Monthly Archives: February 2019

Arctic (2019)

Mads Mikkelsen is stranded in the Arctic and that’s about all you need to know plot-wise about the film, a thrilling and immersive survival thriller. Right away the film lets us in on the routine of this survivor of a plane crash and how resilient and resourceful he had become. Then it introduces a new sense of urgency, a critically injured pilot in another aircraft, that pushes him into leaving the safety of his homemade confines. The movie relies so heavily on elemental, visual storytelling that I think any person on the planet could easily understand and appreciate the pared-down storytelling. The visuals are so immersive and accessible that every item bears import or sets up critical information to be relied upon later. The harsh Arctic landscape and unique dangers push our hero to the extreme in order to save another life. It’s enough to inure us to this relatively silent man. Mikkelsen (Polar) uses every physical muscle of acting to communicate the struggle his character is undergoing. You believe every moment. There’s not much in the way of story beyond stubborn survival against brutal conditions. We don’t get any flashbacks. We don’t get any monologues. It’s one man against the full force of nature and it’s enough for a brisk, simple, straightforward focused 97-minute survival story with Mads persevering amongst the beautiful and terrifying wasteland.

Nate’s Grade: B

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How to Train Your Dragon 3: The Hidden World (2019)

How to train your expectations for the concluding chapter in the How to Train Your Dragon franchise: step one, lower them. I was dispirited to discover what a disappointing final chapter The Hidden World comes across, especially considering the previous movies, including the 2014 sequel, are good to great. At its core it’s always been a tale of prejudice and family, dressing up a simple boy-and-his-dog story with fantasy elements. It also presents a world with danger and cost; even the fist film ended with the main character, Hiccup, losing a freaking foot. He loses his father in the second film. It’s a series that has grown naturally with heart, imagination, and a real sense of stakes. This is why I’m sad to report that the third film feels like a different creative team made it. The villain is a repeat of the second film, a dragon hunter with little to be memorable over. The plot is very redundant, stuck in an endless loop of capture, escape, capture, escape, etc. The addition of the new lady dragon is a perfunctory means to drive a wedge between Hiccup and toothless, his dragon. The lady dragon has no personality and needs rescuing too often. Her inclusion relates to a rather regressive emphasis on the need for coupling and marriage. The titular Hidden World amounts to a grand total of five minutes of screen time. The action starts off well involving the various colorful side characters but misses out on that sense of danger that defined the other movies. It feels goofy and safe and listless. How to Train Your Dragon: The Hidden World is a sizeable disappointment and coasts on the emotional investment of the first two movies. You’ll feel something by the end, sure, but it’s because of the hard work of others and not this movie.

Nate’s Grade: C

Alita: Battle Angel (2019)

James Cameron has been dreaming about making Alita: Battle Angel for decades. He bought the rights to the 90s manga and has been sitting on the property, having to continuously push it back because of technological demands and the demands of, at last count, a thousand Avatar sequels. Cameron co-wrote the screenplay and handed the directorial duties over to Robert Rodriguez (Sin City), a talented visual stylist who has been struggling of late. The marriage looks good and the final 122-minute feature is the closest a live-action film has ever gotten into replicating the look and feel of an anime, for better and worse.

Hundreds of years after the fall of civilization, a lonely scrapper and doctor, Dr. Ido (Christoph Waltz) discovers the remains of a cyborg with a still beating heart. He puts her back together with a new body and names her Alita (Rosa Salazar). She’s special and learning about the big new world, trying to unlock her memories of the past, and we’re talking way way back into the past. She’s old technology, something that’s quite valuable for the street gangs that strip amputees for parts and for the global corporation whose emissary (Mahershala Ali) needs to reclaim the powerful tech. Alita falls in love, learns about her sense of humanity, and fights lots and lots of robotic villains.

This visual decadence of Battle Angel is the greatest reason to see it, especially on the big screen if able. The future setting is immediately visually engaging, with people walking around with mechanical limbs that look like they were literally cobbled together with whatever junk was lying around. There is a have/have not dichotomy between the huddled masses trying to eek out a living in a garbage city and the floating metropolis above that regularly dumps its trash onto the people below. It’s easy to see the influences of Battle Angel in other media, like Elysium, as well as its own cyberpunk influences, from the likes of Blade Runner to recycling the chief sport of Rollerball. The character design is to die for in this movie, with exceptionally assembled figures that stand out in memorable, dangerous, sometimes junky ways. There are a number of different robotic killers with colorful and unique weapons and personalities, and the larger world invites further scrutiny. There is a bustling post-apocalyptic life here and it’s plastered on a splashy, broad visual canvas with some spectacular special effects. Not all of the effects are at the highest level, from some compositing issues with faces to the big anime eyes (more on that later), but Battle Angel is an expensive movie that puts it all onscreen. The world is fun to watch and the action sequences feel ripped directly from the manga, with larger-than-life creatures fighting in vicious and frenetic ways. Even when the movie feels like it’s losing its momentum there’s always the visuals to enjoy.

The central idea of this post-apocalyptic junk town being populated with deadly bounty hunters who work for a mysterious conspiracy is a great starting point. There is a bevy of killers with different allegiances and different codes, and then you throw in a powerful new addition who doesn’t remember her hidden past and you’ve got a recipe for drama and conflict with some crazy characters. There are even little dark touches that I would have thought would have been clipped in the adaptation process. Battle Angel has so much going for it that it can get a little frustrating when it feels like it’s spending so long to stay in the same place. The plot revelations are fairly predictable but still effective, but the long delays between them are filled with numerous action set pieces that diminish a sense of progression. I liked the Alita character and her relationship with her surrogate human father, but I didn’t think enough of any other relationship she had in the film. I wasn’t that invested in uncovering her past, which was still a bit too vague for me as a non-reader of the source material. At the end of the story, Rodriguez has set up his audience for a continuing saga of strife that feels too incomplete. Alita has learned more about herself (though I’m still confused) and has a goal of vengeance (against a force that is left too vague) and a renewed sense of purpose (built upon a relationship that doesn’t feel that affecting). It’s a curious end point and a questionable decision for a movie this expensive to assume it would secure demand for a presumptive sequel.

Where Battle Angel began losing me was because its title character, Alita, became too overpowered for her own good, eliminating a sense of stakes early on. The battle calculus skewed far too quickly. After the first act, actually from her first fight onward, there is never any doubt whether Alita will triumph. She doesn’t undergo any training or any real learning curve when it comes to her superhuman defense. Right from the get-go she’s doing amazing acts of fight choreography and making it all look easy. She even defeats an enemy when she’s only a one-armed torso. That’s admittedly impressive but another indicator that there is no real threat that can be posed against her. No matter how huge the cyborg, or how many pointy appendages at their disposal, it’s only a matter of time before our little pint-sized warrior is eventually triumphant. There is really only one fight where she’s presented with any slight disadvantage, the aforementioned one-armed torso sequence, but this too is shortly rectified. She goes from having a nigh-invincible body to an even more nigh-invincible body, making her, you guessed it, even more powerful. This reality takes something away from the numerous cyborg-on-cyborg battles, and without greater variance on the scene-to-scene needs, the fights become somewhat stale. Visually they are still impressive with a sense of fun watching the manga pages come to startling life, but without stakes and variance, it’s all the same punches with less power.

Now Battle Angel isn’t the only story to deal with an overwhelmingly powerful protagonist (see: Neo, Superman, just about every character on Dragonball). The solution is usually a specifically applied weakness or, most often, the vulnerability of those closest to the hero. It’s the regular people that can be gotten to, that can be endangered, that approximate the “weakness” for the overpowered protagonist. However, for this to work, you need an emotional connection to the characters in order to feel their potential loss. This cannot work if the characters are stuck in archetypal mode and add little help. That’s the problem with Battle Angel; I didn’t really care about any of the other characters. They had points of interest, a tragic shared back-story, a dream to escape their earthbound poverty, some secrets they don’t want getting out, but it’s never enough to make them feel that much more refined than the secondary background players. The film doesn’t even go the route of really threatening the more vulnerable people in Alita’s life, which is a strange miscalculation. What we’re left with is a very kickass robot woman doing her thing and taking down the big bad cyborgs. It’s entertaining and there’s enough of an interest in bullies being beaten by the underdog, but Alita isn’t really the underdog and so the many action sequences become a tad tedious.

Salazar (The Maze Runner: The Death Cure) gives an expressive performance and enables her superhuman cyborg to find a semblance of her humanity. Because of the character design the degree of performance capture relies much on the micro expressions of Salazar, so if she overdoes it then Alita can lose that tenuous sense of reality. She finds a balance that makes her feel real, at least real enough to exist in this world. Waltz (Downsizing) is enjoyably paternal with a few dark secrets of his own. His rocket-powered pickax thingy falls under my category of something that’s futuristic but not exactly practical. This wouldn’t present much of a problem except his character is an expert at using the parts he can scrounge up to get the job done. Skrein (Deadpool) has found a real career for being sneering villains with oh-so punchable faces, and he succeeds yet again. Ali (Green Book) and Jennifer Connelly (Only the Brave) deliver enough with so little that you wish the screenplay asked more of them than the occasional in-shadows skulking. It’s interesting to look at this cast, which has four Oscars to their names (possibly another one for Ali), and an additional nominee with Jackie Earl Haley.

Let’s talk about those eyes. The film is based upon a popular manga and anime and James Cameron was determined, from the earliest point, to recreate that stylized big-eyed look famous to Japanese art. It’s one thing on the page and another brought into real life, and the response has been all over the place. Some cite the uncanny valley and cringe while others argue it makes Alita more vulnerable, the eyes being the window to the soul and all. It does set her apart from the crowd, which is supposed to befit her character and where she came from, so to that end it works. It’s not as distracting as I feared and you do grow accustomed to them. However, was any of it necessary? Would we feel any different for Alita if she had more human-sized eyes? I doubt it. The costly effect of a very costly movie ($200 million reported) made me think of a similar quirk with the 2011 Green Lantern film where Ryan Reynolds’ suit was a CGI effect. Rather than simply wearing a costume the filmmakers spent millions applying one in post-production, and in the end what of value did it offer to the experience?

It’s hard for me to watch Alita: Battle Angel and understand why this was a property that James Cameron set aside for almost two decades. What about this makes it special or at least separates it from the pack of imitators? It’s a world with points of interest and characters that could be interesting, though many stop short at the design phase. The live-action version is entertaining and visually sumptuous, but I was finding myself grow tired of the film’s loose stakes, predictable plotting, simplistic themes, and archetypal characterization. The action can be pretty fun but even as Alita lines up more obstacles and more enemies we never feel threatened or concerned. Without a larger sense of danger and plot development the many fights start to grow monotonous. The special effects are wild but they service a story that seems ordinary genre. Alita: Battle Angel ought to please fans of the source material but it short-circuited for my attention.

Nate’s Grade: C+

Happy Death Day 2U (2019)

On one hand I can admire the “who gives a damn?” ethic behind the sequel to Happy Death Day, a fun time loop of slasher cinema tropes. The original had some darkly comic edges but mostly played its premise straight in the realm of horror. The sequel doesn’t play anything straight. It’s completely bonkers and looking to turn anything into a joke. This provides a charming carefree sense of bravado; however, if you were a fan of the first film, it also might rub you the wrong way and seem overly flippant and messy. We get a science fiction explanation involving parallel universes as to why the time loops are happening, and now our heroine Tree (Jessica Rothe) is stuck in a parallel version of her looped day. The film sidesteps a Back to the Future 2 sense of repetition but doesn’t stray too far from the outlines of the original Happy Death Day, just with a few new surprises. The big question is whether Tree will return to her home dimension or stay as a tourist in this new dimension, a world where her mother is still alive but her boyfriend is with somebody else. As should be obvious, this hard choice isn’t really that hard considering that she could always still get with the would-be boyfriend again. There are some comedic sequences that borderline on farcical sitcom, like a montage of suicide set to Paramore’s “Hard Times” and a woman faking being a bumbling blind student, and too many of the plot complications feel artificial and random, especially the delays to return to the home dimension. The world can often feel constrained as well, like this bustling campus only comprises the same eight faces (and their bushy eyebrows). My biggest gripe is that the first act is completely superfluous and it presented a more compelling mystery, a student from a future trying to kill their past self to avert a crisis. That’s way more interesting than another dopey killer in the baby mask. Still, the movie never pretends to be anything other than a fun couple of hours with sprightly visual comedy and a terrific anchor in Rothe, a comic stalwart. Happy Death Day 2U gets more ridiculous as it goes and I hope it just keeps digging further, never finding its bottom.

Nate’s Grade: B-

The Lego Movie 2: The Second Part (2019)

Everything might not be awesome but it’s still pretty great for this creative, heartfelt, and hyperactive family franchise that is better than it has any right to be thanks in part to returning writers Phil Lord and Chris Miller. It’s not quite as fresh and clever as the first go-round but it manages to better its predecessor in some key ways. Now that we know the colorful and zany antics of the animated Lego characters are also simultaneously the imaginative play of a real-world family, it provides a deeper thematic subtext with the unseen nature of siblings in conflict. I remember my own younger sister wanting to play with me and my toys, and me rebuffing her, and the film struck home some key emotional points about the inclusion of cooperative play. The different styles of play are on display as our characters are abducted by a shape-shifting space queen (voiced by Tiffany Haddish) who is determined to marry Batman and possibly rule the universe. A fantastic running joke is how transparently malevolent the queen is, which leads to an even better payoff. There are more songs and each is pretty well constructed, relevant to the story, and assuredly catchy, like “Catchy Song” used to brainwash people through pop, and a mournful version of “Everything’s Not Awesome” that becomes genuinely inspirational and uplifting by its climax. The life lessons are easily digestible and the sense of breezy fun is still alive and well. I was laughing throughout, sometimes quite hard, and the brother/sister subtext had me wondering if I owed my younger sister a decades-late apology for my behavior (sorry, Natalie). Lego Movie 2 is a worthy sequel that finds new and interesting ways to build off the irreverent original’s model. Bring on the Toy Story 3-style ending where our grown-up owner says goodbye to his childhood toys and friends. At this point, Lord and Miller can do anything and imbue it with wild wit, whimsy, and unparalleled mass entertainment (except Star Wars, I suppose).

Nate’s Grade: B+

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