The notorious back-story behind Solo: A Star Wars Story has more than eclipsed whatever else this “young Han Solo” prequel appeared to offer. Directors Phil Lord and Chris Miller were responsible for a string of fast-paced, silly hits like The Lego Movie and the 21 Jump Street films, and when producer Kathleen Kennedy hired them, it felt like an inspired infusion of new blood to make a Star Wars movie different in tone and approach. Five months into shooting and mere weeks away from completing photography, Miller and Lord were fired. The on-set rumors and sources have relayed a badly conceived marriage between the directors, given to improv and irreverence, and Kennedy’s sense of what a Star Wars movie should include. Enter Ron Howard, no stranger to the world of George Lucas, and an extensive battalion of reshoots, and you’re left with Solo, which only lists Howard as director. With that as its genesis, it feels like this movie should be a train wreck. It’s not that. Instead, Solo is fitfully entertaining but underwhelming diversion weighed down by its untapped potential.
Years before that noisy Mos Eisley cantina, Han Solo (Alden Ehrenreich) is a low-level criminal trying to find a better life. He loses his girl, Qi’ra (Emilia Clarke), joins the Imperial Army, and defects, finding a partner in a big hairy wookie named Chewbacca (Joonas Suatamo). The two of them join a crew of thieves run by Beckett (Woody Harrelson), and after a job gone wrong, everyone is in grave danger and deep debt to the crime lord Dryden Vos (Paul Bettany). The crew must even the score and make things right, and they must navigate unreliable allies like Lando Calrissian (Donald Glover), his trusted robotic assistant L3-37 (Phoebe Waller-Bridge), and, most surprisingly, Qui’ra herself, working as one of Vos’ top criminal consultants.
Solo is hard to justify except as an increasingly tedious appeasement to the greater altar of fan service. The movie reminded me of those young author biopics like Finding Neverland where everything is given the unspoken-though-heavily implied significance of dramatic irony, where the audience knows, “Oh, this will be where that comes from, or that’s the first time that happened, etc.” Solo provides further light on the Star Wars minutia that only a scant few will work up real excitement over. For every interesting revelation, like Han and Chewbacca first meeting and bonding, there are numerous others that could best be characterized as cataloging the story of Who Gives a Crap?: The Movie. Who cares how Han got his dice? On that note, did I just not remember this trinket being as heavily showcased in the original trilogy as these new films emphasize? Also, who cares about how Han gets the Millennium Falcon? Who cares how Han got into the smuggling business? Who cares why Han was on Tatooine to begin with? The film expects audiences to supply the significance for scenes that lack that on their own. Too much of the script by Lawerence and Jonathan Kasdan (In the Land of Women) coasts along on audience good will carried over from the original trilogy.
As far as being a heist movie, Solo doesn’t put much concentrated thought with its heist set pieces. Much of the plot hinges on a “job” to recover a large amount of fuel owed to the scary crime boss, so the job itself should be treated as important. Once topside, the characters stick to their ruse for about five minutes and things immediately go bad and then it’s just one messy, ongoing action sequence. I could understand carefully planning a scheme only for it to unexpectedly go wrong, but the appeal of heists are their intricacy, development, and complications, and Solo sadly snuffs this appeal out. The high-point of the film is an early Act Two heist that’s the sci-fi equivalent of a train robbery. Things start off promising with the space craft being able to rotate around its rail, which tickles the imagination for plenty of dire hangings on. We even get a few preparatory words for the plan, though even those are fairly general. And then things start and they immediately go bad and stay that way without satisfying complication. Part of the appeal of heists is seeing the curve balls, the unexpected complications, and how our team reacts and recovers. It’s a fun sequence with some thrilling visuals but it never rises beyond the sum of its action particulars, and so an important set piece is held back from going for greatness. The action throughout Solo is serviceable but rarely does it feel like what’s onscreen is the best version of what it could have been. Serviceable, sure.
Which brings about the inevitable analysis over what can be gleaned from the final product that traces back to its original team of directors. There are a handful of comic asides that feel like the lasting touch of Miller and Lord. Beyond that, Solo feels very much like Howard’s movie, though much like Rogue One, the mind conjures the possibilities of the original version. One of the biggest changes is that Howard added Bettany’s gangster character. He’s on screen for really two sequences though his importance stretches over the entire film. Solo feels cohesively like one movie to the degree that if you had never heard about the headline-grabbing production tumult, you wouldn’t suspect anything had happened behind-the-scenes. However, the lasting impact seems deeper, namely that many of these sequences feel, to some degree, interchangeable by design. The execution and development feel lacking. It’s a lingering feeling that what you’ve been watching isn’t fully coming together. It’s not fully engaging the attention and making the most of its beloved characters. It feels less like a seminal moment in the story of Han, Chewie, and Lando and more like an extended episode of a television series. I was too detached and grew restless too often. I started waiting for it to be over rather than waiting to see what happened next.
Ehrenreich showed enormous promise with 2016’s Hail, Caesar! both with comedy chops and leading man appeal, so he seemed like a capable choice for a young Han Solo. After rumors of having to hire an emergency acting coach on set, I was expecting a poor performance. He’s decent, grinning through the indignities, stumbling along with a sardonic sensibility that still plays into a confident sense of optimism against the odds. Ehrenreich, much like most of the movie, is perfectly fine, entertaining at times, but far too often a passing blip. The real star of the movie is Glover (TV’s Atlanta) who is brimming with charisma. Plus Lando’s suave, pansexual nature and tendency toward shady scheming lends itself to a more fascinating glimpse at a character we know decidedly less about.
Clarke (HBO’s Game of Thrones) is saddled with a non-starter of a storyline as the old girlfriend who got away. Harrelson (Three Billboards) plays another cranky father figure role. Bettany (Avengers: Infinity War) is generally wasted as a villain lacking a stronger sense of identity or menace. His weapons of choice, two laser-edged knives, seem like where the depth of character creation ended with him. Oh, he also has scars over his face, so that’s about the same as a personality. The lone supporting player that leaves an impression is Waller-Bridge (Fleabag) as the android, L3-37. I could have used an entire movie with her and Lando. She becomes a political revolutionary by accident over the mistreatment of droids, and L3-37 does what the other supporting characters, and even what Ehrenreich to some extent, do not — leave you wanting more.
After its problematic history, it would be easy to look for ways to carve up Solo as a Hodge-podge creation of studio interference but that’s too tidy an explanation. I’m not against the idea of a “young Han Solo” film franchise, though it needs to find the right stories to shed new and meaningful light on this classic rogue. Han Solo was, like, mid thirties at the oldest in 1977’s Star Wars and Ehrenreich’s early-to-mid 20s version doesn’t afford a great many differences (he was already a “young” character to start with). If you’ve bought into the Star Wars universe, there should be enough to at least be entertained by, and if you’re a nascent fan, then Solo might be an easily digestible fun adventure. The mitigated or underdeveloped potential nagged at me as I was watching. It’s got aliens and space heists and most of the time I was approaching boredom. I’ll label the movie with its own Scarlet F: it’s… “fine.” It’s the kind of movie you shrug your shoulders at afterwards, not necessarily regretting the experience but moving along. Perhaps we’re just at a natural point in the post-Disney-purchase of Star Wars, and now we’re facing less-than-ideal time-discharged product. I was hoping for more, either good or bad, but had to settle for a relatively lackluster prequel. I don’t know if there will be further escapades with the “young” Han Solo but I wish they choose them more wisely. Even the title feels bland.
Nate’s Grade: C+
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
Think you were disappointed by last summer’s Avengers: Age of Ultron? The pressure-packed experience broke writer/director Joss Whedon who swore off being the creative shepherd of the Marvel cinematic Universe (MCU). Enter the Russo brothers, a pair who were widely known for their work in eclectic TV comedies like Community and Arrested Development before blowing away all modest expectations with 2014’s Captain America: Winter Soldier. I can say that the Russos are more than capable for the challenge. My simplistic blurb for Captain America: Civil War is thus: everything Batman vs. Superman did wrong this movie does right.
After the cataclysmic events of multiple movie climaxes, the world governments are wary of the power wielded by the Avengers. Secretary Ross (William Hurt, the lone returning element from 2008’s Incredible Hulk) is pushing the superheroes to sign the Sokovia Accords, which would put them under the control of a U.N. joint panel. This panel would decide when and where to deploy the Avengers. Captain America, a.k.a. Steve Rogers (Chris Evans), is worried about a group of people taking away their choice. Iron Man, a.k.a. Tony Stark (Robert Downey Jr.), believes that they need to accept limitations and that agreeing to these terms staves off something worse later. This division becomes even more pronounced when Rogers’ old friend the Winter Soldier, a.k.a. Bucky Barnes (Sebastian Stan), reappears as the chief suspect in a U.N. bombing. Black Panther, a.k.a. T’Challa (Chadwick Boseman), swears vengeance against Barnes for the bombing. As the assembly of heroes squares off over the fate of the Winter Soldier, Baron Zemo (Daniel Bruhl) is tracking down classified Hydra documents to uncover pertinent information that will topple an empire.
While I don’t want to turn every new film review as an opportunity to beat a dead horse, I cannot help but draw immediate and stark comparisons between Civil War and the earlier titanic superhero slugfest, Batman vs. Superman: Dawn of Justice. Let’s take this case point by point so there is no reasonable doubt left for the jury of ticket-buyers.
“Batman vs. Superman doesn’t set up its conflicts with enough time to develop them and it lacks real emotional stakes.”
With BvS (I’m saving my fingertips some drudgery), we hadn’t known these characters for more than one movie at best, and in the case of Bruce Wayne less than one. When they fought there wasn’t any real stakes despite the apoplectic marketing because we hadn’t built relationships with these characters. In the case of Henry Cavill’s Superman, many were turned off entirely by the guy (not necessarily by Cavill’s physique, though). Did anyone really care who won? The filmmakers relied on the audience to supply their pop-culture good will for the characters instead of proper characterization and development. In the case of Civil War, we’re dealing with the cumulative effect of having twelve movies to build up storylines and character relationships. We’re invested in these characters and their friendships, so when they fight it actually does matter. You feel for both sides and multiple characters and the movie does a good job of providing each side a credible motivation. It’s a political thorny issue but it’s kept very streamlined, focusing more on the characters. If the MCU has had one nagging problem throughout its history it has been a dearth of good villains. There’s Loki and… Loki. One solution is to just pit the heroes against each other and this produces as many fist-bumps as winces. My audience was gasping at reveals and twists and turns. They weren’t doing that with BvS. And wouldn’t you know Civil War actually has a climax that’s more than just an increasing series of punches and kicks (though plenty of those are featured); the climax is an emotionally grounded confrontation that cuts to the core of the group. The events of this movie matter and while obviously it can’t follow its divisions to an irrevocable end, I appreciated that not everything is resolved. These storylines and the conflicts between characters will carry onward when we pick up the pieces in 2018.
“Batman vs. Superman is too burdened with setting up an array of other film franchises that it loses badly needed focus and momentum.”
To be fair, this charge can also be laid at the feet of Age of Ultron, which buckled under the heavy weight of setting up multiple other future movies rather than telling a completely satisfying movie in its own right. Once the franchises gave birth to mega-franchises, the wheels-within-wheels of moneymaking, now the studios require a lot of heavy lifting from our entertainment. They’re investments in futures and if done improperly can easily crumble under the failed execution like the Amazing Spider-Man series (R.I.P. 2012-2014). Miraculously, Civil War finds ways to involve every member of a large ensemble cast into the story in ways that matter. The movie finds small character moments that make them feel better rounded, like Vision (Paul Bettany) and Scarlet Witch (Elizabeth Olsen), and it introduces featured supporting players with great care. Black Panther is a terrific addition and brings a quieter intensity that contrasts nicely with the more colorful characters. Hawkeye (Jeremy Renner) introduces himself and Black Panther curtly says, “I don’t care” and goes back to fighting. Boseman (ageless I tell you!) is smooth and magnetic. Then there’s everyone’s favorite neighborhood Spider-Man (Tom Holland), or whom I’m already referring to my pals as “best Spider-Man.” It’s another incarnation of Peter Parker but the first that feels like an actual teenager, a bundle of adolescent energy and excitement. He’s the voice of the fans and during the big battle he can’t help but gush that he gets to be involved alongside the big names. Spidey’s a fanboy too. He also has a few choice meta one-liners that had me cackling. Holland (The Impossible) makes an immediate impact and, unlike BvS, finds new ways to make us care. I’m genuinely excited for solo Black Panther and Spider-Man adventures with these characters. Even the more traditional villain of Civil War, Baron Zemo, is handled in a way that provides an emotional motivation for his character that is sincere rather than mustache-twirling villainy. In a lot of ways this feels like a third Avengers film just with the size and scope alone. The dozen characters are juggled skillfully but the emphasis is always on Rogers and Stark and their significant personal conflicts.
“Batman vs. Superman’s action sequences are repetitive, joyless, and dank.”
I challenge some enterprising soul to even try and decipher what is happening during the climactic three-on-one monster battle in BvS. I was sitting in the theater and just gave up. I wasn’t having any fun and I couldn’t even literally tell what was happening onscreen with all the confusing CGI obfuscation. The action droned on and on with little variation and was at pains to include certain members and storylines (Lois, maybe don’t get so hasty with that kryptonite spear). It was all just one big overwrought mess that made you question whether anybody on that film production actually liked these superheroes. With Civil War, the action sequences are smartly conceived and choreographed, making excellent use of geography and adding organic complications. The standout is the 20-minute superhero-on-superhero brawl at the Leipzig airport. It is nothing short of nerd nirvana. The characters use their powers together in exciting ways and it further helps them feel like an actual team taking proper advantage of their resources. It’s the culmination of a child’s imagination at play, the living embodiment of smashing action figures against one another and flying around the room. I was thrilled that the Russo brothers found ways to incorporate all the heroes into the action. The specific powers are taken advantage of in fun and surprising ways. The action changes as the stakes keep getting more complicated as more heroes enter the fray. It’s a set piece that will become legendary within film geek circles and it provides payoff after glorious payoff.
“Batman vs. Superman is devoid of all fun and takes itself far too seriously. You feel beaten down, exhausted, and punished by film’s end.”
The Marvel movies have earned a reputation for their brisk and breezy nature, which has unfairly been labeled as “weightless” and “silly.” I challenge someone to watch Civil War and tell me just how weightless and silly it is. The Russo brothers and the screenwriters take these characters seriously and their care shows. While there can be plenty of rapid-fire quips and one-liners, the movie’s sense of humor does not detract from the emotional weight of its dramatic shifts. There are political and thematic overtones, mostly the costs of vengeance and culpability, that provide extra depth to the onscreen derring-do. However, Civil War understands that an audience wants to be entertained as well with their heavy-handed messianic imagery. There are payoffs galore in this movie. Some are several movies deep from set up. It all comes together to make a thrilling and highly enjoyable movie experience that plays to its audience in the best way possible. It’s an expert summer blockbuster that packs its own punch. There’s a reason I have already seen Civil War three times already. There is so much to enjoy and it’s so tightly packed and structured that you can jump right in and go for the ride. This is the movie fans were hoping for. This is the movie that washes out the bad taste of the dreadful BvS. If one of my lasting disappointments with BvS was how it made me lose hope for future DC movies, Civil War has cemented my anticipation. The future creative direction of the MCU is in good hands with the Russo brothers. This is the movie that reminds you just how damn good superhero movies can be when they’re at the top of their game. I’d place Civil War right up there at the top of the MCU, though at this time I’m still holding Guardians of the Galaxy as the apex. They’re still achieving this high level of quality after a dozen movies, people. I would not have thought that Captain America would become the gold standard of the MCU but there it is. I felt beaten down by the merciless end of BvS. I felt the elation of an adrenaline-rush from Civil War.
I’ll conclude this unorthodox film review with my in-summary blurb: everything Batman vs. Superman did wrong Captain America: Civil War does right. Do yourself a favor and start the healing process from BvS and enjoy Marvel’s latest cinematic gift to its fans.
Nate’s Grade: A
It’s not going to be called conventionally appealing, or successfully funny, but Mortdecai is not exactly the colossal unwatchable bomb that critics brought out their knives for in the first month of 2015. It’s a curiosity that has some merit in its failure but it’s hard to lambaste this lark too much because it never takes itself too seriously. Johnny Depp plays Mortdecai, a roguish art dealer who also traffics in stolen paintings. Gwyneth Paltrow is his co-conspirator and wife. Paul Bettany is Mortdecai’s long-suffering manservant always getting into dust-ups or occasionally shot by his master. The weird left turns the comedy keeps taking don’t exactly make the movie better but they save it from being completely unmemorable. Your enjoyment factor will weigh heavily upon your tolerance for Depp in full foppish mode, an effete dandy who struggles with his conflating love of his mustache and his wife’s distaste for it. The entire story is a shaggy dog caper about stolen art that involves the Russian mafia, MI 5, and Nazi gold, and nothing matters. The actors look to be having a good deal of fun, playing dress up and trying on silly accents. I can’t say I laughed out loud but I did occasionally smile at the absurd commitment. I mostly sat wondering how something like this gets made, and then I saw that Depp was one of the producers and that answered that question. Mortdecai may not be worth the invective but that doesn’t mean it’s good.
Nate’s Grade: C-
Set during the first twenty-four hours of the 2008 economic meltdown, Margin Call feels like David Mamet’s classic play Glengarry Glen Ross just set fifty floors higher. It’s a tense stew of ego and hubris and cunning and manipulation and self-preservation, peppered with some salty language. The corporate bigwigs of a fictional financial firm scramble to get out the door first before everyone else catches on to the looming market crash. “There are three ways to make a living in this business: be first, be smarter, or cheat,” says the CEO (Jeremy Irons). Debut writer/director J.C. Chandor brilliantly captures the rationalization of sociopathic greed; the CEO waxes about the historical inevitability of our own self-destructive influences, glibly recounting other market crashes and saying he will survive because the nation’s class systems are fixed. The behind-the-scenes scheming has a sick appeal, witnessing how Wall Street wriggled free of responsibility. This isn’t a far-reaching look into the financial meltdown; it’s more of an insular, thoughtful, occasionally meditative play about the moral questions at play. The prosaic pacing caused quite a slew of yawns in my audience. There does seem to be a never-ending cascade of scenes where two characters will just sit and talk. However, when the writing is this sharp and the actors are all at the top of their game (Kevin Spacey is emotionally spent in a test of loyalties; Irons is charmingly sleazy), then you can forgive some stagnate pacing. Margin Call has a few heavy-handed metaphors (Spacey putting his dog down = the economy!), but overall it’s astute, insightful, sophisticated, and compelling enough to forgive its overreaches.
Nate’s Grade: B+
It seems to have all the right elements aligned: two mega-watt stars, a gorgeous location, and an Oscar-winning director whose last film, 2006’s The Lives of Others, was a tense, meaty, humane drama. Add a mistaken identity plot and The Tourist should feel like a light-hearted romp. The truth is that the final product is resoundingly dim and dull is deeply disappointing. All that Hollywood glamour and this is the best they could come up with? The movie is too mechanical, joyless, without much in the way of pacing or a pulse, and the direction feels like a languid tourist trip itself, placidly soaking up the scenery and waiting for a plot to shamble into frame. The action sequences are bereft of tension. Angelina Jolie and Johnny Depp have too few scenes together, too mild a sexual tension, and sleepwalk through their performances. Depp could easily have been replaced by any actor. You’ll see the twists telegraphed a mile away, but by that time your eyes will have already glazed over thanks to the dead weight of a script credited to THREE Oscar-winning screenwriters. With this much talent behind and in front of the camera, I expected a lot more than a sluggish, bland, hermetic thriller that would more like to get lost in scenery than quicken a pulse. The Tourist feels like it needs a map just to know what it’s doing, and the finished product deserves a one-way ticket to the bargain bin.
Nate’s Grade: C-