Watching the trailers for French maverick Luc Besson’s latest, the sci-fi opus Valerian and the City of a Thousand Planets, I was wondering where it would fall on a scale between Besson’s own funky, enjoyable Fifth Element and the lackluster and laughable Jupiter Ascending. It looked to tell a big story in a big world and with its director’s quirky visual hallmarks. It should at least be fun, I reasoned, and it is for a while. Unfortunately, Besson’s film (the most expensive European production in history) is a movie that almost needs to be seen to be believed but I wouldn’t actually advise people go see it. Perhaps a better title for this movie would have been Valerian and the City of a Thousand Better Ideas.
Based upon the comic series by Pierre Christin and Jean-Claude Mezieres, we flash forward to the twenty-eight century with agents Valerian (Dane DeHaan) and Sgt. Laureline (Cara Delevingne). Their mission is to retrieve a special alien something-or-other that will relate to a larger conspiracy involving the eradication of an alien home world.
Besson’s face-first dive into the wacky world of sci-fi will frustrate the hell out of you, chiefly because it does such an amazing job of creating a vibrant, weird, wild, and luscious world brimming with alien life only to toy with interesting subjects and then indifferently discard them. The elements are all there, it’s just that Besson doesn’t integrate them in meaningful ways, retreating back to being an overly caffeinated, erratic tour guide. My friend Ben Bailey and I came up with several different revisions that would have instantly improved the movie, and that only took us twenty minutes after leaving the theater (more on that below in full detail). Over the course of 137 self-indulgent, hyperactive yet meandering minutes of story, I am stunned at the level of ineptitude.
It’s not all bad, and in fact the first 30 minutes are some measure of good to great. The prologue is a thing of beauty and the highlight of the movie (if you walked out immediately after, when the title popped up, you would be better off). Set entirely to David Bowie’s “Space Oddity,” we visually chart the history of man’s habitation of space. Stock footage of 1970s space missions gives rise to the early twenty-first century construction of a working space station. The station’s captain accepts each new national group with a magnanimous handshake. Each scene is a jump forward in time, wordlessly building a stronger sense of community and the accomplishment of man’s dreams. Eventually this greeting also extends to First Contact and different alien species come aboard, and they too are given the same handshake of peace. It’s an earnest sequence that comes across as genuinely moving and uplifting. Finally, we see that the space station has, over the course of hundreds of years, collected into a massive floating home to thousands of alien species that came from far to explore and intermingle.
The next part is also wordless, following the idyllic existence of a planet of Na’vi-like lithe, blue-skinned alien natives who frolic along a beach and collect pearls. It’s another rather sincere visual sequence. This tranquil CGI world comes to a screeching halt when fiery debris begins to rain down from the atmosphere, followed by a gigantic alien spaceship that crashes and causes an extinction-level event. One of our lithe aliens is trapped behind and comes to terms with her fate. She sends out her spirit in one last radiant burst before the pyroclastic cloud engulfs everything. These two sequences engender good will with the audience and show the potential power of Besson’s transporting vision.
Shortly afterwards we get the first major set piece of the opening act, an inter-dimensional bazaar known as Big Market. In one dimension it’s just a large expanse of empty desert, but with the right gloves and glasses visitors can interact with alien vendors and shop to their hearts content. It’s a fantastic setting and Besson takes time to set up the different particulars and rules and then lets it loose. It’s exciting and imaginative and the only sequence where the character of Valerian feels in trouble or at a disadvantage. It’s a wonderfully knotty sci-fi set piece with multiple points of action interweaving into a satisfying spectacle. There’s even a fun alien crime boss voiced by John Goodman. I whispered to my friend that this was already better than Jupiter Ascending. I regrettably spoke too soon.
Everything afterwards is a cascading mess that assaults your senses and wastes your time. There isn’t a strong narrative drive to the movie, never felt more than during its protracted second act that is nothing but a series of wearisome narrative cul-de-sacs. The movie errs significantly by establishing Clive Owen as an obvious villain so early (he’s torturing a Na’vi-like alien in the friggin’ first act). Owen’s character becomes the supposed MacGuffin that propels the characters forward. They have to retrieve him, but when the audience already knows so early that he’s not worth the effort, the sense of urgency deflates, not that there was much of a sense to begin with. The movie quickly adopts a flippant attitude where it feels like nothing matters, and so nothing does. We jump from one detour to another as if they were single-issue comics that Besson was determined to realize on the big screen. The characters never feel in danger because Besson deploys contrived solutions at every turn. A special jellyfish on the head is a solution to finding a missing Valerian. Simply jumping down a floor grate is a solution to charging aliens. It’s like Besson throws his characters into dilemmas and merely points to the exit door conveniently there the whole time. That’s not satisfying or entertaining. It makes the movie feel episodic, listless, and like it’s just filling up time. What started so promisingly rapidly degenerates into overly exuberant camp nonsense.
Another major issue is that the main characters are awfully boring and miscast. Valerian is supposed to be a charming rogue, a swaggering playboy, a fearsome cop, and none of these attributes work with DeHann. The guy has been excellent in other movies but is entirely unbelievable as the title hero, intimidating nobody and impressing even less. He’s supposed to be a talented expert operative but the results on screen don’t back up the praise. His combat moves require a large suspension of disbelief. DeHann (A Cure for Wellness) speaks in a baffling 90s Keanu Reeves voice for the entire movie, relegating his entire emotional range to a grating monotone. Valerian isn’t charming whatsoever but Besson seems to think an audience will fall for him. He’s an irksome misogynist who sets his sights on his partner, Laureline. Their “romance” is unconvincing and hindered with some laughably clunky dialogue. The movie runs like you have a pre-existing relationship with these characters, but we don’t know them or their back-stories or their shared history. He’s immediately hitting on her and proposing marriage in the first act, though it all seems like a sleazy scheme just to sleep with her. Delevingne (Suicide Squad) has a striking look to her but I can’t tell if she can act yet. Granted the roles I’ve watched ask her to mostly serve as a model. Her character is stiff and unemotive and equally boring, though slightly more convincing as an aloof badass. It’s a shame she gets sidelined as a damsel needing rescue when she seems far more capable than her partner. These two are the living embodiment of prioritizing attitude over characterization.
There’s a very late moment when Besson has his two lead characters just spout transparent exposition at one another to communicate themes and character arcs, and it took everything I had not to laugh out loud. Laureline is about to give an alien something valuable and Valerian pulls her aside and tells her they can’t. “I follow the rules,” he says, and I snapped my head back in alarming whiplash. What? This dolt has been breaking everything and doing whatever he has wanted for hours, and now at the last minute Besson is trying to force him to articulate a paradoxical character description? Being saddled with these two distant, glib, irritating leads is bad enough, but DeHann and Delevinghe have as much chemistry as a batch of dead fish. No danger of sparks flying here.
Before I got into some spoiler detail with my suggestions on how to improve Valerian and the City of a Thousand Planets, let me appreciate some of its virtues. The movie is often a technical marvel bursting with detail at every edge of the frame. Besson’s quirky sense of humor and playfulness is on display from the imaginative alien designs to the lived-in settings. The movie isn’t afraid to get weird, and some of those details are delightful like a two-barreled gun that can point in different directions. There’s even a small creature that will poop out copies of whatever it eats. Even when the characters and story let you down, the visuals provide a reason to keep going. I enjoyed Rihanna’s shape-shifting alien, a burlesque dancer whose routine feels almost like a medical test to determine which Rihanna fetish works best for you (rollergirl, French maid, naughty nurse, S&M kitten, torch singer, school girl?). Part of her appeal is that she’s the only supporting character in the movie. Her presence changes the character dynamics of Valerian and Laureline and gives us somebody new to hang onto. I liked the dopey aliens that resemble the sloth from the Ice Age movies, and I especially enjoyed a surprise payoff for their insistence that Laureline wear a stupidly large hat. Whether these moments are enough to cancel out the rampant excess will be up to the individual moviegoer.
This next section is going to involve spoilers, though I don’t think this is a movie where knowing the plot is going to really ruin the experience. Still, you have been warned, and if you wish to remain spoiler-free, please skip to the last paragraph (though do come back later).
I was beside myself in frustration because it feels like there are story elements ripe for the plucking that would have instantly improved Valerian and Besson is just too oblivious. Firstly, none of the characters that Valerian and Laureline run into seem to matter in the slightest. That alien mob boss who swore vengeance? Never returns. The aliens that kidnap Laureline and offer her up as a tasty treat to their king? Never return. Besson’s Fifth Element benefited from establishing different groups of characters with conflicting purposes that would continually run into one another and complicate matters. It makes the movie much more fun and it allows characters to have greater meaning than one-off appearances. We should be building a team and gaining a new member from every new location visited, which would make the visits more meaningful and lighten the time spent only with Valerian and Laureline. My first solution would be to bring back these different alien antagonists in comical and bungling ways, especially for Act Three. Another solution is to radically change the angelic, Na’vi-like ethereal aliens. It’s revealed they’ve been hiding on the station for decades (though not in a different dimension, another missed potential payoff). They just want to go home, though whether that’s a replication or a different dimension is unclear. What if these peaceful aliens didn’t forgive humanity for obliterating their planet? What if the key to bringing back their home world was to suck the life force out of the space station or Earth itself? That would flip the script and make you question whether these displaced aliens are morally justified in their actions. It would also set the stage for a rollicking third act that culminates in a frantic chase through all the different levels and communities introduced throughout the film, complete with the various antagonists complicating matters with their own motivations. This would all be infinitely better than the third act we get, which left me flabbergasted at how slack and uninspiring it is (defusing a bomb?). Why build up this strange and wonderful world and do nothing with it by the end?
Getting back to my original question: is Valerian and the City of a Thousand Planets better or worse than the Wachowski sisters’ misfire, Jupiter Ascending? Besson’s latest certainly looks lovely and is crammed to the rafters with ideas, several of which you desperately wish had garnered more attention and development. This is an overstuffed movie, especially at 137 minutes, and yet it will leave you seriously wanting. The disinterested lead actors slog their way from one uninspired chase scene to another, gallivanting in a world that will have no real significance once we move onto the next expensive set. It all feels like manic decoration meant to stimulate and distract from the glaring deficiencies with characters and story. It starts out great and then degenerates into kitschy futuristic junk. It feels like somebody made a PG-13 Barbarella but mandated that nobody ever smile. DeHann is grossly miscast as a rakish rogue and his onscreen relationship with his leggy costar is painfully realized. I think I respect Jupiter Ascending more because that cinematic world could have sustained something interesting and they took it all seriously enough even when things got absurdly silly. Valerian is so flippant and stuck with sourpuss leads. A better movie was within reach, which makes it all the sadder that Valerian and the City of a Thousand Planets is reluctantly the movie we get, a visual spectacle that bores as it overwhelms. If you put this movie on mute and did some peyote, maybe it would achieve its true artistic value.
Nate’s Grade: C
Christopher Nolan is one of the rare filmmakers in the world that can do anything he wants. He’s reached a level of critical and commercial success that he has earned the leeway to tell the stories he wants with a blank check. Apparently he’s been eager to tell the big screen story of Dunkirk, the mass evacuation of 400,000 Allied troops on a French beach in World War II, and it would be the first film of his career to not have a crime or science fiction slant. If this is what he has to turn into in order for mainstream Oscar attention then please go back to making your sci-fi puzzle boxes, Mr. Nolan, and let someone else make the underwhelming WWII epics. Don’t believe the effusive praise from critics saying this is Nolan’s masterpiece or the finest of his career. Dunkirk is Nolan’s least engaging film and maybe even the least ambitious of his otherwise storied Hollywood career.
Dunkirk is less of a cohesive movie and more a series of moments, never eclipsing the next or coalescing into a larger, more meaningful, more satisfying whole. We keep cutting from primarily three perspectives (air, sea, land) but it fails to feel more than a check-in before moving onto the next vantage point. It’s a shame because the opening ten minutes launch you immediately into this world of danger and Nolan sets up the different perspectives with effective visual clarity. I thought it was a great moment having the soldiers collect the fluttering propaganda fliers meant to remind them about how the enemy surround them. The initial burst of violence is visceral and unnerving. The burial of a soldier in the sand is a somber moment. Things were getting good, and then I kept waiting for the movie to escalate, to hit a new gear, and it never came. Instead it repeated the same plotting that just forced the bland characters from one curtailed escape to another. Screenwriting is about setups and payoffs, and that is strangely absent throughout Dunkirk. Bad things just kind of happen, and then they happen again, and then you tune out. That’s even before Nolan throws in needless non-linear elements that I was ignorant about. Dunkirk is Nolan’s first film under two hours since 2002’s Insomnia, and yet it could still stand to lose even more. After a while, your mind drifts when all you’re watching is poorly written characters, many of whom you can’t identify, jump from one crummy situation to another without a stronger storytelling drive. If you want a more personally involving retelling of the heroes of Dunkirk, just watch the film-within-a-film of the underrated 2017 gem, Their Finest.
The miracle of the Dunkirk evacuation is really lost in this film. Without a more involving story, it’s hard to get a sense about the personal sacrifices and risks of the evacuation. The scope feels mishandled. We’re told that 400,000 men were rescued but I did not get any sense of that scale. We’re stuck to a small corner of a beach, or a small section of the sky and sea, for the far majority of the film, which again traps the film at a lower register. We don’t adequately sense the monumental scale of what is at stake. The embodiment of the threat is condensed down to a single German fighter plane that Tom Hardy has to chase for half the movie. It’s like this guy is the freaking Red Baron. Another aspect that exacerbates this issue is Nolan’s haphazard command of screen geography. When the camera is inside the various ships, your sense of space is uncertain. When things go bad, it just all feels like a mess, with no clear indication of where the characters are, their proximity to others, or even the interior design of the ships. Without a coherent sense of geography, the action and suspense is going to be inherently limited. Nolan locks into a claustrophobic sensation at the expense of audience clarity, and without better-developed action and interesting characters, it’s a decision of diminishing returns.
The characters are so indistinct that most of them in the end credits didn’t even merit names (Irate Soldier, Shivering Soldier, and Furious Soldier are among the lot). This is one of the biggest mistakes of Nolan’s movie. By not providing characters that an audience can engage with he’s handicapped how much an audience can care. We don’t learn about any of the main characters we follow, with the slight exception of Mark Rylance’s even-keeled seafaring father. I challenge audience members to even remember a who’s who of the young men because I don’t think I’d be able to identify them in a lineup. I was still trying to recall which of them may have died. I haven’t had this much trouble keeping people straight in a war film since Terrence Malick’s The Thin Red Line. With Dunkirk, there are faces we follow really more than characters. The most recognizable is Tom Hardy and that’s because he’s Tom Hardy and not because of anything related to his character. Kenneth Branagh’s character just seems to be here to stare off into the distance with awe and say something about “seeing home.” It’s as if Nolan had no interest in telling a war story from a human perspective, which is a vastly strange approach considering the large-scale human cost.
Nolan is a smart filmmaker. He has to know these characters are thinly sketched ciphers at best, so the question becomes why is Nolan choosing to make Dunkirk this way. If I had to hazard a guess I think Nolan was trying to accomplish a visceral, immersive war experience to echo the hopelessness and confusion of those men in jeopardy. They’re meant to be faceless everymen. This would explain why it feels more like a series of moments, of jumping from one failed escape to another and one fraught encounter to another. Nolan does a fine job of introducing conflict (in a wartime setting this also shouldn’t be too hard) but without more distinction he runs the serious risk of everything feeling like more of the same. At the end, thousands of soldiers are ferried back to England and congratulated. One of them is incredulous, not feeling like retreating is worth the fuss. “We just survived,” he says. “Well that’s good enough,” the other says. It’s like Nolan intended to place the audience into a crucible where just getting out was enough to satisfy demands. I don’t think it is.
From a technical standpoint, Dunkirk is often breathtaking, no more so than in its mesmerizing sound design. Nolan uses brilliant sound tacticians to heighten your senses and build a sense of dread. An oncoming fighter plane tearing through the sky can raise the hair on the back of your neck. The sound does the heavy lifting when it comes to creating tension. The score by Hans Zimmer is very effective in that regard as well. Its central musical element sounds literally like a ticking clock, which instantly heightens any scene. Granted adding a ticking clock sound against anything would make it more fraught (you’ll never fill out boring paperwork the same way again). Visually, the aerial photography is gorgeous with the IMAX cameras able to take in such startling depths. Cinematographer Hoyte Van Hoytema (Interstellar) has some beautiful visual compositions, especially as different boats capsize and the water rushes in at odd angles. This is a film that has commendable technical achievements. It’s Nolan who lets down his team.
War movies often run the risk of being overly reliant upon broad themes of heroism, nationalism, patriotism, sacrifice, and such, which can be in replacement of a strong narrative and well developed, interesting characters. War is a film genre like any other, and there are inherent genre shortcuts that can be abused. However, it’s like any other genre in that, regardless of the setting or situation, you are expected to tell an interesting story with characters the audience cares about. Nolan sacrifices all for the immersion in his war experience machine, providing listless, interchangeable characters and a story that amounts to a collection of harrowing moments but not a movie. My pal Joe Marino chided the movie as akin to visiting a planetarium, sitting back, and taking in the wonderful visual spectacle but walking away unmoved. It’s like Nolan has created the Dunkirk Experience: The Ride instead of an actual worthwhile story.
Nate’s Grade: C+
Kumail Nanjiani is a very funny guy but he also might just break your heart and then mend it. He and his real-life wife Emily Gordon met in Chicago and weeks into their courtship she was placed into a medically induced coma to combat a mysterious unknown infection. She could have died (spoiler alert: she didn’t), and months after she and Kumail married. It’s a very unconventional relationship story (boy gets girl, girl gets coma, boy and girl get together) and the basis of The Big Sick. This romantic comedy, written by Nanjiani and Gordon, was a smash hit at the Sundance Film Festival and is now expanding across the nation. This is a born crowd-pleaser, one of the funniest films in years, and a heart-warming reminder of the pleasures of rom-coms done well.
Kumail (Nanjiani) is a Chicago stand-up comedian trying to catch his big break. He falls for Emily (Zoe Kazan), a grad student in psychology. They try and keep things casual but cannot help growing closer to one another. Kumail’s traditional Pakistani family is adamant he marry a Pakistani girl, enough that there’s always one unexpectedly “in the neighborhood” during family dinners with their son. They would never approve Kumail marrying an American woman, and this stops him from introducing Emily to his parents. Kumail and Emily fight, break up, and it’s shortly thereafter that Emily is put into a medically induced coma. Enter Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano), who are thankful but wary of Kumail at first, feeling his attention is no longer required on the matter. As the days turn into weeks, Kumail finds himself growing closer to Emily and her parents in the process.
The Big Sick succeeds wildly because it gets the most fundamental principal of storytelling right: we care about the characters. Over the course of the film, you grow attached to Kumail and Emily and their very unorthodox situation. We want them to find happiness and, more importantly in a rom-com genre, we want them to find it with each other. The characters in the movie are beautifully rendered and relatable. Their faults and relationship troubles aren’t the stuff of contrived drama but recognizable differences and cross-cultural pressures of acceptance and disappointment. He may be a stand-up comedian, and she may have fallen into a coma for an unknown medical reason, but you will relate to both of these people. They don’t feel like archetypes. Even as Kumail is making amends for his mistakes the movie doesn’t paint him as a saint worth automatic forgiveness. Considering this was written by the real-life Emily, it should be no spoiler to state that she does eventually come out of that coma. Her life is automatically better and while Kumail has only grown more steadfast in his feelings for her, Emily was asleep. For her, it’s like moments after they broke up due to an incompatible future. She’s thankful for what Kumail has done but she doesn’t want to be with him. That’s the second act break, folks. A lesser movie would have Emily’s awakening serve as its climax and everything would be hunky-dory while an earnest pop-rock song would play over. With The Big Sick, the last act is dealing with the consequences of her coma, and Emily is allowed her agency once more to make decisions all her own. It’s easy to project a progression of romance onto a static being, but she needs to travel at her own speed and on her own terms. I won’t lie; the final act produced some meaty tears from me.
Another hallmark of Judd Apatow productions that I don’t think gets enough acclaim is the sheer generosity of the screenwriting. These movies spread out the love to a wide ensemble of characters that deserve consideration. There are stock comedy types that pop in for the occasional easy laugh, like David Alan Grier’s coked-out club owner or Kurt Braunohler as the painfully inept comedian, but as a whole The Big Sick offers a welcomed kindness to its larger cast. Even Kumail’s arranged dates are given the opportunity to come across like people, particularly Khadija (Crazy Ex-Girlfriend’s Vella Lovell) who is tired of not being able to enjoy what seems so easy for others. The fussy Pakistani family is played to be stern and uncompromising but they too have their moments. They are worried about losing their sense of culture through full assimilation, and they have an alternate view of family, one that involves self-sacrifice for the whole. The best additions to the movie are Emily’s parents. They don’t initially know what to make of Kumail but they eventually bond to him in different ways. Beth is fighting to control something out of her control and Terry is trying to keep everything calm. There is still lingering discomfort buried in their marriage from past indiscretions, and during times of crises it can reappear, forcing Kumail into an unexpected position. The movie’s sense of people is so warm-hearted and open, you just want to spend more time with them all, and it’s a simple yet beautiful pleasure to watch them connect.
Oh my lord is this movie funny too, which shouldn’t be a surprise for anyone who has seen Nanjiani’s standup routines before (extra points for not overly relying upon standup in the film for easy jokes). I was laughing from start to finish and there’s a consistent placement of jokes doled out in regular intervals. And when I was laughing it was the room-clearing guffaws. I can’t remember a movie in recent years that had me laughing as hard. Nanjiani’s deadpan is a thing of beauty and his comic timing is razor-sharp, and yet his sense of humor doesn’t detract from the weightier moments. Because the movie has such a heavy life-and-death backdrop, it’s important to have release valves for the audience, and that’s what the diligent comedy allows. It’s a bittersweet sense of comedy that doesn’t sacrifice the depth of character and the weight of the drama. In fact the least funny parts in the film are likely the standup comedy friends, though no fault to Aidy Bryant and Bo Burnham, both generally very funny people.
Nanjiani (TV’s Silicon Valley) is a pleasant surprise as a dramatic actor. There are some very dramatic moments when his character is unburdening himself of regrets, fears, and frustrations, and Nanjiani is terrific, pooling emotions you didn’t think were so readily available in his acting toolkit. He makes Kumail a likeable and charming man. There’s also an undercurrent of conflict avoidance, not wanting to upset his conservative family, which leads to holding onto secrets. It’s a flaw that provides an instant direction for character growth, going from avoidant to assertive. Kazan (Ruby Sparks) has the tougher job considering she’s sidelined for half of the movie. Her portrayal of Emily is winsome without falling into a dangerously quirky territory (no Manic Pixie Dream Girl). Thankfully, she’s allowed her agency after waking from the coma, and her scenes with Kumail afterward walk that delicate line of emotions that leave us hanging. Hunter (Batman vs. Superman) and Romano (TV’s Everybody Loves Raymond) are both wonderful. They serve as a form of Emily proxies and when Kumail grows closer to them, and they grow closer to him, it feels like this small support group is becoming an appealing team.
The Big Sick is a big crowd-pleaser, lifted to great heights by terrific acting, writing, and direction from Michael Showalter (Hello My Name is Doris). The director actually lampooned rom-com clichés in the hilarious satire, They Came Together, so having someone as instinctively skilled like Showalter guide the production helps steer away from the more expected genre moments. There are a handful of moments that feel pulled in from the Hollywood version of this story (Kumail’s big break timed with a very personal crossroads) but it mostly works on its own terms. These people are layered, allowed to be flawed and interesting human beings. It’s an unsentimental movie that finds ways to big emotions that feel completely earned. If you’re ailing for an enjoyable, funny, and heart-warming movie that respects your intelligence, try The Big Sick.
Nate’s Grade: A-
Matt Reeves is a director who seems to have found his true calling refashioning the work of others. He remade the Swedish film Let the Right One In and improved it in several areas, though having Richard Jenkins and Chloe Grace Mortiz and a complete lack of CGI cats certainly helps. Then he inherited the new Apes franchise with 2014’s Dawn of the Planet of the Apes and the fledgling franchise didn’t miss a beat. I’ve been pleasantly surprised about these damn dirty apes ever since the 2011 prequel kicked things off. Reeves took control of the franchise and deepened it, following a very non-Hollywood playbook that embraced subtleties, patience, and quiet moments. It had its crazy apes action but it was a movie in service to its characters first and foremost. Reeves, serving as co-writer once more with Mark Bomback, brings the franchise to its natural and thrilling conclusion. War for the Planet of the Apes is a blockbuster with soul.
It’s been fifteen years after the outbreak of the devastating Simian Flu. Mankind is dwindling and falling victim to a secondary virus as well. There are only pockets of humans left and small militias taking the fight to the super-intelligent apes. Caesar (Andy Serkis once more in mo-cap) and his followers have taken refuge near a waterfall. The ape community is ambushed by soldiers led by The Colonel (Woody Harrelson). With their home exposed, Caesar splits up the remaining numbers and sends them out to find a new shelter. He is determined to seek out the Colonel for vengeance. Eventually the other apes are captured and put into a slave labor camp and Caesar and company must rescue them and flee mankind’s last gasp at staying atop the food chain.
This may be one of the bleakest blockbusters in recent memory, especially when you consider that you’ll be actively cheering for the relative extinction of mankind by the end credits. Human beings are on the brink of extinction and this has drawn out the worst fight-or-flight instincts in the remaining numbers. This is about a final fight for survival on a visceral, us versus them level, and after two movies it should be abundantly clear what direction this is all heading. Even as humankind is doing a terrific job of wiping itself off the planet, humans still present a clear threat to the remaining apes. The second film explored how a working trust was improbable and unfathomable to many on both sides of the conflict because of the injustices. That’s pretty heady for a talking ape summer blockbuster. War closes the series with an even bigger and bleaker scenario, as humanity is entering the hospice phase of its social dominance. Roger Ebert referred to the movie theater as an empathy machine, and it’s amazing how far you will empathize with non-human characters. You will feel their triumphs, setbacks, loss, and anger, and you will root for the demise of mankind. We had a good run but maybe it’s time for a different species to become the caretakers of dear Mother Earth.
This is a final film that makes allusions to some of the darkest aspects of human history including, but not limited to, slavery and the Holocaust. It doesn’t traffic in black-and-white moral absolutes. There is good in some humans, several of whom were thrown into military service unprepared, under-trained, and simply existentially lost. There are apes that have made the calculation that it’s better to work with the humans than be killed. That’s right, there are collaborationist apes, and Reeves doesn’t look down on them. They too are allowed complexity and nuance and even the possibility of redemption. No one, man or ape, is beyond the capacity for compassion. You strongly feel their shame brought from moral compromises. It’s hard not to think about real-life analogues like the Jewish police that chose to work at the behest of their Nazi oppressors. They’re all still victims.
There is great suffering and vengeance on display with War, and it’s all too easy for characters to justify it on a literal specist argument (“Apes aren’t people, and they would have done the same to you”). Caesar is trying his best to manage a fragile co-existence, though this becomes untenable with every new attack. It’s a cycle of violence that only knows recriminations and fear. This struggle is personalized for Caesar as he wrestles with his own selfish, self-destructive impulses to seek out vengeance at the potential cost of the greater good for apekind. Caesar is still haunted by the ghost of Koba (Toby Kebbel, in a welcomed albeit brief appearance), the ape he slew in the previous film. Koba could not let go of the hatred he carried for mankind for their myriad abuses. It consumed him at great cost. Caesar is battling these same impulses but is self-aware about his responsibilities as the leader of his people, but even that might not be enough to dissuade him. To have that kind of emotional conflict within a CGI animal who happens to be the protagonist in a major Hollywood production is simply remarkable.
I don’t want to scare people away. War for the Planet of the Apes is still a very entertaining and gripping movie that can easily warrant stuffing your face full of popcorn. It’s also a blockbuster with tremendous weight. At a steep 140 minutes long, I still could have used even more of this movie. Reeves displays an uncommon sense of patience for a blockbuster filmmaker given a big studio’s checkbook. A majority of this movie is silent and this doesn’t panic Reeves. The director tells his story in a visually appealing and accessible way that doesn’t scrimp on characterization and depth. For long stretches the only communication on screen is ape sign language (small quibble: the apes too often fail to look at one another when they do this). There’s a lingering hush over much of the film, allowing the audience to immerse themselves fully. When the action does heat up, the sounds and music matter more. The solemn silences, hunting parties, and tense standoffs should remind people of Westerns and prisoner-of-war movies. This is the second big-budget 2017 movie making direct Vietnam parallels concerning a man-vs-apes conflict. The prison escape structure of the second half is immediately compelling and just as well developed as what came before. The multiple points needed for an elaborate escape are presented one-by-one and organically. The mini-goals and geography are clear at all times. It leads to an all-out assault climax that is thrilling on multiple levels but also deeply satisfying because of the extensive legwork.
Serkis (Star Wars: The Force Awakens) has been the beating heart of this franchise and his work as Casaer has been a monumental achievement in the advancement of special effects (the series has never won an Oscar for its VFX). Caesar is a fully formed character with relatable flaws and doubts, and thanks to the wizards at Weta, you can see the nuances flash across his face. Serkis brings an impressive range of emotions to a non-human character that’s piercingly silent often. It’s a performance that deserves shared credit to the animators and to Serkis, who is deserving once again of awards consideration that I know will unfairly never come. Harrelson (Now You See Me 2) is definitely evoking a Colonel Kurtz homage, a man given over to the darkness. I appreciated that his character has a credible back-story that informs his actions. He’s not simply a maniacal madman. He respects Caesar and the apes, but views life as a zero-sum game, which makes genocide an appealing last-ditch option. The pleasant surprise among the cast is Steve Zahn (Captain Fantastic) who plays Bad Ape. It’s a character that seems prone to comic relief non-sequitors, but he’s scarred from his own survival experiences. This is an ape still going through PTSD and that presents even the comedic with a twinge of tragedy. The unseen actors behind their mo-cap performances breathe startling life into the numerous non-human characters, bringing unparalleled realism to this sci-fi realm.
As the conclusion to the Apes prequel trilogy, you will also experience plenty of powerful emotions. I full-on cried twice and teared up about four other separate occasions. I cannot even remember another major summer tentpole that triggered that kind of emotional response (maybe a Pixar title or two). We’ve traveled with Caesar and several of these apes for three movies and six years. We’re emotionally invested. I knew I was going to lose it if anything happened to the orangutan, Maurice (I won’t confirm his fate). The community and empathy we’ve shared with these characters for three movies comes to a gratifying conclusion that feels appropriate, sizeable, and aching with potential for further adventures in this new and exciting world.
War for the Planet of the Apes is a movie so rewarding, so engaging, that you walk away angry that other Hollywood blockbusters can’t be this good or aren’t even trying to be. It’s emotionally rich and resonant, hitting you in the heart just as often as it quickens your pulse. Because of the investment in the characters, and their ongoing progression, we genuinely care about what happens like few blockbusters. The characters don’t take a backseat to the plot mechanics. Serkis and his amazing cast of mo-cap performers have delivered performances that rival live-action actors. There are clever nods to the original series that fans will enjoy but this Apes franchise has been its own beast from the beginning. This is a thoughtful, reflective, and contemplative film that fits well for such a thoughtful and contemplative series, and yet it still knows how to deliver stupendous sci-fi action (our lives are just that much more complete having watched an ape fire dual machine guns while riding a horse). I would declare Dawn as the best action of the trilogy, but I think War is the best movie because of how much everything matters and finishes. I think once the initial dust settles, it’s time to start thinking about this new Apes trilogy place among the all-time great movie trilogies. It’s been consistently enthralling from the beginning and has treated its animal cast as equally worthy of the greatest stories movies can deliver. War for the Planet of the Apes is powerful proof of what blockbuster filmmaking is capable of offering at its absolute finest.
Nate’s Grade: A
Days after viewing writer/director Ana Lily Amirpour’s The Bad Batch, I’m still contemplating what I just saw. That can be the sign of a good, thought-provoking movie, or it could be further proof that The Bad Batch is really an empty experience.
In a not-too-distant future, the United States has found a unique solution to crime. Those deemed irredeemable are tattooed with “bad batch” and abandoned into the American Southwest. It’s a dusty land of outlaws that the U.S. doesn’t even recognize. Arlen (Suki Waterhouse) is deposited into the wastes of the Southwest and she is abducted by cannibals who make a meal out of her right arm and leg. She escapes and finds Comfort, a small outpost where she can heal and find community. The makeshift leader of Comfort is The Dream (Keanu Reeves), a messianic figure who doles out free drugs to the townspeople. He also has a harem of pregnant women. Miami Man (Jason Momoa), one of the hunkier cannibals, loses his daughter and forces Arlen to help him.
I’m going to summarize the sparse two-hour plot, dear reader, to share with you just how little there is to this film (will keep spoilers mild). Arlen gets kidnapped. She escapes. Months later she kills one of the cannibals. She quasi-adopts a little girl. Her father goes searching for her. Arlen loses the little girl. The father finds Arlen. They find the little girl who was unharmed. They eat a bunny. The end. Now admittedly any movie can sound rather flimsy when boiled down to its essential story elements (Star Wars: “Space farmer accepts call to adventure. Rescues princess.”) but the counterbalance is substance. Characters, world building, arcs, plot structure, setups and payoffs, all of it opens up the film’s story beats into a larger and transformative work. That’s simply not there with The Bad Batch. It’s a vapid film that has too much free time to fill, so you get several shots that are simply people riding motorcycles up to the camera. I grew restless waiting for something of merit to happen. Arlen simply just walks out into the desert like three different times, and this is after she was captured by roving cannibals that are still out there in healthy numbers. If you went to a store and the owner captured you and cut off your arm, would you venture back in that direction? Maybe there’s a commentary about victimhood and the cycle of abuse and exploitation, or maybe I’m left to intuit some kind of grander implication out of a filmmaker’s lack of effort. There’s just not enough here to justify its running time. It feels stretched beyond the breaking point.
If the film is meant to be about immersion, something that holds together via hypnotic Lynchian dream logic, then it better work hard to hold my attention since plot has already been abandoned. This is where The Bad Batch also lost me. It’s just not weird enough, though even weird-for-weird’s-sake can be insufferable, like Harmony Korine’s Gummo. Amirpour (A Girl Walks Home at Night) has an innate feel for visual arrangements and little quirky touches that can burn into your memory, like the sight of Arlen sidling next to a magazine clipping of a model’s arm she taped to a mirror or a well-armed pregnant militia. The most interesting elements of the story are left unattended though. This is a vague dystopia where the government has decided to let the “bad batch” fend for themselves in a desert. It screams neo-Western with a lawless land populated with criminals and killers. There are only ever two locations we visit: the cannibal’s junkyard and the outpost of Comfort. Do we know anything about these locations? Are they at war? Is there some kind of understanding between them wherein Comfort offers sacrifices for protection? Is there an uneasy peace that could be spoiled thanks to Arlen’s vengeance? It’s all just vast wasteland, but even when they get to actual places, it still feels like empty space. How can you make something about dystopian cannibals be this singularly boring?
The characters just aren’t worth your attention and ultimately don’t matter in service of story or even a potential message. Arlen is much more of a figurehead than a person, and perhaps that’s why the director chose Waterhouse (Pride and Prejudice and Zombies) as her lead. The former model certainly makes a visually striking figure and knows how to arc her body in non-verbal ways to communicate feelings. However, I don’t know if there’s a good actress here. There’s no real reason to take away her arm and leg except that it looks cool and edgy. Initially it presents a visceral vulnerability for her and a disadvantage of escape, but after she arrives in Comfort, it’s as if she’s just any other able-bodied character. It feels like the director just liked the look and thought it would grab attention or say something meaningful. Momoa (Justice League) has a natural intimidating screen presence but he’s given so little to do. He’s just on glower autopilot. Miami Man is a killer and we watch him cook people’s limbs for some good eats. It’s almost like the movie wants you to forget this stuff when his paternal instincts kick in. Rather than embracing the light-and-dark contradictions, the movie just has him shift personality modes. There’s no confrontation or introspection. Reeves (John Wick 2) gets an idea of a potentially menacing character but even he isn’t presented as an antagonist. The Dream is living large thanks to the cooperation of those in Comfort. He has a harem of willing ladies for breeding but he doesn’t seem dastardly. He’s like the grown-up rich kid throwing the party that everyone attends. Then there are near cameos by Giovanni Ribisi, Jim Carrey, and Diego Luna, which make you wonder why they ever showed up.
The depressing part is that The Bad Batch starts off with a bang and had such potential. Amirpour is so assured early on and draws out the terror of Arlen’s plight in a gripping and satisfying manner. Her drifting is then met by a futile escape, and then we witness the relatively tasteful dismembering of our heroine. It’s disorienting but establishes the conflicts of the scene in a clear and concise fashion. The odds are against her and Arlen uses her captors underestimating her to supreme advantage. The opening twenty minutes are thrilling and well developed, presenting a capable protagonist and a dire threat. And then the movie just drops off the face of the Earth. I haven’t seen a movie self-sabotage an interesting start like this since perhaps Danny Boyle’s Sunshine. The first twenty minutes offer the audience a vantage point and set of goals. We’re learning about Arlen through her desperate and clever acts of survival. The rest of the movie is just bland wandering without any sense or urgency or purpose exhibited in that marvelous opening (hey, the amputated limbs special effects look nice).
Vacuous and increasingly monotonous, The Bad Batch valiantly tries to create an arty mood piece where it re-purposes genre pastiche into some kind of statement on the broken human condition. Or something. The story is so thinly written and the characters are too blank to register. They’re archetypes at best, walking accessories, pristine action figures given life and camera direction. It’s flash and surface-level quirks with distressed art direction. It feels like it’s trying so hard to be a cult movie at every turn. I’m certain that, not counting Keanu’s cult leader, there might only be 100 words spoken in the entire film. I feel like The Bad Batch is going to be a favorite for plenty of young teenagers that respond to its style and general sense of rebellion. Until, that is, they discover movies can have both style and substance.
Nate’s Grade: C-
It’s got an appealing premise and many funny people attached, so why is The House such a shoulder-shrug of a comedy? Will Ferrell and Amy Poehler open a casino in a sleepy suburb to try and make enough dough to send their daughter to the college of her dreams. Ultimately, it’s just too safe and expected. There are plenty of jokes about the couple trying to adopt the mafia thuggery they’ve seen in popular movies. The set pieces feel underdeveloped and quick to end on strangely violent notes, including a running gag of physical harm coming to one of the daughter’s friends. Ferrell and Poehler don’t have strong characters to play, so when the scenes go long, as they often do, you feel like they’re just throwing whatever improv riffs they can to see what sticks. It gets tedious. The depiction of this reality also leads to difficult questions. They didn’t lose their child’s college fund through some swindle; they just never saved, always assuming their daughter would earn a scholarship. They also have never heard about student loans, which every person is guaranteed access to. We also don’t see the ramifications of Ferrell and Poehler fleecing their neighbors of hundreds of thousands of dollars. Wouldn’t that have a deleterious effect on a small suburb? It should at least create more conflict. The movie jumps directly from the parents deciding they will open a casino to having an open casino. It feels like we skipped a whole act of valuable material. How did they hire these people? Where did they get the capital? I think a major mistake was having such a select number of characters. This premise deserved to be an ensemble comedy with each character contributing in some fashion. Jason Mantzoukas (TV’s The League) is the funniest resource the film has and I knew at least when he was on screen that I had the best chance for laughter. I may be heartless but I found the daughter to be a simpering, annoying character. What teenager doesn’t have or desire an independent life outside his or her parents? She doesn’t seem worth all the trouble. The House finished filming around January 2016, which means it’s been a long edit to find as much funny as they could with the available footage. I think they either ran out of time or just gave up.
Nate’s Grade: C-
15 years. 6 movies. 3 different lead actors. 2 reboots. I wouldn’t be surprised if a majority of the American public likely knows more about Spider-Man than their relatives. In 2002, the first Spider-Man movie kicked off the new century by affirming to studios that superhero movies are a sound financial investment. Director Sam Raimi and Tobey Maguire kicked off the glut of superhero cinema, paving the path for the massive Marvel Cinematic Universe (MCU) and its own unparalleled run of financial and critical success. Then the overreach killed off Raimi’s Spider franchise in 2007 and overreach again killed off Sony’s Spider reboot in 2014. Sony wisely sought out an assist from the gurus of Marvel, striking a deal and having the web-slinger return to the MCU. Fans rejoiced. Spider-Man: Homecoming announces itself as a brash, exhilarating, hilarious, and amazingly assured film that immediately lines up with the upper tier of the MCU. Marvel should use this as Exhibit A, submit it to Fox, and say, “Here’s how we can do your franchises better.”
Peter Parker (Tom Holland) is your ordinary 15-year-old from Queens, New York who was given amazing powers after being bit by a radioactive (or genetically modified) spider. It’s been weeks since he was called into action by Tony Stark (Robert Downey Jr.) to thwart Captain America (Chris Evans). Now Peter is back home and waiting for his literal call to adventure, for Stark to officially call him up to join the Avengers. Peter anxiously waits for school to end so he can don his Spider-Man suit, modified by Stark Industries, and fight local crime and injustice. This mostly amounts to stopping bicycle thieves, helping old ladies with directions, and other inglorious tasks. Peter’s Aunt May (Marisa Tomei) would prefer he focus on his studies rather than the time he’s been spent on the “Stark internship” (his fib to cover said crime-fighting). New weapons begin appearing on the streets, built from the discarded alien technology from The Battle for New York. Spider-Man investigates the source, Adrian Toomes (Michael Keaton), a pilot who adopts the moniker of The Vulture while in the sky with his winged jet pack. The formidable weapons pose a real pressing danger to society, and Peter pushes further, at his own peril, to confront the Vulture and stop the flow of high-tech weapons.
For many fans of the webhead, this will feel like the first time they’re watching the Spider-Man of the comics on screen. This is the first film incarnation where Peter remains in high school for the entire duration of the movie, and it’s also thankfully the only telling that eschews an origin story. He just is Spider-Man, however, the arc of the movie is him settling into that identity. It’s in many ways a coming-of-age story for the superhero set, as Peter has to come to terms with his earnest desire to help others and his own maturation, both as Spider-Man and as a high school sophomore. He’s learning just as much to be Peter as he is Spider-Man. Just because he has these powers doesn’t mean he’s ready for the rigors of the world. Homecoming is very much a high school movie. There are familiar John Hughes influences throughout, and the film smartly subverts certain high school tropes (driving lessons, prom dad from hell). It presents our hero struggling with asking the cute upperclassman (Laura Harrier) to the dance just as much as the demands of being a fledgling local superhero. His interior life is much more available and relatable but he’s still a teen navigating the world. Also, by having Peter be the youngest film incarnation yet, it allows for the satisfying indulgence of superhero wish-fulfillment. Whereas the X-Men powers are naturally linked to the progression of puberty, those are usually portrayed as a curse, something that ostracizes, confuses, and produces great anxiety and fear. With Spider-Man, being a superhero is the coolest thing in the world. He’s not consumed with angst like Andrew Garfield’s broody Peter Parker and his weirdly special DNA (what was the deal with his parents and that conspiracy? Oh well). Watching this exuberant Peter Parker embrace his new abilities with glee is a great way to keep the movie light and bouncy.
This is also, bar none, the funniest film yet in the MCU (yes, even dethroning Guardians of the Galaxy). With the lighter tone, the movie finds consistent opportunities to inject comedy, from the irony of Peter trying to lead a normal life, to the awkwardness of Peter’s attempts at crime-fighting, to his over eager demeanor, to misunderstandings and hasty excuse-making to conceal his double life, to the sterling supporting cast of characters that contribute different flavors of jokes when called upon. If anything there is so many talented supporting players I wanted even more time with them (Donald Glover, Hannibal Buress, Martin Starr). This cast is a comedic embarrassment of riches.
I was laughing pretty much from beginning to end with Homecoming. Just thinking back on the school’s morning announcements (complete with anchor Betty Brant) makes me giggle. Peter’s best friend Ned (Jacob Batalon) is the movie’s chief source of comic relief, and in less careful hands he would become rapidly annoying. Instead, he’s a reliable presence and given a character arc with a payoff of his own, his desire to be Peter’s “guy in the chair.” It’s genuinely impressive screenwriting when even the comic relief sidekicks have arcs. Zendaya does an impressive job of selling every one of her jokes, which traffic in a very specific smart-aleck, apathetic tone. She’s graduated from the Disney Channel to the bigger leagues. There’s a hysterical series of inspirational education videos featuring Captain America, and if you stay past the end credits there’s a great payoff for that. There’s even some sly meta jokes calling back to Raimi’s Spider-Man. Every joke at least lands and most of them hit hard, benefiting from strong development and timing.
Nevertheless, just because it happens to be one of the funniest movies of the year, Spider-Man: Homecoming still finds plenty of space to be dramatic and thrilling. The comedy doe not tonally detract from the other elements. This is not an insubstantial movie just because it knows how to have some fun (take notes, Zack Snyder and DC). This is not a flippant movie because of tone or the heavy joke quotient. There are sincerely sweet moments born out of the characterization, like when Aunt May takes it upon herself to teach Peter how to dance (this would not be possible with a geriatric Aunt May). Director Jon Watts (Cop Car) has a steady command with his high-flying visuals and maintains the tight walk of tone that allows all the elements to work together as a blissful whole.
There are superb action sequences that advance the story forward and allow for the characters to grow. It’s exactly what good action is supposed to do, besides, you know, quicken the pulse. The humor can also arise naturally from these set pieces. Take for instance Peter suiting up while attending a suburban house party. He spots some alarming energy discharges on the other side of the suburb, but without any tall buildings for him to latch onto, he has to hoof it the whole way on foot. It’s a smart comedic aside and it helps to remind us that this Spider-Man isn’t an instant pro after getting his powers. It all comes together best in a D.C. rescue at the Washington Monument. It bridges the personal with the action. The bifurcated ferry set piece serves as the Act Two break and it’s a killer segment that pushes Peter to his limits to solve a dilemma that seems incapable of being fixed. There may not be any action scene to rival Raimi’s finest but the character-centric action and the organic development of the complications lays a foundation for a consistently entertaining film littered with joyful payoffs.
The biggest fear I’ve read from Spidey fans was that the involvement of Robert Downey Jr. would tip the scales, turning a Spider-Man movie into a defaco Iron Man sequel. Considering America loves Iron Man, I don’t see how his inclusion is a problem. Civil War was still very much a Captain America film even though Iron Man was the co-lead. Tony Stark represents a distant mentor for Peter and also the gatekeeper. Peter is anxious to become an Avenger and looking for Stark’s approval, which brings an enjoyably unorthodox paternal side from Downey. If there is a complaint I can foresee, it will be that Spider-Man is too similar to Iron Man thanks to the special suit. Spider-Man’s suit has its own Jarvis-style A.I. program (adeptly voiced by Jennifer Connelly, wife to Paul Bettany, former voice of Jarvis) and extra special gadgets including a spider drone and unusual web shooting options. It provides a new sense of discovery for the character since we’re already starting with him powered. The second act is Peter getting accustomed to the boost his suit gives him, becoming reliant upon them, and then having it stripped away as a natural Act Two break so that the conclusion has even more stakes without the security of the suit. It makes Peter much more vulnerable. The Iron Man parts are more a background motivational force and this is still very much a Spider-Man film.
Holland (The Lost City of Z) is already my favorite Spider-Man. Period. He made such an immediate and strong impression in Civil War that I was greatly looking forward to his first big starring venture, and Holland does not disappoint. This is the first Spider-Man that doesn’t feel crushed by the heavy burden of being a superhero. He’s a kid eager to grow up and join the world of other caped crusaders, but he’s modeled his crime fighting from what he’s seen on TV. He doesn’t really know what he’s doing. He’s still an awkward kid, and Holland brings great authenticity to the smaller character moments and the bigger heroic strides (while maintaining a convincing American accent). This is a more relatable, vulnerable, and interesting Peter Parker. Even though he thinks he should be beyond the mundane life of high school, he doesn’t ever act pompous or look down on other characters, which is endearing. At times Holland feels like he’s going to explode with energy, as if life is too much to process in the intermediary. He’s a teenager and the world feels so big and open. It’s an instantly engaging and likeable portrayal that wonderfully capitalizes on the introduction from Civil War. This is a Spider-Man, and his spider world, that I want multiple sequels to further explore and challenge.
Keaton’s Vulture already ranks as one of the best villains in the MCU (a low bar, I admit), and that’s because the movie humanizes him and gives him significant moments. He’s just a regular working-class man trying to provide for his family. In fact the first five minutes of the movie focus exclusively on Toomes and explains his sticky situation. He feels cast aside by those in the upper echelons of power. His eventual “you and I are the same” speech to Spider-Man has credible points. You can see, from his perspective, how he’s an underdog sticking it to the rich elites. Shockingly, there’s only one death in the entire movie and even that is an accident. Toomes is not your standard comic book villain, and there’s a brilliant third act twist that makes him even more centrally involved in the narrative. That opens a delicious sequence of dramatic irony. Keaton has a quiet menace to him that’s very unsettling. It’s all in the lower register. His character doesn’t blow up. He just narrows his brow and intensifies that scary stare. I’m glad the filmmakers realized that more Keaton was an asset to the film.
Let’s also take some time to celebrate the sixth Spider-Man movie for having a diverse population of characters that would actually represent Queens. Peter’s best friend is of Filipino descent, the girl he crushes on is biracial, the loner girl is biracial, and even the high school bully, Flash Thompson, is Hispanic, played by Tony Revolori from The Grand Budapest Hotel. This might be Marvel’s most diverse cast yet, though “yet” being the operative word considering that Black Panther is arriving in early 2018.
This movie is a total blast. Spider-Man: Homecoming actually manages to give new life to a character that has already appeared in five other movies. That’s an amazing feat. Another amazing feat is that six different screenwriters, including the director, are credited with this movie, yet it feels fully coherent in its vision and presentation. This is Peter Parker, the teenager struggling with self-doubt, hormones, and an eagerness to grow up, and the movie feels much more human-scaled, forgoing giant CGI smash-em-ups for something more grounded, personally involving, and ultimately successful. Just because Homecoming is fast-paced and funny doesn’t mean it lacks substance. I was elated during long portions of this movie, impressed by the steady stream of setups and payoffs, the incorporation of the many characters and comedic voices, and the varied action set pieces that were focused on character progression. If you are tired of superhero stories, I’d still heartily recommend this movie. Dear reader, I feel like I’m failing you and turning into a frothing fanboy because I can only think, at worst, of negligible quibbles against the film. Everything in this movie works. Everything. It’s everything I was hoping for and then some.
Nate’s Grade: A
XX is the first horror anthology comprised entirely of female writers and directors. That’s the most noteworthy thing for this relatively disappointing movie. None of the four main segments are that interesting and several don’t really have endings. The first segment has the most potential, “The Box,” about a child that stops eating after getting a peak inside a stranger’s wrapped gift. The family joins him one by one except for the mother. That’s it. There’s no resolution, one moment of shocking gore, and the rest is straightforward maternal ennui. The second is from musician St. Vincent (née Annie Clark) called “The Birthday Party” and it’s not really horror so much as it is dark comedy with a heaping helping of slapstick. Melanie Lynskey (Togetherness) is an overextended mother who discovers the dead body of her husband on the morning of their daughter’s birthday. She has to go to elaborate measures to hide the body while still juggling all the responsibilities others expect from her. It’s amusing in spurts but is often too obvious. The third segment “Don’t Fall” is the most professionally realized and has some nasty special effects, but it’s nothing more than another throwaway entry in the teens-meddle-with-forces-in-nature-and-are-swiftly-punished subgenre. It’s the shortest segment so that helps too. Finally, Karyn Kusama (Jennifer’s Body) writes and directs “Her Only Living Son” which intends to flip the script on the Rosemary’s Baby scenario. The segment reveals its secrets slowly, which makes it a more engaging short to digest. However, it too ends on a perfunctory note. I know there are many talented female filmmakers out there biding their time, waiting for their chance to show their mettle in genre filmmaking, an area that skews heavily male. That’s what makes XX so frustrating. There has to be better material and better filmmakers out there who would kill for this kind of showcase. Maybe next time (XX2?).
Nate’s Grade: C
Car chases are one of the greatest things in movie history. The visceral sensation, the speed, the urgency, the thrills, the syncopation of edits to carry out the escalating collateral damage and stakes, it all works to seamlessly create one of the pinnacles of the moving pictures. If you’re going to create a musical where car chases are the chief instrument, then you could do no better than having director Edgar Wright as the maestro. Baby Driver is being hailed by critics as a blast of fresh air, an eclectic wild ride of an action movie with style to spare. That’s true. Unfortunately, this is the first movie of Wright’s career where it feels like the gimmick is all there is to be had.
Baby (Ansel Elgort) is the getaway driver for Doc (Kevin Spacey) and his crews. Baby was in a car accident that killed his parents when he was a child and he was left with tinnitus (a “hum in the drum” as Doc dubs it). To drown out the ringing, he listens to music at all times, including during those high-speed getaway chases. In his downtime, Baby romances Debora (Lily James) a diner waitress eager to hit the road without a map. Pulled into one more job, Baby is paired with a hotheaded group of dangerous criminals (Jamie Foxx, Jon Hamm, Eiza Gonzalez) that could threaten his future plans with Debora.
Baby Driver is a gimmick movie, but this isn’t exactly unheard of from Wright. Each of his movies has a strong genre angle that can tip over into gimmicky, so a gimmick by itself is not an indictment. This is, by far, the least substantial film of Wright’s career. Let’s study his previous film, 2013’s The World’s End. Like the other entries in the Cornetto Trilogy (Shaun of the Dead, Hot Fuzz), that film has a clear adoration for a certain genre and its styling, in this case alien invasion/pod person sci-fi. It didn’t just emulate the style and expected plot trappings of its genre. It spun them in a new direction while telling an engaging story on the strains of friendship over addiction and stalled maturity. It’s the heaviest and most emotionally grounded film in the trilogy. Every single moment in that movie adds up, every line, every joke, every plot beat, it all connects to form an inter-locked puzzle that would make Christopher Nolan whistle in appreciation. It wasn’t just clever plot machinations of genre parody. It was a layered and heartfelt story. It all mattered. With Baby Driver, what you see is pretty much what you get.
It’s a car chase musical, a novelty that certainly entertains with Wright’s visual inventiveness and ear for music. The film has that alluring quality of wondering what will happen next, especially with its extensive collection of songs on the soundtrack. A trip to get coffee can become a long take perfectly timed so that graffiti and prop placement along street windows lines up with lyric progressions in the song. Some sonic standouts include “Bellbottoms” and Queen’s “Brighton Rock” during the climax. There’s a fun sense of discovery with the movie and each new song presents a new opportunity to see what Wright and his stunt performers do. The car chases are impressively staged and the stuntwork has dynamism to go along with Wright’s high-level energy output. The emphasis on physical production goes a long way to add genuine excitement. This isn’t the ricocheting CGI car chase cartoons of the Fast and Furious franchise. As far as gimmicks go, it’s at least an amusing one. Perhaps I’m just a musical philistine, or more likely my brain just isn’t as accustomed to sound design idiosyncrasies, but I actually wish Wright had done more with his central gimmick. I’m fairly certain I missed half of the connections with the music. If this is the film’s calling card then it needs not be subtle; rub my face in all the clever edits and how the gunshots equal the percussion, etc.
The ceiling imposed upon Baby Driver is because of its characters. Wright and his collaborators have done effective work shading depth to genre characters in the past, even Scott Pilgrim vs. the World, which examined unhealthy usury relationships and entitlement. The characters in Baby Driver are defined by their archetype designations and often behave in unbelievable ways just because the plot necessitates them. The worst offender is Baby’s love interest, Debora. Her initial scenes with Baby are sweet and work on their own, but when she’s ready to abandon her life for a guy she met days ago, Debora comes across like one of those people who write engagement proposals to incarcerated felons. Her decision-making leaps don’t feel plausible. I don’t think she’s acknowledged her lingering co-dependency issues. The problems are magnified when so much of the second half involves Debora being put in harm’s way or needing to be rescued. Then there’s Baby, a kid with a conscience who uses music as an escape figuratively and literally. He’s too bland and uncomplicated for the lead. Baby takes care of a deaf foster father. He surreptitiously records conversations to remix them into Auto-Tune cassettes. Yes that really is as dumb as it sounds especially when those conversations involve criminals. All we know about Baby is he’s nice, he wants out, and he’s good at driving. Elgort (The Fault in Our Stars) doesn’t have the space to do anything but look cool and springy. The supporting characters are assorted hardasses and nincompoops. Foxx (Django Unchained) seems like he’s there always to push contrived conflict.
As a genre movie with above-average execution, Baby Driver is going to be a suitably enjoyable time at the movies for most. Wright couldn’t make a boring movie if he tried. However, it doesn’t feel like he tried hard enough with Baby Driver, at least to make a full-fledged movie. It’s an admirable assemblage of music and visuals but after a while it feels like a collection of music videos, albeit with highly impressive stuntwork. The movie suffers from overblown hype because it doesn’t have the characters or story to balance the action. There isn’t much of an attachment to what’s going on beyond the surface-level thrills of Wright’s central gimmick. As a result, you may get restless waiting for the next song selection to kick into high gear to provide another pert distraction. It feels like the gimmick has swallowed the movie whole and Wright was too busy timing his precise edits to notice the absence of appealing, multi-dimensional characters. Baby Driver is a fun movie with plenty of sweet treats for your senses but it’s too devoid of substance to be anything other than a rapidly dissipating sugar rush.
Nate’s Grade: B
Billed as a Trump-era satire, and given the fact that the premise involves a middle-aged, working class Mexican immigrant going head-to-head with a rich, bilious, selfish real estate tycoon who proudly skirts the law, you’d be expecting fireworks. That’s quite a culture clash and writer Mike White (School of Rock) serves up the making of a delicious and squirm-inducing evening as the titular Beatriz (Salma Hayek), a holistic massage therapist, is marooned at the house of a rich client (Connie Britton). They’re hosting a very famous, very influential business tycoon (John Lithgow), and his demeanor and perspective couldn’t be more opposite from Beatriz. As the night wears on, and the wine is consumed, Beatriz confronts these privileged and oblivious people. The most frustrating part about Beatriz at Dinner is that all the pieces are there for a terrific movie but White’s script goes slack in the second half. The film never really escalates the drama and you keep waiting for more confrontations. I think perhaps I wanted the stage play version of this story, a dialogue-driven debate between two combative characters buoyed by a sense of righteous indignation. Hayek is quite good and reminds you what kind of actress she has at her disposal. Her wounded expressions say volumes. The other problem is that this 85-minute movie ends on a note of baffling nihilism that left me cold. It’s like White threw up his hands and declared that as long as there are powerful men in the world like Trump, with an oversized influence the common man cannot compete with, then why bother trying to heal the world and make it a better place? It’s an abrupt ending and one that doesn’t feel in keeping with the character. I wish someone would take this story and adapt it for the stage and give it the treatment it deserved before White sacrificed all for his fatalistic message about the futility of trying in the Trump era.
Nate’s Grade: C+