but I suspect those who can appreciate the satire (the Chairman is certainly based on Donald Trump) and the humor, not to mention the gore will find this entertaining. The cheapness of the production which is an art in itself will further endear some. However – and I can’t stress this enough – those that don’t appreciate the art of B-movies will probably find this anachronistic and boring. Keep that in mind as you select it for streaming.

REASONS TO GO: The film is surprisingly satirical. It’s a throwback to Corman’s 70s and 80s films.
REASONS TO STAY: The special effects may be too cheesy for some. The soundtrack is actually annoying.
FAMILY VALUES: There is a butt load of violence and gore, some sexuality, some brief nudity and plenty of foul language.
TRIVIAL PURSUIT: The sneakers Jed Perfectus wears are Converse All-Star Hi-Tops.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Netflix, Vudu, YouTube
CRITICAL MASS: As of 3/22/17: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Cannonball Run
FINAL RATING: 5.5/10
NEXT: The LEGO Movie: Batman

Hitman: Agent 47


Shoot first and and don't bother to ask questions later.

Shoot first and and don’t bother to ask questions later.

(2015) Spy Action (20th Century Fox) Rupert Friend, Hannah Ware, Zachary Quinto, Ciaran Hinds, Thomas Kretschmann, Jurgen Prochnow, Rolf Kanies, Sebastian Hulk, Jerry Hoffman, Dan Bakkedahl, Emilio Rivera, Helena Pieske, Johannes Suhm, Angelababy, Tom Jester, Charlene Beck, Jesse Hergt, Daniel Stockhorst, Mona Pirzad. Directed by Aleksander Bach

Videogames are a multi-billion dollar business. There are tens – perhaps hundreds – of millions of gamers in the United States and around the world. Why, then, are movies based on videogames so bad and why have none been embraced by the gaming community? One theory is that gaming is an interactive medium whereas watching movies is a passive undertaking. Gamers prefer to influence their games, make decisions, determine the shape of the story. They can’t do that in a movie.

Which is horse hockey. Sure, gamers prefer an interactive medium, but that pre-supposes that gaming is the only medium they subscribe to. In fact evidence points to gamers also being readers as well as moviegoers. The reason that gamers can’t get behind movies based on games is because the studios, notorious for not understanding games or gamers, put what can only be described as a cursory (no pun intended) effort behind the film adaptations and the results are movies that aren’t just bad videogame adaptations but just bad period.

Take Hitman: Agent 47 for example. Games are by their nature cinematic and one gets the sense that Bach actually understands this; the movie is beautifully rendered, mainly lensed in Singapore (which is a city of fantastic architecture) and Berlin. The look of the movie is sleek and futuristic. There are some shots of a bikini-wearing woman slowly entering an infinity pool at the top of an exclusive Singapore hotel at dusk; cobalt blues, neon reds and greens blend to give the scene a surreal urban glow. However, this shot is also a microcosm for what’s wrong with the movie; the shot only exists for us to see Hannah Ware in a bikini. She has no reason to be swimming at that moment and it’s not germane to the plot.

The plot consists of Agent 47 (Friend), a genetically engineered assassin who is smarter, faster and stronger than the average human. He is on the hunt for Katia (Ware), a young woman who has shall we say hidden talents. What he’s really after is her father Dr. Litvenko (Hinds), who originated the Agent program. Many have tried to duplicate his work without success; one multinational corporation – known only by the obviously non-sinister nomenclature of The Syndicate, really wants an Agent. An army of them, in fact and their director, the Belgian Le Clerq (Kretschmann, a German) has sent a genetically modified assassin, John Smith (Quinto) to fetch the girl and find out what she knows. However 47, with a barcode tattooed on the back of his bald head, has his own agenda.

The story is weak and cliche and to be honest, I think that the studios really believe that the gaming community has to be pandered to rather than giving them stories that have depth and innovation. It hasn’t occurred to them that gamers are used to vast universes with complex back stories and games that not only challenge the gamer to think but require him/her to. Videogames are not all shoot-em-ups or football simulations.

This is a beautiful looking film, with lovely cityscapes and urban environments. The syndicate’s headquarters is all glass and fiberglass, with computer terminals the size of desks and cubicles that look like they were designed by the same person who does the W Hotel chain.  The film is well-lit for a change, which means that the movie isn’t murky throughout like a lot of action movies seem to be these days.

There are also some nifty action sequences with Syndicate goons going after 47 and Katia, or vice versa. Generally the movie is at it’s best when the action takes center stage. Friend is fairly limber which is necessary when making some of the moves 47 does, pirouetting and tumbling about like a demented gymnast in a suit. The choreography, while not up to some of the great Hong Kong action films, is nonetheless superior to most Hollywood action movies.

Friend goes through the movie essentially trying to play a Vulcan, which he could have gotten pointers from Quinto on. He mostly speaks in a monotone which really isn’t the way to go and from time to time I get the feel that the actor is frustrated with his role. Quinto is a good deal of fun when he’s onscreen, the reliable Hinds does what he can in a standard aging mad scientist role and Ware is pretty much wasted in a role that could have been a strong feminine heroine but isn’t.

This is like a supermodel with a lobotomy; great to look at but really nothing inside which is a shame; there’s a lot of potential in the franchise but the producers and the studio bungled it in a depressing way. The studios will probably go on thinking that the gamer market should be dumbed down to and will pour money into all the wrong things when it comes to videogame adaptations and audiences and critics alike will continue to go on thinking that the studios don’t have a clue what to do with these franchises, which is a frustrating situation for those who’d love to see some really good movies come out of these great video game franchises. Why is it that Hollywood can make great movies out of comic books but not of video games? I think that someone like Blizzard or Square Enix will have to do what Marvel did – create their own film division – before we see that happen.

REASONS TO GO: Visually impressive. Quinto is fun to watch.
REASONS TO STAY: Inane plot. Wasted potential.
FAMILY VALUES: Plenty of violence and a smattering of foul language.
TRIVIAL PURSUIT: Paul Walker was set to play the title role until his untimely death.
CRITICAL MASS: As of 9/9/15: Rotten Tomatoes: 7% positive reviews. Metacritic: 28/100.
COMPARISON SHOPPING: :Kingsman: The Secret Service
FINAL RATING: 5/10
NEXT: Meru

The Man from U.N.C.L.E.


Neither Cavill nor Hammer want their hair getting mussed.

Neither Cavill nor Hammer want their hair getting mussed.

(2015) Spy Action (Warner Brothers) Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Luca Calvani, Sylvester Groth, Hugh Grant, Jared Harris, Christian Berkel, Misha Kuznetsov, Guy Williams, Marianna Di Martino, David Beckham, Julian Michael Deuster, Peter Stark, Pablo Scola, Andrea Cagliesi, Peter Stark, Simona Caparrini, Joanna Metrass. Directed by Guy Ritchie

The 60s were an interesting era. While most people associate the last half of the decade of the era with the counterculture, evolution of rock and roll, protests and rioting, the first part of the era was something completely different. It was a time of the Cuban Missile Crisis and the New York’s World Fair, of great stress and great optimism. It’s a time when the Beatles and Burt Bachrach co-existed on the charts, and style still held more than a trace of elegance and grace. It was the golden age of spies, with James Bond, Modesty Blaise and Matt Helm all fighting the menace of Evil Empires and Megalomaniacs bent on world domination – or destruction. It was the age of U.N.C.L.E.

Napoleon Solo (Cavill) is a former war profiteer caught and sentenced to prison. However, the C.I.A., recognizing that his skills are superior, intervenes, allowing the sentence to be commuted – so long as he works it off for the Agency. Solo has become one of the most respected and successful spies in the business. Ilya Kuryakin (Hammer) is a KGB agent with incredible athleticism, brute strength and a temper more explosive than Vesuvius.

They butt heads when Solo tries to smuggle a pretty East German auto mechanic named Gaby (Vikander) out of East Berlin and Kuryakin is  told in no uncertain terms to stop them and he turns out to be pretty much a one-man wrecking crew, but nonetheless Solo gets the girl out of the Soviet zone.

As it turns out, her Uncle Rudi (Groth) works for Vinciguerra (which means “Win the War” in Italian), a sketchy Italian multinational corporation that may have her father, a nuclear physicist who may have discovered a means of making nuclear bombs portable. For a third party to have such destructive power at their fingertips is intolerable both for the Americans and the Russians so they decide to send their best men into the fray and get the technology for their own countries.

They will first have to get past Victoria Vinciguerra (Debicki), the twisted de facto head of the company and her vicious brother Alexander (Calvani), more thugs than you can shake a stick at and their own mutual suspicion. The game of spying has become even more complicated and confusing than ever.

Like the Mission: Impossible series, this is based on a hit TV show from the 60s but unlike the former film franchise, the filmmakers have elected to keep the film in the same general time period as the TV show which to my mind is a brilliant idea. The era is perfect for the story; they just don’t do urbane the way they used to, and Napoleon Solo is nothing if not urbane.

I like the casting in the leads but oddly enough, I’d have liked the casting better if Cavill and Hammer had switched roles. Cavill, I think, has a darker side to him than Hammer does and Hammer, who grew up not unfamiliar with the country club lifestyle, would have made an extremely convincing Solo. But then again, Hammer is a big fellow and that might not have jibed well with the Saville Row ladies man that was the American spy. Then again, David McCallum was a much less physical specimen than Hammer and still made an extremely effective Kuryakin in the TV series.

Ritchie, having done Sherlock Holmes and its sequel, has created a new niche for himself after escaping the old one. He is able to re-create the early 60s – 50 years gone now – by making the setting timeless places, mostly in the Old World. He uses vintage clothing as well as recreations to clothe his actors, although his screenwriters don’t quite have the idioms down – phrases like “skill set” and “price point” are phrases from this decade and not that one, and one would have wished the writing had been a little more careful in that regard. Comes from having young whippersnappers doing the writing (actually co-writers Lionel Wigram and Ritchie are two and eight years younger than I, so shows you what I know).

Vikander has become a hot property and this movie isn’t going to do anything to cool her down. These are the types of roles perfectly suited to growing a career; even though the movie is coming out in August, it’s still a major studio release and thus she’s going to get plenty of attention. The movie is pretty lightweight, true and so is the part although it is the most complex role in the movie but this isn’t meant to be John Le Carre; it’s light and frothy and Vikander wisely plays it that way.

And that’s really the draw for this movie; yeah, it doesn’t really add anything to the genre and yeah, it’s a pretty overcrowded field this year with James Bond waiting in the wings still, but that’s all good. When I was a kid, I used to watch the reruns of The Man from U.N.C.L.E. and eagerly read the paperback novelizations of the show. Hey, my parents loved it so who am I to disagree with an endorsement like that? In any case, this is a throwback to an earlier time well-executed in every way. Think of it as a cold Pepsi on a hot August day; perfectly refreshing and very welcome.

REASONS TO GO: Perfectly set in the period. Effervescent.
REASONS TO STAY: A few anachronisms here and there.
FAMILY VALUES: There’s plenty of action, some partial nudity and sexually suggestive material.
TRIVIAL PURSUIT: When Solo removes a tablecloth from a table without disturbing the place settings on it, he actually does that trick, being trained by a British variety show performance who specializes in the stunt.
CRITICAL MASS: As of 8/20/15: Rotten Tomatoes: 66% positive reviews. Metacritic: 55/100.
COMPARISON SHOPPING: Our Man Flint
FINAL RATING: 7/10
NEXT: People Places Things

Spy


Fish out of water.

Fish out of water.

(2015) Spy Comedy (20th Century Fox) Melissa McCarthy, Jason Statham, Rose Byrne, Jude Law, Bobby Cannavale, Allison Janney, Jessica Chaffin, Miranda Hart, Morena Baccarin, Will Yun Lee, Carlos Ponce, Richard Brake, Raad Rawi, Michael McDonald, Peter Serafinowicz, Nargis Fakhri, 50 Cent, Ben Falcone, Katie Dippold, Jamie Denbo. Directed by Paul Feig

We are, as a moviegoing public, fascinated by spies. Of course, there’s the glamour – playing baccarat in Monte Carlo, wearing designer suits and dresses, using sophisticated gadgets that look like ordinary items, only deadly. Who wouldn’t want that kind of life?

Certainly Susan Cooper (McCarthy) does, to the point that she works for the Central Intelligence Agency. She is this close to getting an assignment in the field, but she winds up being a kind of handler/assistant to debonair field agent Bradley Fine (Law). She’s also quite smitten with the devilishly handsome spy, but he won’t give her a second look. In fact, nobody gives her much respect, not even the deputy chief (Janney) who supervises the team.

Unfortunately, while trying to discover the location of a nuclear bomb that is up for sale to the highest terrorist bidder, things go horribly, terribly awry. It turns out that the bomb seller, Reyna Boyanov (Byrne), has somehow identified every one of the CIA field agents. With a nuclear bomb in play and crippled by the fact that every agent she sends up against the bitchy Boyanov is sure to be spotted, the harried deputy chief is forced to send in someone that Reyna doesn’t know – Susan Cooper is finally getting her chance to be a field agent.

She is aided in her quest by gawky fellow basement dweller Nancy (Hart) and over-the-top touchy-feely Italian agent Aldo (Serafinowicz). She’ll also be hindered by egotistical, braggadocios agent Rick Ford (Statham) who, like about everyone else in the CIA, thinks that Susan doesn’t have a chance out in the field and will only mess things up. Susan, however, has a few surprises in store and is determined to complete her first mission. Will it be however, the last thing she does?

I’ve always blown hot and cold about McCarthy; she shows flashes of comic brilliance but Hollywood seems interested in casting her only as a boorish slob or an overbearing bully. One gets the sense that Hollywood can’t see past her weight, which coincidentally is Susan Cooper’s problem. One person who does see more in McCarthy is Feig, who has been at the helm for her three best performances yet – Bridesmaids, The Heat and now this.

McCarthy has always been adept at physical comedy, although it has often been to her detriment (having to do with her size) but here she outdoes herself. That’s not what makes McCarthy’s performance so memorable though; it’s that she portrays Susan as intelligent, capable and dare I say it, pretty. She turns all of our prejudices about overweight women on their ear, and for that alone one should applaud this movie, and Feig and McCarthy specifically.

What holds this movie back is that the story is really kind of generic spy stuff. We’ve seen the plot in movies and on television many times before. However, it is executed very well  here, with some cool high-tech sets in the CIA and lovely exotic (to American eyes anyway) locations. I would also have liked to see the villains be less bitchy and more evil. A spy movie is only as good as its villain and while Byrne is delicious as Reyna, one doesn’t get the kind of threat from her as one might from Auric Goldfinger, Ernst Blofeld or even Siegfried of KAOS.

Still, McCarthy gets to be James Bond and how cool is that for her? You can tell that she’s having the time of her life in this role, and it translates onto the screen and audiences are picking up on that, judging from the box office and audience test scores. It is said that Fox intended this all along to be a new franchise for them and quite likely it will be and I for one can’t wait for a sequel if McCarthy wants to do one.

REASONS TO GO: Statham plays against type and McCarthy is at her best. Some nifty sets and locations.
REASONS TO STAY: Doesn’t really explore new territory. Villains not villainous enough.
FAMILY VALUES: Foul language, some violence, a little bit of sexual content and a brief scene of nudity.
TRIVIAL PURSUIT: Feig is a huge fan of Jason Statham and wrote the part of Rick Ford specifically for him.
CRITICAL MASS: As of 6/23/15: Rotten Tomatoes: 95% positive reviews. Metacritic: 75/100.
COMPARISON SHOPPING: This Means War
FINAL RATING: 6.5/10
NEXT: The Departed

New Releases for the Week of June 5, 2015


Insidious Chapter IIIINSIDIOUS CHAPTER III

(Gramercy) Dermot Mulroney, Stefanie Scott, Leigh Whannell, Angus Sampson, Lin Shaye, Tate Berney, Michael Reid MacKay, Steve Coulter. Directed by Leigh Whannell

The third installment in the popular horror series is a prequel, focusing on psychic Elise Rainier and her reluctant entry into the spirit world in order to help a family and in particular an innocent teen girl in grave mortal peril from angry spirits from the other side, detailing her first steps into the otherworld known as The Further.

See the trailer, clips, interviews, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Horror
Now Playing: Wide Release
Rating: PG-13 (for violence, frightening images, some language and thematic elements)

Barely Lethal

(A24) Hailee Steinfeld, Sophie Turner, Samuel L. Jackson, Jessica Alba. A young girl trained from childhood to be a deadly assassin has already tired of the life and yearns for a more normal adolescence. Determined to leave the life she never asked for, she fakes her own death and enrolls in a suburban high school. Her ex-handler and current nemesis discovers the ruse and sends an operative in to fetch her, which as you can guess the young lady in question isn’t planning to allow, particularly when her new friends and social circle are put in mortal danger.

See the trailer and stream the full movie from Amazon here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Spy Comedy
Now Playing: AMC Lake Square Leesburg
Rating: PG-13 (for sexual material, teen drinking, language, drug references and some action violence)

Entourage

(Warner Brothers) Kevin Connolly, Adrian Grenier, Kevin Dillon, Jeremy Piven.  Vincent Chase, a bona fide movie star surrounded by his friends from when he was young, is living the good life. Ari Gold, agent-turned-studio head who has a movie for his former protégé but Vincent isn’t biting – unless he can direct. The acclaimed HBO series/Hollywood satire hits the big screen in a move that is likely to skewer a few egos that need skewering.

See the trailer, interviews, a promo and fan video here.
For more on the movie this is the website.
Release Formats: Standard (opened Wednesday)
Genre: Comedy
Now Playing: Wide Release
Rating: R (for pervasive language, strong sexual content, nudity and some drug use)

Love and Mercy

(Roadside Attractions) John Cusack, Paul Dano, Paul Giamatti, Elizabeth Banks. Brian Wilson was the genius behind the Beach Boys sound and success. One of the most gifted composers and arrangers of his time, he was beset by demons of an abusive childhood and exacerbated by drug abuse. After a complete mental breakdown, he comes under the care of psychologist Dr. Eugene Landy whose motivations and methods become suspect. Emotionally fragile, he meets a courageous woman who helps him emerge from the darkness and back into his music.

See the trailer, clips and a featurette here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Music Biography
Now Playing: Regal Winter Park Village, AMC Downtown Disney, Cinemark Artegon Marketplace
Rating: PG-13 (for thematic elements, drug content and language)

Saint Laurent

(Sony Classics) Gaspard Ulliel, Jeremie Renier, Louis Garrel, Lea Seydoux. Designer Yves Saint Laurent was one of the iconic figures in fashion during the 60s and 70s. His couture changed the idea of fashion permanently and his ideas reverberate in the industry today; his lifestyle and personal problems kept the tabloids busy. He has been the subject of several films as of late; this is the most recent and features a performance by Ulliel that has been attracting some attention.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Fashion Biography
Now Playing: Regal Winter Park Village
Rating: R (for graphic nudity/strong sexual situations, substance abuse throughout and some language)

Spy

(20th Century Fox) Melissa McCarthy, Jason Statham, Jude Law, Rose Byrne. A CIA analyst with dreams of field work gets her chance when a ruthless arms dealer threatens world peace and because they are familiar with all of the field agents in the Agency, someone who isn’t known to them must infiltrate their organization and stop a global disaster from occurring.

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Spy Comedy
Now Playing: Wide Release
Rating: R (for language throughout, violence, and some sexual content including brief graphic nudity)

Unfreedom

(Dark Frames) Victor Banerjee, Adil Hussein, Bhanu Uday, Preeti Gupta. In New Delhi, a woman is placed in an arranged marriage that she doesn’t want to undertake because she’s in love with someone else; another woman, in fact. In New York City, a fundamentalist Muslim kidnaps a liberal Muslim scholar who has outspoken views about his religion. All four will come face to face with gruesome acts of violence that will affect their views on religion, sexual identity and family.

See the trailer and stream the full movie from Amazon here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Drama
Now Playing: Fashion Square Premiere Cinema
Rating: NR