I attempted to read Frank Herbert’s novel Dune when I was in the seventh grade. I had begun to read more fantasy literature and was looking at older, heralded novels. I can still recall my frustration of reading those first five pages and having to repeatedly flip back and forth to a twenty-five-page glossary of terms so that I could even start to comprehend what was happening on the page. After those five excruciating pages, I gave up. Maybe I was too rash, and maybe my older present self would be more accommodating to the struggle, or maybe it just wasn’t worth the effort. I never watched the 1984 David Lynch adaptation that was met with great derision from critics and fans alike, although it does have its vocal defenders (Hindsight alert: Lynch turned down directing Return of the Jedi to helm Dune). So when acclaimed filmmaker Denis Villeneuve (Arrival, Blade Runner 2049) became attached to direct a big-budget, large-scale adaptation of Herbert’s novel, I was finally interested for the first time in my life. It was originally slated to be released in 2020, and after the studio planned to release Dune onto its HBO Max streaming service, Villeneuve and the production company negotiated to make sure a theatrical release would still be an important part of the plan. Alas, I watched the 2021 Dune at home, and I found myself enjoying the experience and development of the world building. However, it’s unlikely to watch this version of Dune and feel like you got a full movie for your money.
In the distant future, like 10,000 A.D., mankind has colonized worlds and the most important planet of them all is Arrakis. It’s a desert world inhabited by poor natives, Freeman, who live a moisture-preserving life mining the natural “spice,” a special substance that makes space travel capable as well as prolonging human life. The top family houses are vying for dominance and House Atreides has been assigned by the unseen Emperor to rule over Arrakis and bring it and its spice production back in line. Duke Leto Atreides (Oscar Isaac) sees great opportunity but also great danger. The other houses will scheme to engineer the failure and desolation of House Atreides, especially House Harkonnen, led by the Baron (Stellan Skarsgard), who is like a mixture between Marlon Brando from Apocalypse Now and Marlon Brando from The Island of Doctor Moreau (plus with levitation powers?). Paul Atriedes (Timothee Chalamet) is his family’s heir and much is expected of him, especially from his mother, Lady Jessica (Rebecca Ferguson), who believes he may be long-prophesied messiah. On Arrakis, Paul and his father must tackle this very delicate new mission while keeping the many adversaries at bay.
As anticipated, Dune is yet another visually stunning and gorgeously immersive visual experience from one of the greatest visual filmmakers working today. If you can watch the movie on a big screen, or at least a bigger screen, then you owe it to yourself to do so. The sweeping vistas and startling science fiction imagery have so much power and grandeur to them. If Lynch’s movie inspired a generation of devotees and impressionable children, I imagine that this superior modern version will do likewise. The production design and costumes are terrific and perfectly in keeping with the larger scope of the expansive visuals. You really feel the size of this world and its imposing weight. Villeneuve has such a natural keen eye for pleasing visual compositions, but he also has the patience many famous big screen stylists lack. He allows the moments to linger and to let scenes breathe in a way that feels more transporting and immersive. If you were simply looking for a visually resplendent movie-going experience, then Dune is the ticket. The sound design is also very smartly aligned and makes use of unconventional and alien sounds to make the movie feel even more like its own thing. When Dune came out in 1965, this was before much of the modern building blocks of our sci-fi pop-culture, so in a way while Dune was the influence it feels partially like an odd after-effect rather than a predecessor. The same thing happened with 2012’s John Carter, based upon a novel a hundred years old that influenced many sci-fi adventure serials and now seems derivative even though it came before the many imitations. I was happy with the first 90 minutes of Dune and felt like the slow pace of the first hour, and its heft of needed but spaced-out exposition, was paying off with a thrilling assault. The concept of the protective shields is a smart way to communicate the casualties of battle, where “kill shots” are illuminated in red, informing the audience of a mortal wound. It makes for an easy to read visual to keep up with the development of battle and stay in a safer PG-13 realm. The whole rescue sequence on the mining station is thrilling at every step.
The cast is another major credit to the success of Dune. Chalament (Little Women) has a soulful yearning to him, to learn, to be his own man, to prove his father wrong and then prove worthy of his father’s faith. Surprisingly, the next biggest role isn’t Zendaya (Malcolm and Marie), the woman that Paul dreams about (prophetically?); it’s Rebecca Ferguson (Doctor Sleep) as Paul’s mother. She’s a woman with deep secrets belonging to a powerful religious sect that might be the real power behind the throne. Lady Jessica is more Paul’s mentor than any man. She teaches him to hone and focus his mind, to use the “Voice” to impart his will, and to prepare for the hardships to come. With every new exposition dump, and she has many, we learn about her growing concern for the fate of her son and her possible culpability for that fate. There’s a genuine warmth between them that serves as the film’s emotional core. I enjoyed watching Jason Momoa (Aquaman) and Dave Bautista (Army of the Dead) as opposite ends of Super Good Fighter Guy, though Momoa looked unsettling without a beard. Needless to say, the 2021 movie is far more diverse than the 1984 movie. It makes space feel more lived in when it’s reflective of a diversity of people that we already have at this point in our history.
And then, after the hallway mark, Dune became a protracted sequence of chases and then I started to worry that things were just going to end in an unsatisfying manner, relegating the 150 minutes as setup for the as-yet-unplanned sequel, and that’s exactly what happened. My mood began to deflate somewhat during the last hour of Dune. I was still interested and the visuals were still mighty captivating, but the events had the unmistakable feeling of being stretched out to meet a frustrating stopping point, a pause that didn’t produce a satisfying endpoint. I just kept thinking, “Oh, they’re not going to resolve this,” and, “Oh, Zendaya is barely going to be in this movie,” and the movie proved my predictions correct. It’s hard to judge the movie as its own entity since it’s so dependent on a Part Two that has yet to be greenlighted (though its strong opening box-office returns are hopeful). This is an expensive movie, possibly pushing $200 million, so it’s quite a gamble to declare you would only be adapting roughly half of the story. Villeneuve’s Blade Runner sequel, a movie I loved, had a budget of $150 million and a worldwide gross that didn’t make the producers comfortable going forward with a Blade Runner 2050. To be fair, that was an original story, a sequel, and rather well contained. Still, it’s an expensive sci-fi movie that has as much in common with dry art house fare as it does blockbuster adventures, like Villeneuve’s Dune. The promise of a second movie is not secured. If Dune doesn’t do well enough, we’ll forever be left with a movie that feels designed to only be a teaser. It reminds me of the hubris of 2007’s The Golden Compass where the filmmakers had a whole 20-minute finale that they carved out with the intention of having it be the opening for the assumed sequel (welp). Even when designing a multi-movie arc, it’s necessary to plan each entry so that it can exist as its own beginning-middle-end and with a suitable intermediary climax. The Lord of the Rings movies each had their own climax, each moving the larger picture forward, and each had storylines and subplots that came to a head by film’s conclusion. Dune doesn’t. There are more dead characters by the end and certain characters are displaced, but it feels less like the end of the big-budget Dune movie and more like the conclusion of episode two of the Dune mini-series.
My resonance with the source material is minimal, but the world of Dune feels stuffed with stuff and not as deep in the realm of commentary. Fans of the book series will likely thrill at the level of minutia the 2021 movie luxuriates in, allowing fans to lap up the lore. For those of us uninitiated into the fandom, it feels like there could be more going on behind the scenes. The book was released in 1965 and has clear parallels to Middle East occupations and quagmires, a subject even more relevant in the first quarter of this new century. There’s the occupying force coming in to manage the supposedly primitive natives on a desert planet, replacing the last occupier who made bold promises that were unable to be met by the reality on the ground. The parallels of colonialism are there and obvious, but that’s because everything in Dune seems obvious to me. The bad guys are corpse-white and dressed in all black. They look like the alien zombies from 1998’s Dark City (itself referencing the silent sci-fi classic, Metropolis). The leader of House Harkonnen is this noxious man who bathes in black goo and sucks the life force from others. I don’t need my sci-fi to be ambiguous about its heroes and villains. We clearly recognize the bad guys because they’re grotesque. However, the lessons learned by the heroes seem a bit stilted. Its attacks on capitalism are a little more nuanced but not much. The planet of Arrakis could produce water but that’s not in the interest of the power brokers of the galaxy. They need the spice for the economy and thus keep the exploitative status quo. The parallels are there but there’s not much more to be had other than direct summations. The movie has more to say with religion and messiah figures but at this point we’re grading on a curve, and the more complex commentary attached to messiah figures seems reserved for a Part Two.
Another aspect I want to highlight that seems trivial but no less intriguing to me is how Herbert chooses his character names. We’re eight thousand years into the future, spanning multiple planets with names like Arrakis and Giedi Prime and Salusa Secondus, and then we have such anodyne twentieth-century names like… Paul and Jessica? It’s funny to me that Herbert goes to the trouble of coming up with so much jargon and terminology and alien-sounding names and then he says, “Hey, this guy’s name is… Duncan Idaho,” like he’s a supporting character in Point Break. I realize this is a very dubious criticism, and there are other character names to conflict with this assertion, but it made me laugh at the different levels of effort Herbert put into his world-building and universe than selecting character names for that same far away land.
After watching the new Dune, I went and watched the 1984 David Lynch version for the first time and was, quite simply, dumbfounded. I’ll credit Lynch for many of the weird choices in style and how it never stoops to even be accessible for a mass audience, despite having characters explicitly narrate their schemes and motivations out in the open (by scene one, the power play that took up 90 minutes of Dune 2021 is awkwardly explained in full). By the end of Lynch’s movie, it is an incomprehensible campy mess. I only have more appreciation for the 2021 Dune after watching the goofy (those eyebrows!) 1980s version that Lynch has disowned entirely, although that stirring guitar riff from the score still rocks thirty years later. The new Dune is only intended as Part One as its presumptive title promises, and because of this key artistic decision, there’s a feeling of padding and wear by the end. I found myself reflecting back on the first 90 minutes more fondly. It’s not that the last hour is absent great moments or audacious style, but it’s hard to fully judge this Dune when its last line is its own conditioning of expectations: “This is only the beginning.” The 2021 Dune is a visually remarkable movie experience with fantastic artists executing at some of the highest points of their talent. I’m eager to see if a Part Two can provide the satisfaction lacking in this beginning half. It’s a hell of a start but it feels too incomplete and in need of an ending.
Nate’s Grade: B
Avengers: Endgame (2019)
This may prove to be the most difficult review I’ve ever written in my twenty years (!) of reviewing movies. How do I ever begin to describe the events of Marvel’s culminating blockbuster Avengers: Endgame without stepping too far into the dark and dangerous territory of the accursed spoilers? I thought it would be difficult talking about last year’s Infinity War considering the shocking plot events and general secrecy, but this concluding chapter to a 22-movie journey is even more secretive (the trailer accounts for only footage roughly from the first twenty minutes). I’ll do my best, dear reader, to give you the clearest impression I can of this unique experience while respecting your need to be un-spoiled. In short, Avengers: Endgame is unparalleled in our history of modern popular blockbusters because it needs to work as a clincher to a decade-plus of hugely popular blockbusters for the Marvel Cinematic Universe (MCU), and boy do they ever stick the landing.
The film picks up with our surviving Avengers picking up the pieces following the events of Infinity War, namely Thanos (Josh Brolin) eliminating half of life throughout the universe. The original six Avengers are all suffering through guilt, depression, and degrees of PTSD following their failure to defeat Thanos. Scott Lang a.k.a. Ant-Man (Paul Rudd) arrives after having spent time in the quantum realm and has a potential solution that will involve traveling through time to correct the mistakes of the past and bring everyone who vanished back to life. The remaining teammates assemble at the behest of Steve Rogers a.k.a. Captain America (Chris Evans), including Bruce Banner a.k.a. Hulk (Mark Ruffalo), Black Widow (Scarlet Johannson), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), Rocket Racoon (voiced by Bradley Cooper), Nebula (Karen Gillan), and War Machine (Don Cheadle). However Tony Stark a.k.a. Iron Man (Robert Downey Jr.) needs the most convincing, as he is most afraid of making things even worse and losing more people he feels are too precious to be casualties to their failures once again.
The thing to know ahead of time is that Endgame is not for the casual fan. This is a long love letter to the fans that have pored over all 22 preceding films, not just a scant one or two. Infinity War was accessible to relative newcomers because of the structure and focus on Thanos as the main character, providing a self-contained arc that lead up to his finger-snapping triumph. It also benefited from the fun factor of simply watching a bunch of popular characters interact and team up for the first time in MCU history. Now that a majority of those characters have turned to dust, the emphasis falls back on the original core of the Avengers, bringing things full circle. In several ways, Endgame is about bringing to a close this mammoth project that began with Iron Man, this decade of storytelling ambition that has stretched out into multiple inter-connected franchises. If you love these characters, then Endgame is a movie made specifically for you. There is a long stretch in Act Two that relies upon a decent amount of fan service and sentimentality, but I don’t think either is an automatically negative attribute. Before we reach the finish line it’s important to take stock of how far we’ve come and this goes for the essential characters and their long arcs. There are several fun cameos strewn throughout and the filmmakers even take an interesting tack of trying to reclaim and re-contextualize the MCU movies that fewer people enjoyed. It makes for a filmgoing experience that is heavy in references, in-jokes, Easter eggs, and cozy nostalgia, which will confuse and frustrate those not well versed in this big world.
The other thing to know, especially if you’re a long-standing fan, is that there will be tears. Oh will there be tears. I lost count of the amount of times I was crying, which was pretty much on and off nonstop for the final twenty minutes. I was even tearing up for supporting characters that I didn’t know I had that kind of emotional attachment for. The film is done so well that the first third actually could play as the MCU equivalent of HBO’s The Leftovers, an undervalued and elegant series about the long-term recovery of those that remain in a post-rapture world. The opening scene involves a character having to go through the loss of loved ones via Thanos’ snap, and it’s brutal as we wait for what we know is coming, dread welling up in the pit of your stomach. The Russo brothers, the returning directing team from Infinity War, know what scenes to play for laughs (the line “That’s America’s ass” had me in stitches), what scenes to play for thrills, what scenes to play for fist-pumping cheers, and what scenes to play for gut-wrenching drama. They allow the movie to be an existential mood piece when it needs to be, actually dwelling on the repercussions of a life post-universe culling. There’s a character who frantically searches to see if a loved one was among the missing, and that eventual reunion had me in tears. With the three-hour running time, the Russos have the luxury of allowing scenes to naturally breathe. This might be the most human many of these characters have ever seemed, and it’s after recovery and grief. Needless to say, the conclusion feels very much fitting but also unabashedly emotional, unafraid of diving deep into its feelings. I sobbed.
I was worried once the film introduced the time travel plot device that everything was simply going to be erased and invalidate the struggles that came before. The worst use of time travel is when it eliminates any urgency or danger, allowing an endless series of do-overs to correct the past. Fortunately, returning screenwriters Christopher Markus and Stephen McFeely (Civil War, Winter Soldier) realize that in order for there to be a reversal, a glint of a happy ending, there must be a cost or else it all meant little to nothing. There are finite events in the movie that cannot change (as of now) and losses that will be permanent (as of now, if they don’t want to cheapen the journey). People died with Infinity War but we all knew, at least when it came to its dreary conclusion, that it wasn’t going to be too long lasting, which allowed the communal grief to be short-lived. After all, there’s a new Spider-Man film coming down the pike two months from now, so it’s highly unlikely the teenage web-head will remain dead. However, with Endgame, the deaths serve as the cost for resurrecting the MCU, and they will be felt for years. The screenplay provides limitations to the time travel mechanics, though I don’t think the collective hand-wave to the nagging paradoxes was as successful as the movie thinks it was. The film barrels ahead, essentially telling you to forget about the paradoxes and enjoy the ride, focusing on the characters and remembering what is really important.
Suffice to say Downey Jr. is once again his charming, self-effacing, and enormously entertaining self. The MCU began with this man and his contributions cannot be overstated. He is the soul of this universe. Evans is compelling as the straight-laced inspirational figure who takes stock of what he’s sacrificed over the years, Hemsworth showcases a potent mixture of comedic and dramatic chops, Johannson is definitely the Avenger going through the “bargaining” phase to try and make things right and she has some subtle emotional moments that belie her desperation and guilt, and Renner makes a welcomed return in a way that made me appreciate Hawkeye like I never had before. Brie Larson does reappear as Captain Marvel but the movie smartly puts her back on the sidelines protecting the many other worlds in the universe needing assistance because of how overwhelmingly powerful she can become. Larson filmed her scenes for Endgame before her own solo movie, released a month prior, so forgive the different hair and makeup, Twitter nit-pickers. I will say there is one scene that is a bit convoluted how it gets there but is destined to make women in the audience cheer with excitement as the MCU says, “Hey, that whole ‘strong female character’ thing? Yeah, we’ve had all that for years, and here you go.”
How does one properly assess a movie like Avengers: Endgame, a conclusion not just to an Infinity War cliffhanger but to a twenty-two movie prelude over the course of eleven years? The emotional investment in these characters, their journeys, has to come to something to be ultimately meaningful when it’s time to close the chapter on one massively ambitious story before starting the next. And there will be a next chapter; the MCU’s unparalleled financial success assures the fanbase they’ll have plenty more high-flying and wild adventures to come in the years, and more than likely, decades to come. Marvel had the unenviable task of wrapping up a major narrative in a way that would prove satisfying without devaluing the individual films and overall time investment. Hollywood is filled with trilogies that messed up their conclusions. Nailing the ending is just as important as getting things going right, because without a satisfying conclusion it can feel like that level of emotional investment was all for naught. Endgame reminds you how much you’ve grown to love these characters, what fun you’ve had, and genuinely how much you’ll miss these characters when they depart for good. It’s hard not to reflect upon your own passage of time with the ensuing eleven years, how you’ve changed and grown from the MCU’s humble beginnings in the summer of 2008. These heroes and anti-heroes can begin to feel like an extended family for many, and so fans desperately need the ending to do them justice. Avengers: Endgame is the ultimate fan experience.
Nate’s Grade: A
Avengers: Infinity War (2018)
It’s hard to draw comparisons to the major commitment to long-form storytelling that the Marvel Cinematic Universe (MCU) has dabbled with over the course of ten record-shattering years of success. I can think of movie franchises that have been popular over long periods of time, like James Bond, but rarely do they keep to continuity. It’s been 18 movies and ten years since the caddish Robert Downey Jr. first stole our hearts in the original Iron Man, and its stable of heroes and villains has grown exponentially. Looking at the poster for Avengers: Infinity War, it’s hard to believe there’s even enough space just for all of the actors’ names. Infinity War feels like a massive, culminating years-in-the-making film event and it reminded me most of Peter Jackson’s concluding Lord of the Rings chapter, Return of the King. After so long, we’re privy to several separate story threads finally being braided as one and several dispirit characters finally coming together. This is a blockbuster a full decade in the making and it tends to feel overloaded and burdened with the responsibility of being everything to everyone. It’s an epic, entertaining, and enjoyable movie, but Infinity War can also leave you hanging.
Thanos (Josh Brolin) has finally come to collect the six infinity stones stashed around the universe. With their power, he will be able to achieve his ultimate goal of wiping out half of all life in the universe. Standing in his murderous way is a divided Avengers squad, with Tony Stark (Downey Jr.) still on the outs with a wanted-at-large Captain America (Chris Evans) and Black Widow (Scarlett Johansson). One of the in-demand infinity stones resides in the head of the Vision (Paul Bettany), who is in hiding with his romantic partner, Scarlet Witch (Elizabeth Olsen). They know Thanos will be coming for Vision eventually. On the other side are the Guardians of the Galaxy who have a few personal scores to settle with Thanos, the adopted father of Gomora (Zoe Saldana) and Nebula (Karen Gillan). Elsewhere, Thor (Chris Hemsworth) strikes out looking for the key to defeating the big purple menace. Thanos’ loyal lieutenants attack Earth to gather the remaining infinity stones, drawing the attention and push-back of Doctor Strange (Benedict Cumberbatch) and Peter Parker (Tom Holland). The various heroes of Earth and space unite to eliminate the greatest threat the universe has ever known.
Avengers: Infinity War serves not as much a series of payoffs as it is climaxes, with climactic event right after another, and this time it’s for keeps (more on that below). There are moments that feel like major payoffs and moments that feel like shrug-worthy Last Jedi-style payoffs. Infinity War is the longest MCU movie yet at 149 minutes but it has no downtime. That’s because it has to find room for dozens of heroes across the cosmos. With the exception of three super heroes, everyone is in this movie, and I mean everyone. This is an overstuffed buffet of comic book spectacle, and whether it feels like overindulgence will be determined by the viewer’s prior investment with this cinematic universe. If this is your first trip to the MCU, I’d advise holding off until later. Any newcomer will be very lost. I’ve deduced the seven MCU movies that are the most essential to see to successfully comprehend the totality of the Infinity War dramatics, and they are Iron Man, The Avengers, Captain America: Winter Soldier, Guardians of the Galaxy, Captain America: Civil War, Doctor Strange, and Thor: Ragnarok. Naturally, being intimately familiar with the previous 18 movies will be best, but if you don’t have thirty hours to spare then please follow my seven-film lineup and you’ll be solid.
As far as the stakes, the MCU has been notoriously reluctant about killing off its characters, but Infinity War is completely different. I won’t spoil circumstances or names, of course, but the march of death happens shockingly early and carries on throughout. There are significant losses that will make fans equally gasp and cry. This is a summer blockbuster that leaves behind an impressive body count across the known universe and ends in a downbeat manner that will naturally trigger reflexive Empire Strikes Back comparisons. It’s hard to feel the full impact of the drastic decisions, and the grief over their losses because I know there is a Part Two coming summer 2019, and with that comes the almost certainty that several important events will be diminished or straight-out reversed. After all, in comics, nobody is ever really dead, though with movies the heroes have the nagging habit of aging. With that said, you better believe I was holding my breath during some standoffs, tearing up at some sudden goodbyes, and reflecting upon journeys shared.
This is very much Thanos’ movie, which was one of the bigger surprises for me. Beforehand, our exposure to the big purple guy has been relatively minor, a brief moment here or a cameo there during a post-credit scene. Considering Thanos is supposed to be the universe’s biggest bad, it makes sense to finally give him his due, and that is what Infinity War does. Thanos gets the most screen time of any character and is given an honest-to-God character arc. He’s a villain who goes on an actual emotional journey as he follows a path that he feels compelled to even as it tests him personally. He finally opens up as a character rather than some malevolent force that is oft referred to in apocalyptic terms. We get his back-story and motivation, which is less a romantic appeal to Death like in the comics and more a prevention of the apocalypse reminiscent of the Reapers in the Mass Effect series. Thanos sees himself as a necessary corrective force and not as a villain. He’s never portrayed in a maniacal, gleeful sense of wickedness. Instead he seems to carry the heaviness of his mission and looks at the Avengers and other heroes sympathetically. He understands their struggle and defiance. Having an actor the caliber of Brolin (Deadpool 2) is a necessity to make this character work and effectively sell the emotions. Thanos is the most significant addition to the MCU appearing the latest, so there’s a lot of heavy lifting to do, and Infinity War fleshes him out as a worthy foe.
As an action spectacle, however, Infinity War is good but not great. The action sequences are interesting enough but there’s nothing special and little development. There’s nothing that rivals the delirious nerdgasm of the airport battle in Civil War pitting hero-against-hero to dizzying degree. The characters are separated into units with their own goals leading to a final confrontation that feels more climactic conceptually than in execution. That’s because this is an Avengers film that falls into some of the trappings of the glut of super hero cinema, namely the army of faceless foot soldiers for easy slaughtering, the over exaggerated sense of scale of battle, the apocalyptic stakes that can feel a bit like a bell rung too many times, and even minor things like the lackluster supporting villains. Thanos’ team of lieutenants are all the same kind of sneering heavy with the exception of one, a sort of alien cleric heralding the honor of death from Thanos. Carrie Coon (HBO’s The Leftovers) is generally wasted providing the mo-cap for the Lady Lieutenant That Sounds Like a Band Fronted by Jared Leto, a.k.a. Proxima Midnight. There are far too many scenes where characters reluctantly strike a deal to give up an infinity stone if Thanos will spare the life of a beloved comrade. The film’s greatest point of entertainment isn’t with its action but the character dynamics. The fun is watching years-in-the-making character interactions and seeing the sparks fly. There’s more joy in watching Downey Jr. and Cumberbatch try and out smarm one another than with any CGI collision of a faceless army of monsters. There are so many characters that few are given fully defined arcs. Most are given beginnings and stopping places. Though the eventual sequel will have fewer characters needing to share precious screen time.
The standouts on screen are Hemsworth (12 Strong) carrying a large portion of the movie and not missing a beat of his well-honed comic rhythms from Ragnarok, Bettany (Solo) brings a sad soulfulness to Vision as a man who knows fate is likely unavoidable, and Dave Bautista (Blade Runner 2049) is perfectly deadpan as Drax and has the funniest lines in the movie followed closely by the exuberant Holland (Lost City of Z). To even say which characters deal with more complex emotions might be a spoiler in itself but there are several actors showing an emotive level unseen so far in the bustling MCU.
Avengers: Infinity War marks a significant concluding chapter for one of cinema’s most popular series, until at least the next movie possibly makes it feel less conclusive. I pity Marvel because expectations are going to be astronomical for this climactic showdown. There are so many characters, so many crossovers, and so much to still establish, like Thanos as a character more than a spooky force of annihilation, that it feels rather breathless even at nearly two-and-a-half hours. You may be feeling a rush of exhilaration on your way out or an equally compelling sense of exhaustion. Infinity War doesn’t have the imaginative highs of a Dcotor Strange, the funky personality and style of a Guardians of the Galaxy, the wonderfully thought-out structure of a Spider-Man: Homecoming, the adroit weirdness of a Thor: Ragnarok, or even the hero-against-hero catharsis of a Civil War (still my favorite). What it does have is a sense of long-gestating finality, of real stakes and dire consequences. It’s not all pervading doom and gloom; this is still a fun movie, buoyed by crackling character team-ups and interactions. While, Infinity War won’t be all things to all people, myself included, it will please many fans, casual and diehard alike.
Nate’s Grade: B
Hail, Caesar! (2016)
The biggest enemy of the celebrated Coen brothers always seems to be expectations. I count only two misfires during their storied filmmaking careers, but sometimes their larks are pilloried for not quite measuring up to their masterpieces. Hail, Caesar! is on par with Burn After Reading and O Brother, Where Art Thou? It’s still a fun, fizzy, and entertaining film and a celebration of Old Hollywood and its movie magic. Loosely centered on an embittered studio head (Josh Brolin), the film is a series of vignettes highlighting different 1940/50s pastiches, including the realms of Esther Williams, Carmen Miranda, Gene Kelly, and John Wayne. If you’re a fan of the old Hollywood pictures and their stars, the indulgences will play better; you can certainly feel the warmth the Coens have for the films of yesteryear. The plot kicks off with a major star (George Clooney) kidnapped, but it’s really the small side stories and moments that are most memorable, and the Coens are still unbeatable when it comes to being silly and clever. I loved a scene where Brolin asks religious advisors for approval over the script of his biblical epic and they offer legitimate notes over flawed story logic. There’s also a delightful song and dance numbers with a group of sailors lamenting the lack of ladies (“But mermaids ain’t got no gams”). The real star of the movie is Alden Ehrenreich (soon to be young Han Solo) as singing cowboy-turned-actor-turned-studio-sleuth. The sequence where his character tries to rapidly adapt into a “serious actor” on the set of some British melodrama makes for great fish-out-of-water comedy, gamely matched by an increasingly exasperated Ralph Fiennes as the director. The ending doesn’t exactly tie everything together but Hail, Caesar! is more a movie of distractions, of spinning plates, or bumbling bosses trying to hide bad behavior from the press and keep hold of their sanity. If you’re a fan of old Hollywood, there should be just enough to make you smile. If you’re not a fan, then you’ll shrug off the Coens and their latest film lark.
Nate’s Grade: B
The word “sicario” is Spanish for hitman, we’re told in a helpful opening text. It’s a term that has greater meaning in the landscape of the war on drugs, a war that has ravaged Mexico and its citizens. Sicario, the film, is grim and gripping and director Denis Villeneuve doesn’t hold back from the brutality of its reality. Sicario is a flat-out tremendous film. It’s the most intense film I’ve sat through since 2012’s Zero Dark Thirty, so much so that for long stretches of the 121-minute film I was literally tearing my hair out with delicious anxiety.
Kate Mercer (Emily Blunt) is a Phoenix FBI Agent called in by her superiors with a very special offer. Matt (Josh Brolin), a government agent whose affiliation is classified, has a task force that he would like Kate to join. She’ll be taking it to the drug cartels by destabilizing their chain of power. Kate accepts the job. Alejandro (Benicio Del Toro) is a foreign agent in alliance with Matt, and he seems to be deeply knowledgeable of the cartel and their practices. As the chaos swirls and the team gets closer to the cartel bosses, Kate has to reckon with what she is part of.
Let Sicario be a blueprint for how to brilliantly develop suspense sequences in mainstream cinema. I’ve written about it before but the key to suspense and horror is simply characters we care about and the worry of what will happen next. Sicario places our characters in the middle of an ongoing battle and serves them up as the change agent, the proverbial stick rattling the hornet’s nest of deadly cartels. There’s a wonderful sequence when Kate joins up with the team for her first mission. She’s been told she’ll be based in El Paso but in reality she and a team of Army Rangers are venturing across the Mexican border into Juarez. They’re picking up a high-level cartel informant and transporting him back to American soil. The ride into the country sets the stage as the caravan of black SUVs tears through the streets of Jaurez, bracketed by Mexican state police vehicles. We’ve previously been told at what points a likely trap might be staged, and so we wait, taking in the terrain, the distance, the exits, the personnel. We’re already sizing up the Mexican state police cars; is that one on the take? It’s at the end that the scene coalesces into an even stronger whole, as we literally have a climax in traffic. The border entrance is backed up, and so Kate and our team wait, all the while identifying some suspicious armed men in traffic lanes parallel to their vehicles. They’re told they cannot fire until deadly force is used, and so they wait and we wait. It’s a top-notch sequence where you’re nervously waiting for the boil, waiting for the explosion.
Writer Taylor Sheridan (best known as Deputy Chief Hale on Sons of Anarchy) has taken what could have been an empty Michael Bay-styled drug war thriller and given it a soul. Sheridan’s structure is ingeniously tied into his larger message about the moral futility of the escalating war on drugs. As Kate becomes more immersed into the costs of her new role, of the mounting ethical compromises and legal loopholes, she becomes a background player and Alejandro takes center stage. Rather than simply harden up and sacrifice her ideals for the sake of her mission, Kate holds true to her principles, even if she might be the only one continuing to stick to the rules and a need for oversight. It makes her a far more interesting character and it all comes to a terrific climactic scene that hinges upon two characters at a forceful crossroads, each with diametrically opposed viewpoints. For all the action, Sheridan has found a great way for his story to have a character-based climax that hits harder than simply killing the Worst Bad Guy. As we learn more about the reasons Kate was selected, her literal marginalization in the story makes thematic sense, especially as she’s unwilling to become a “wolf” in a “country of wolves.” Alejandro is that wolf, and in the last act he becomes the film’s focus as the pieces of their destabilization plan fall into place. There’s a scene with Alejandro that is so cold-blooded yet badass that it made my audience gasp. As the bodies drop and blood is shed, Sicario doesn’t lose sight of its characters even to the very end.
Sheridan’s script tackles its subject with a propensity for acknowledging the messy reality. There are no easy solutions and perhaps the best solution is really one that is at odds with conventional legality. The United States is losing the war on drugs, and innocents are suffering in droves. Matt’s cavalier attitude is in response to the overwhelming evidence that the war on drugs has done little except to enshrine certain violent elements into power. He’s trying to clear a path for Alejandro, but for what aim afterward is ethically questionable. When you’ve got nothing but bad solutions, perhaps the best option is still one that’s a step too far. Sicario tackles the harsh realities of the war on drugs without ever dragging out a soapbox. The messages and debates are suffused in every frame, every taut sequence, even pained expression. It’s a message movie where the morality and the escalating action go hand-in-hand.
With Prisoners and now Sicario, Villeneuve has proven to be one of our finest directors when it comes to making adult movies that get your palms sweaty. The execution of these suspense sequences left me breathless. Villeneuve uses long takes of aerial photography hovering over the topography of Mexico and the American southwest. It has the effect of feeling like you’re surveying an alien planet. Added with the ominous score by Johann Johannsson (The Theory of Everything), the tension can feel overwhelming at times. The menacing and percussion-heavy score makes it feel like an army is approaching. The movie also looks absolutely beautiful thanks to the cinematography from Roger Deakens. There are several lovely shots lit with the dying rays of sunlight, which I would admire further if my heart weren’t in my throat while watching. Villeneuve also knows when to pump the brakes, letting his film breathe, and letting his actors take center stage. There are several moments of restraint that allow the actors to flourish. From top to bottom, Sicario is a technical marvel that impresses as it continues to horrify.
Blunt as a badass is nothing new after her killer turn in last year’s vastly underrated Edge of Tomorrow, but there’s way more to her than being a superhero with a gun. She’s the moral conscience of the movie and you may discover, as she does, how irrelevant such a stance may be in this underground world. She’s trying to make sense of it all, trying to go along with what she thinks is right, or at least making a difference, and swallowing her frustrations. She saves the best for last in a finale scene that pushes her character to the breaking point of her ethics, and Blunt floors you. While Blunt is our entry point into this world, and Brolin is amusing as a cavalier rogue agent, this is very much Del Toro’s movie. Alejandro could easily be the slick movie-cool hitman, a soulless killing-machine, but he’s a haunted man who knows he’s damned and goes about his business with steely resolve. Benicio Del Toro can often be confused with doing little acting because he so naturally underplays his characters, but keep watch and you’ll see a man who inherently knows his character. There are subtle shifts and small reveals that open up Alejandro, who is so hardened that this will be all you get.
There have been some complaints citing the film’s lack of perspective from the Mexican side of the border, which is fair but also overlooking Sicario’s complexity. With its fear of cartel war violence spilling over into American neighborhoods, it’s not hard to see this film becoming supposed evidence in a xenophobic political campaign. Surely Donald Trump will be talking about Sicario. There is a small degree of representation with a minor character involved in the drug trade. The movie flashes back to him and his family a few times, setting us up to expect he’ll return at a pivotal moment later. He’s a completely unremarkable character and the brief scenes we spend with him made me anxious to get back to Kate and the main story. I didn’t care, and then he did reappear and I was quite surprised to find myself actively caring for this minor character’s well being. In a scenario where it seems like there’s a lack of vulnerability, this character provides it. He’s not a bad person per se as just another cog in a corrupt machine trying to provide for his loved ones. It’s a window into the larger ramifications of Kate and Matt’s actions. The very last bittersweet image doesn’t feel like victory, more like a warning of impending consequences that will befall innocents, and they aren’t Americans.
It’s rare to get a Hollywood thriller that excels at what it does and exceeds lofty expectations, but Sicario is that movie. Here is a thriller that excites, unnerves, provokes thought as well as terrible anxiety that you sweat in buckets over. The general feeling while watching Sicario is one of disquieting dread. The challenging and disturbing reality of the war on drugs blends with the brilliantly executed suspense sequences. The characters don’t get lost midst the clatter of violence, the direction enhances the actors and allows them to better inhabit their engaging characters, and the overall orchestration of all the many moving parts is so polished, so in tune, so electric that Sicario often does more than just entertain, it forces you to react. Leaving my theater was akin to coming down off an adrenaline high and I wanted to tell everyone I knew to see this movie. That’s the power of great cinema and Villeneuve has created a compelling feature that deserves to be soaked up and studied. This is exhilarating moviemaking, folks.
Nate’s Grade: A
Inherent Vice (2014)
This is one of the most difficult reviews I’ve ever had to write. It’s not because I’m torn over the film; no, it’s because this review will also serve as my break-up letter. Paul Thomas Anderson (PTA), we’re just moving in two different directions. We met when we were both young and headstrong. I enjoyed your early works Paul, but then somewhere around There Will be Blood, things changed. You didn’t seem like the PTA I had known to love. You became someone else, and your films represented this change, becoming plotless and laborious centerpieces on self-destructive men. Others raved to the heavens over Blood but it left me cold. Maybe I’m missing something, I thought. Maybe the problem is me. Maybe it’s just a phase. Then in 2012 came The Master, a pretentious and ultimately futile exercise anchored by the wrong choice for a main character. When I saw the early advertisements for Inherent Vice I got my hopes up. It looked like a weird and silly throwback, a crime caper that didn’t take itself so seriously. At last, I thought, my PTA has returned to me. After watching Inherent Vice, I can no longer deny the reality I have been ducking. My PTA is gone and he’s not coming back. We’ll always have Boogie Nights, Paul. It will still be one of my favorite films no matter what.
In the drug-fueled world of 1970 Los Angeles, stoner private eye Doc (Joaquin Phoenix) is visited by one of his ex-girlfriends, Shasta (Katherine Waterston). She’s in a bad place. The man she’s in love with, the wealthy real estate magnate Mickey Wolfmann (Eric Roberts) is going to be conned. Mickey’s wife, and her boyfriend, is going to commit the guy to a mental hospital ward and take control of his empire. Then Shasta and Mickey go missing. Doc asks around, from his police detective contact named Bigfoot (Josh Brolin), to an ex (Reese Witherspoon) who happens to be in the L.A. justice department, to a junkie (Jena Malone) with a fancy set of fake teeth thanks to a coked-out dentist (Martin Short) who may be a front for an Asian heroin cartel. Or maybe not. As more and more strange characters come into orbit, Doc’s life is placed in danger, and all he really wants to find out is whether his dear Shasta is safe or not.
Inherent Vice is a shaggy dog detective tale that is too long, too convoluted, too slow, too mumbly, too confusing, and not nearly funny or engaging enough. If it weren’t for the enduring pain that was The Master, this would qualify as Anderson’s worst picture.
One of my main complaints of Anderson’s last two movies has been the paucity of a strong narrative, especially with the plodding Master. It almost felt like Anderson was, subconsciously or consciously, evening the scales from his plot-heavy early works. Being plotless is not a charge one can levy against Inherent Vice. There is a story here with plenty of subplots and intrigue. The problem is that it’s almost never coherent, as if the audience is lost in the same pot haze as its loopy protagonist. The mystery barely develops before the movie starts heaping subplot upon subplot, each introducing more and more characters, before the audience has a chance to process. It’s difficult to keep all the characters and their relationships straight, and then just when you think you have everything settled, the film provides even more work. The characters just feel like they’re playing out in different movies (some I would prefer to be watching), with the occasional crossover. I literally gave up 45 minutes into the movie and accepted the fact that I’m not going to be able to follow it, so I might as well just watch and cope. This defeatist attitude did not enhance my viewing pleasure. The narrative is too cluttered with side characters and superfluous digressions.
The plot is overstuffed with characters, many of which will only appear for one sequence or even one scene, thus polluting a narrative already crammed to the seams with characters to keep track of. Did all of these characters need to be here and visited in such frequency? Doc makes for a fairly frustrating protagonist. He’s got little personality to him and few opportunities to flesh him out. Not having read Thomas Pynchon’s novel, I cannot say how complex the original character was that Anderson had to work with. Doc just seems like a placeholder for a character, a guy who bumbles about with a microphone, asking others questions and slowly unraveling a convoluted conspiracy. He’s more a figure to open other characters up than a character himself. The obvious comparison to the film and the protagonist is The Big Lebowski, a Coen brothers film I’m not even that fond over. However, with Lebowski, the Coens gave us memorable characters that separated themselves from the pack. The main character had a definite personality even if he was drunk or stoned for most of the film. Except for Short’s wonderfully debased and wily five minutes onscreen, every character just kind of washes in and out of your memory, only registering because of a famous face portraying him or her. Even in the closing minutes, the film is still introducing vital characters. The unnecessary narration by musician Joanna Newsome is also dripping with pretense.
Another key factor that limits coherency is the fact that every damn character mumbles almost entirely through the entirety of the movie. And that entirety, by the way, is almost two and a half hours, a running time too long by at least 30 minutes, especially when Doc’s central mystery of what happened to Shasta is over before the two-hour mark. For whatever reason, it seems that Anderson has given an edict that no actor on set can talk above a certain decibel level or enunciate that clearly. This is a film that almost requires a subtitle feature. There are so many hushed or mumbled conversations, making it even harder to keep up with the convoluted narrative. Anderson’s camerawork can complicate the matter as well. Throughout the film, he’ll position his characters speaking and slowly, always so slowly, zoom in on them, as if we’re eavesdropping. David Fincher did something similar with his sound design on Social Network, amping up the ambient noise to force the audience to tune their ears and pay closer attention. However, he had Aaron Sorkin’s words to work with, which were quite worth our attention. With Inherent Vice, the characters talk in circles, tangents, and limp jokes. After a protracted setup, and listening to one superficially kooky character after another, you come to terms with the fact that while difficult to follow and hear, you’re probably not missing much.
Obviously, Inherent Vice is one detective mystery where the answers matter less than the journey and the various characters that emerge, but I just didn’t care, period. It started too slow, building a hazy atmosphere that just couldn’t sustain this amount of prolonged bloat and an overload of characters. Anderson needed to prune Pynchon’s novel further. What appears onscreen is just too difficult to follow along, and, more importantly, not engaging enough to justify the effort. The characters fall into this nether region between realism and broadly comic, which just makes them sort of unrealistic yet not funny enough. The story rambles and rambles, set to twee narration that feels like Newsome is just reading from the book, like Anderson could just not part with a handful of prose passages in his translation. Much like The Master, I know there will be champions of this movie, but I won’t be able to understand them. This isn’t a zany Chinatown meets Lewboswki. This isn’t some grand throwback to 1970s cinema. This isn’t even much in the way of a comedy, so be forewarned. Inherent Vice is the realization for me that the Paul Thomas Anderson I fell in love with is not coming back. And that’s okay. He’s allowed to peruse other movies just as I’m allowed to see other directors. I wish him well.
Nate’s Grade: C+
Guardians of the Galaxy (2014)
Who would have guessed that a movie that featured a talking tree and an anthropomorphic raccoon would be one of the best films of the year and one of the top grossing films of the summer? At this point for audiences, the Marvel name can do no wrong, but really it’s the degree of latitude given to Guardians of the Galaxy, an admittedly weird movie with strange characters, that allows this unique film to shine. Attaching offbeat director James Gunn (Super, Slither) to be writer and director was a risk that paid off tremendously, as Guardians is the Marvel film most entrenched with the particular personality of its creative director. This is a gleefully imaginative film that enjoys wading deep into weirdness, dancing to its adventurous Star Wars throwback beat, always with its focus set on comedy but not at the expense of quality drama or character development. Really, the characters are the focus of this entry into the franchise, and Gunn and his actors do a bang-up job of gathering the team and getting you to care about each and every one of them. Each one of these characters has a goal, several payoffs, and each is given their proper attention. In an ordinary superhero film, the archetypes would be ironclad. With Guardians, the tough guy made of muscle can also be a source of unexpected comedy with his literal-minded speech patterns. With Guardians, the talking raccoon can also be an emotionally disturbed victim of genetic experimentation who doesn’t know how to play well with others. These are damaged characters and their formation of an unconventional family unit is deeply satisfying and rather touching. I have seen the film twice and gotten teary-eyed both times. The real star of the film is Chris Pratt (TV’s Parks and Recreation), and what a breakout role he is afforded; he’s like Han Solo’s more juvenile nephew. But like the others, the part is surprising in its depth, with a well of sadness and displacement he still hasn’t processed while he scavenges the galaxy. The plot can be a bit unwieldy at times but pays off better for repeat viewings. This is a world I want to spend far more time exploring and with these characters as my merry prankster guides. With a movie this action-packed, thoroughly entertaining, and gratifying, why come back to Earth?
Nate’s Grade: A
Labor Day (2013)
Labor Day, based upon the novel by Joyce Maynard, is the kind of sappy material that you never would have expected director Jason Reitman to attach his name to. Reitman has been accumulating an enviable career of top-shelf dark comedies (Thank You for Smoking, Up in the Air, Young Adult), yet his touch with characters and actors, as well as his delicacy with tone, reminded several of a young Billy Wilder. The stuff of Labor Day felt more like a Lifetime channel original movie. This is just one artistic miscalculation from the start and it doesn’t get better as it goes.
Back over Labor Day weekend in 1987, young Henry (Gattlin Griffith) is living with his grieving mother Adele (Kate Winslet) and performing many of the duties of a husband (don’t get gross). It’s been some time since Henry’s parents divorced but Adele has become a shell-shocked recluse who can barely talk or look others in the eye. While visiting a grocery store, Henry runs into a dangerous man named Frank (Josh Brolin). He’s bleeding from the abdomen and intimidates Adele to give him a ride. Frank is an escaped prisoner and he takes to hiding at Adele’s home. After the initial hostage period, Frank allows Henry and Adele to walk around freely, as long as they don’t tell anyone where he is. As the days pass, Frank helps out around the house, helps Adele get out of her funk, and becomes a surrogate father figure for Henry. The unconventional family must evade the police and skeptical townsfolk to make a run for it.
The very premise and its tone are just not a good fit for Reitman. First off, the movie plays out far more like a hostage thriller than any sort of romance. If you were to look deep inside, the romance can be explained as one very emotionally needy woman and her child going through Stockholm syndrome. The entire movie takes place over the titular Labor Day holiday, which means that all these changing feelings have to morph over the time period of three days. I don’t know if I’d call that love, even in Movie Land. Hey, Frank didn’t kill everyone and he helps around the house, isn’t he great? These people should be far more afraid for far longer. It is almost comical how saintly Frank becomes and how many surrogate father activities he squeezes into the abbreviated window of time. He performs handyman jobs all around the house, teaches young Henry how to change a tire, tosses a baseball with the kid, teaches everyone the finer points on pie making, and other such helpful activities. I understand that these two lonely people finally see a replacement man; for Henry a father, for Adele a lover. Again, the three-day time window makes everything appear like the manifestation of Stockholm syndrome. How many of those abducted have uttered, “He’s not that bad. You just don’t know him like I do”? Frank’s back-story is tragic but he is a wanted felon and he has no problem threatening both of these people’s lives in the beginning. Yeah he doesn’t resort to violence or yell in their faces, but why would he against an adolescent boy and his easily cajoled mother? No matter how long Reitman spends showing us the softer side of Frank, especially while preparing delectable dishes of food, he’s no more developed than the common Misunderstood Bad Boy.
Then there are the dawdling coming-of-age moments clinging to young Henry, a boy growing up quickly in a tumultuous holiday weekend. It strikes me as tonally odd to already take a tricky balancing act with the film’s plot and then tossing on a coming-of-age addition. The story is told from Henry’s perspective, and that’s a major problem as well. He’s the least interesting person in this dramatic setup. Being confined to his viewpoint often keeps us distant from the deeper drama going on. I’d rather spend time with Adele and Frank bonding so that the romance can find some traction, but no. Al we hear are the thumps from the other side of the wall and the gentle whisperings between them in stolen glances. It’s a frustrating perspective because quite frankly nobody really cares about this kid’s sexual awakening and his daydreams about the cute girl’s bra. His dad (Clark Gregg) wants to talk to him about the birds and the bees. His mom talks about the same. It’s a somewhat uncomfortable position for the audience with both parents wanting to cover the sex talk. There’s a wanted man hiding in his home! Henry’s personal growing up drama has no equivalency to this. Of the three main characters, doesn’t Henry seem like the worst participant to tell the story? It doesn’t help that Tobey Maguire narrates as older Henry. Have we not learned from The Great Gatsby: Maguire’s voice does not suit narration.
It’s the film’s more tense moments where you get glimpses of the real movie here, the thriller that’s been gussied up and disguised as some strange romance. Whenever someone gets close to discovering what’s really going on in that house, the movie picks up and grabs your interest once more, albeit fleeting. The fear of getting caught is potent but it should have been more omnipresent. The film, through Henry’s perspective, is treated like this nostalgic chestnut of that one summer a convicted killer held us hostage. The police are canvassing for an escaped prisoner but the neighborhood doesn’t seem to be that alarmed, still going about their business bringing desserts and fresh produce to one another’s doorstep. Too much of the film implies the threat, like with a short glimpse of a police checkpoint, but places it on the back-burner so that the romance can take shape. Again, this is a byproduct of being stuck in Henry’s perspective whereas the kid might not have the best understanding of how serious everything is (he’s worried his mom will abandon him and run off with Frank). But in those brief moments of dread and tension, this is where Labor Day works, and Reitman does a great job of turning the screws and building that suspense. It makes you wish the whole thing were a thriller.
No one is going to question that Winslet (Divergent) and Brolin (Gangster Squad) are great actors, but boy do these characters underachieve. There is one very effective and moving monologue Winslet has about her pregnancy problems that have turned her away from the world, but it’s not enough. For much of the movie, she plays such an anxious and internalized character, so it’s hard to really follow her emotional development. That monologue does the most heavy lifting but it’s pretty wan before and after. Winslet is too good an actress to play essentially a catatonic woman that’s fairly mute. Brolin can play a soulful brute in his sleep. There’s so little to challenge him and so he seems on autopilot. It also hurts that both Frank and Adele have very limited conversations. It’s a romance told in gestures and handclasps (and the rhythmic thumping of walls at night). It’s not their fault that their characters are underwritten and unsatisfying. Griffith (Green Lantern) is a nice young actor but he too is forced to communicate much with little and comes up short. James Van Der Beek (TV’s Dawson’s Creek) is a local cop who appears for one scene, and afterwards you wish he would stick around longer. Look for Reitman good luck charm J.K. Simmons (Dark Skies) as a helpful neighbor.
Reitman is such a talented director that he can almost pull off sequences in Labor Day despite all of its inherent structural, tonal, and perspective flaws. From a technical standpoint, the movie is a gauzy, amber-accented tale with plenty of strong alluring visuals to set you at ease. There are these trembling moments where you almost see what attracted Reitman to the film, but the finished product is just a mushy misfire. It’s earnest without having earned our emotions, and the thriller elements and the romance elements are in constant conflict. We all remember our grandparents telling us that magical moment they knew they had met the one when he tied her up and held her hostage. Much of the drama that comes from the premise is handicapped from the mistake of having Henry as the chief storyteller and point of view. His limited involvement means we’re kept at the peripheral for too many important moments. I have no doubt Reitman will rebound and quickly (he’s already filming his next movie and has optioned a book for his next next movie). Get ready to have Labor Day play every subsequent Labor Day weekend on the Lifetime channel, its true home.
Nate’s Grade: C
Gangster Squad (2013)
It’s hard to mention the action thriller Gangster Squad without a passing reference to the Aurora, Colorado movie theater shooting in the summer of 2012, the reason for the film’s five-month delay and reshot action sequence. Gone is a shootout at the movies and now we have a confrontation in the streets of Chinatown. I wish they hadn’t stopped there. If given the opportunity, and remember they did have an additional five months, I would have scrapped Gangster Squad almost completely and started fresh.
In 1949, former boxer Mickey Cohen (Sean Penn) has seized control of Los Angeles organized crime. His influence extends even into a police, which forces Chief Parker (Nick Nolte) to go to desperate measures. He asks Sgt. John O’Mara (Josh Brolin) to assemble a team of enforcers to fight back. They won’t have badges but they will be pushed to use whatever means necessary to carry out their mission, which means blurring the line between what is considered lawful. O’Mara assembles a super group of former officers and one of them, Sgt. Jerry Wooters (Ryan Gosling) gets into even deeper danger when he starts seeing Mickey Cohen’s main squeeze, Grace Faraday (Emma Stone).
This movie is like if The Untouchables and L.A. Confidential had an illegitimate child and then abandoned it in a sewer where degenerate hobos raised it. Gangster Squad rips off other gangster movies with liberal abandon that I can’t even begin to list the lifts. I’d be less offended if I felt that the movie had more on its mind than just replicating the tone and look of noir cinema. Actually, it feels more like what they want to replicate is the tone or style of the video game L.A. Noir.
The main problem is that Gangster Squad really only has the skeletal outline of a plot. It’s missing any essential character and plot development. Here, I’ll summarize the barebones plot for you: Mickey Cohen is a bad guy. O’Mara forms a team. They have a montage taking out bad guys. Mickey takes out one of them. They have a showdown. That, ladies and gents, is it. There really aren’t any scenes that diverge from those scant descriptions. It felt like only five minutes passed from one of O’Mara’s guys getting killed (and just like The Untouchables, it’s the nerdy one) to them descending on Cohen’s headquarters and duking it out. Why does the film introduce the conflict of Wooters seeing Cohen’s girl if he never finds out? There isn’t even one scene presented to take advantage of this conflict. It just ends up being another half-baked plotline. It feels like the only development we get with Gangster Squad is through montages. What is also apparent is that O’Mara and his team really don’t have anything resembling the faintest notion of a plan. We watch them take out some bad guys via fights and shootouts but there’s no higher plotting to it. You get a sense that these former cops are just playing it by ear, looking for a fight every night. It’s hard to imagine that these people, even with their law enforcement and war experience, could be effective in the long term. Without any formative organization or greater planning, these guys just seem like dull bruisers bouncing from fight to fight with no sense of direction.
Then there’s the paucity of character work, relying solely on genre archetypes to do its work for the movie. O’Mara is the determined family man but his team can best be described by one-word classifications: The Black Guy (Anthony Mackie), The Nerdy Guy (Giovanni Ribisi), The Mexican Guy (Michael Pena), The Young Guy (Gosling), The Old Guy (Robert Patrick). That’s about it, though I suppose they do have different weapon preferences meant to supply all that missing characterization. Oh look, Officer Harris (Mackie) brings a knife to gunfights. That’s pretty much the beginning and end of his character. Wooters is so lackadaisical he feels like he’s on drugs, and Gosling’s soft-spoken, mealy-mouthed line delivery only adds to the effect. It feels like Gosling, in a stretch to find something interesting out of the mundane, said to himself, “I wonder if I could give a whole performance where I only speak under a certain vocal register.” Then there’s the woefully miscast Stone (The Amazing Spider-Man) as the femme fatale/mol to Mickey. I love Stone as an actress, but man-eater she is not and sultry seductress doesn’t fit her well either. Perhaps with the aid of a sharper script and a greater depth of character she could rise to the challenge. At no point does Gangster Squad really even attempt to make these people multi-dimensional. They never reflect on the moral turpitude of their own vigilante justice or the ramifications of their actions. There’s no room for ambiguity here.
Finally, we must speak of Mr. Sean Penn (Milk). The man’s actorly gumbo goes into campy overdrive. In these rare circumstances, you aren’t watching Sean Penn Esteemed Actor so much as Sean Penn Human Vortex of Overacting. Normally I would criticize Penn for going over the top but over the course of 110 minutes, he single-handedly becomes the only entertaining thing in the movie. He’s chewing scenery up a storm, yes, but at least he’s channeling the pulpy silliness of the whole movie. I came to enjoy his antics and outbursts and thus became more empathetic of Mickey Cohen and his efforts than I did with O’Mara. Such is the danger screenwriters run when they spend more time crafting an interesting villain than a hero.
Gangster Squad is what happens when a movie is sold on title and genre elements. To be fair, it’s a bang-up title. The plot is half-baked at best, really only serving as a thin outline of a gangster movie, but instead of adding complexity and intrigue and characterization, they just ran with it. The actors are either camping it up or out of their element, the action and shootouts are pretty mundane, and the story is just uninvolving, even for fans of film noir like myself. It’s a good-looking film from a technical standpoint, but that’s as far as I’ll go in my recommendation (it could be an odd pairing with Milk considering the two shared actors). It feels like it just wants the setting elements of film noir, the atmosphere, and then figures just having good guys and bad guys shoot it out will suffice. That glossy, high-sheen period look just seems like a cool façade, and a cool façade seems like the only ambition of Gangster Squad. I can’t really recall any signature action sequence, snappy quote, plot development, or peculiarity worthy of remembering. It may be one of the most forgettable gangster movies Hollywood has produced.
Nate’s Grade: C
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