Think of this action-comedy sequel as the enjoyable DLC to 2017’s main campaign. The Next Level feels rather familiar as it dishes up slight variations on what made the 2017 Jumanji reboot so enjoyable, namely a game cast ready to be silly and physical, fun and flourishing action set pieces, and a clever satire of video game mechanics. The excuse to get the gang back together one year after events from the first film is flimsy, but I didn’t care because I enjoyed these characters and especially the actors playing their in-video game avatars. The twist this time is a body swap that involves two elderly men (Danny DeVito, Danny Glover) joining the mix, allowing The Rock to do his best… old Jewish man impression? It certainly doesn’t come across like DeVito, as funny voices isn’t exactly a specialty for The Rock, but it hardly matters. There’s still more worlds to explore, new obstacles/levels to be tackled, and with the body-swap mechanic, a fun switch-up for the main actors to portray a variety of characters inhabiting their bodies. I was extremely happy that the film rejected recycling jokes from its predecessor. It would have been very lazy (a.k.a. lazy) to simply go back to a few funny wells that worked the first time, but every time the film brings back an element from the first adventure it builds off of it rather than rehash a reference point. Once again Karen Gillan (Avengers: Endgame) steals the show. The humor isn’t as gut-busting or satisfying as the previous incarnation but part of that is because we now know what to expect from this renewed franchise, and The Next Level manages to deliver what a fan would request while finding enough variations and tweaks to make it feel like its own movie, even if it won’t live up to the high standard of entertainment that came before it. If you were a fan of 2017’s Welcome to the Jungle, I’m confident you’ll walk away relatively satisfied and smiling from The Next Level. However, chart this as another movie that ends with a preview of a sequel that I wish I had seen instead of the movie I got (stay tuned through the immediate end credits). Jumanji: The Next Level is a worthy sequel to one of the more fun, clever, and visually inventive action-comedy franchises. As long as they can maintain this level of quality, I’ll happily pre-order the next edition.
Nate’s Grade: B
With a premise involving two teenagers with terminal cancer, you’d be correct to assume that The Fault in Our Stars is a sad experience. It wants to be an unsentimental version of the Big Cancer Weepie, like a more hip version of Love Story. It wants to obliterate your tear ducts but in a way that won’t make you roll your eyes from an overdose of maudlin material. Based upon John Green’s international best-selling young adult novel, the doomed romance of the year has already devastated millions of moviegoers. Is it the feel-bad movie of the summer with a soundtrack Zach Braff would approve?
Hazel Grace (Shailene Woodley) is a 16-year-old girl dealing with lung cancer. She lugs around an oxygen canister to her group therapy sessions, really to everywhere she goes. Her parents (Laura Dern, Sam Trammell) try and give her enough space, try to make her feel like a normal teenager, but they all know what is coming. Then one day at group therapy she meets Gus (Ansel Elgort), a tall, handsome, effortlessly confident young man in remission himself (he had a leg amputated from cancer). Gus hones his sights on wooing Hazel, winning her over. She resist at first but then finds herself falling for the charming fella (“I fell for him like falling asleep; at first slowly, then all at once.”).
With constant life and death stakes and the certainty of a young life, it would be easy for the film to go overboard with its emotional histrionics, and yet the real grace of the film is its more realistic approach to portraying this life. It just doesn’t seem fair for someone so young to be stricken with a deadly disease that will pluck him or her from the Earth before settling into adulthood, but these things happen. Hazel and Gus are characters that aren’t begging for sympathy or even special treatment; they’re tired of being treated like lab specimens too fragile to be left on their own. It’s easy to lose the person when the outside world completely identifies them as afflicted. The skill of this movie is that it’s heavy with drama and sadness but it doesn’t quite overwhelm, at least until the last act. Until then, much like the characters, the movie finds the moments of happiness, connection, and tenderness with human contact. You feel the bursts of nerves and excitement over the flirty connection between Gus and Hazel. You’ll enjoy the couple-y moments they share, finding their own identity as a pair, like claiming “okay” as their own secret coded language. You’ll feel warm and fuzzy over that first kiss. It’s a winning pairing that produces a steady stream of sweet exchanges and discoveries. This is something of a silver lining movie that can make you ruefully smile through your tears.
But as a Big Cancer Weepie, and with two suffering lovers, there is a definite cloud that hangs over the entire movie. You’re nervously waiting for some sort of turn for the worse. From a storytelling standpoint, I think every ticket-buyer knows with two cancer-stricken leads that at least one of them will be dead before the end credits. And so we wait for the bad news, wait for that other shoe to drop, and this unsettling dread permeates the first half of the movie, tainting all those happy couple moments. Gus and Hazel have several cute moments, but I found myself holding back, waiting for the proverbial hammer to drop on their small shared happiness, and sure enough it will come. The entire third act is dominated by one character’s descent into terminal. For the sake of spoilers I won’t say which, though readers with keen analytical skills can likely guess which of the pair is more expendable from a plot standpoint. It’s at this point when the movie transitions from sad to full-blown weepie, looking to draw out every last tear. With the diagnosis set, our couple heads toward that date with oblivion, and we get all sorts of weight heart-to-hearts, teens grappling with their own legacy, and even a practice funeral for friends to say exactly how much the soon-to-be-departed loved one mattered. Every step is wrung out, even to the point of one last letter/message before death that serves as the closing, considerate voice over. It’s hard to resist the cumulative effect of all these big dramatic plays at your emotions (I got teary at several points but held my ground).
The question arises at what point is this blatant emotional manipulation? The first half of The Fault in Our Stars finds a balance between the heaviness and the levity of first love, grounding its characters and their emotional highs. However, with that aforementioned turn of sullen events, the plot then becomes one long series of Sad Ruminations. What will the friends do without their pal? What will the family do? What does this harsh realization do to other terminal characters and their own family relationships? What about coming to grips with certain death? And then there’s the practice funeral. For a movie and a set of characters that refused to dwell in a pit of sadness, that’s all that the second half of the movie feels like. It also feels like the two-hour-plus plot is overextended to squeeze in one sad ruminating scene after another. In a way, it reminded me of the onslaught of emotional punishment that was the last act of Marley & Me, an otherwise enjoyable movie that devastated every dog owner by its conclusion. It feels a bit much.
And this leads me to another issue with the adaptation process, namely that Gus is actually a character with little depth to him. He’s a smiling, immensely likeable figure who doggedly pursues Hazel and falls for her hard. But what is he as a person? He’s overly confident, compassionate to others, witty, charming, but these are more superficial descriptions than deeper analysis. I suppose one could argue he’s just decided to embrace life smiling, but for the most part Gus comes across as a prime figure of squishy wish fulfillment. He’s too good to be true, and with a lack of stronger characterization, that’s the way he plays. Now, I certainly liked the character and found Elgort (Divergent) to be a charming lad, but when the film transitioned to sadder territory, my feelings felt blunted. I would have felt more for this couple had Gus felt more like a real person.
It’s a good thing then that Hazel is the protagonist and main point of view, especially when Shailene Woodley as lead actress. I’ve raved about Woodley before, particularly last year’s underrated Spectacular Now, but every new leading performance is further proof that she is one of her generation’s best young actresses. There is no artificiality in this woman’s body. Her performances are master classes in exuding naturalism, blending into the character, finding subtle ways to express a wide range of emotions; seriously, this woman can express so much just with a tilt of her head and the right kind of smile. Woodley is terrific once again, instantly locking in your sympathy. Her trial of love and suffering run the danger of being heavy-handed but Woodley seamlessly anchors the movie, guiding the audience back to her sphere whenever things get too overwrought. When she tears up, I teared up. When she unleashes a howl of grief, I had to fight every impulse in my body to join her. Her chemistry with Elgort is suitable if unspectacular, but Woodley sells every emotion and without a hint of artifice. If she were in a Big Cancer Weepie, you’d never know it given the skill of her performance.
I can’t imagine there will be much surprise for anyone who watches The Fault in Our Stars. Two young lovers with terminal cancer have a way of writing itself. What separates this story from other sappy tearjerkers is its presentation and perspective. This is a movie that flirts between jaded and maudlin, scoffing at the overt sentimentality of grief culture yet finding a middle ground that feels humane and honest and earned. Woodley’s strong, emotive performance helps ground the film even when the long string of manipulation begins. I wish Gus was a stronger character rather than a charming romantic compliment, a dream boyfriend who indeed comes across as too good to be true. I wish the movie also would not get swallowed up by the heavier elements it found balance with before. With all that being said, this is an engaging drama first and an amiable romance second. You may see the end coming from the start, but the same can be said about all of us. We all know how our own story is going to end. The only difference is the people we touch in between the start and the stop. That is our lasting legacy. The Fault in Our Stars is more a journey than a destination, and it does enough right with enough sincerity and intelligence to endure the pain.
Nate’s Grade: B