Three movies in, plus four spinoff films and more on the way, and The Conjuring franchise is losing some of its luster. The original director, James Wan, is still involved in an advisory capacity but his absence is felt in the director’s chair, not that The Devil Made Me Do It is poorly directed by Michael Chaves (Curse of La Llorona), but it’s starting to feel stale. The Warrens (Patrick Wilson, Vera Farmiga) are a husband-and-wife team of paranormal investigators traveling the country and solving 1970s/80s mysteries. This third entry feels the most like an expanded episode from a TV series, like X-Files, and maybe that’s because of its inherently procedural nature. The Warrens are defending a young man accused of murder but who says, as the subtitle describes, that he is not guilty by reason of demonic possession. From there, the Warrens are investigating to prove the demon exists and then trace its demonic history. The scares are low although the intensity feels cranked just as high; there are lots of scenes of gale force winds, shattered windows, characters yelling, and loud music. I miss the perfectly executed Old School horror sequences that were the hallmark of the earlier movies. It set up its rules, wound up the scene, and you just squirmed in anticipation. This franchise has never been revolutionary but more an expertly polished and honed tension machine. However, when the calibrations are off, then the franchise has even less going for it. There are some interesting ideas and elements, like Lorraine (Farmiga) being able to see from the eyes of the demonic killer, but the franchise feels more repetitive and stalled, with multiple exorcisms and Ed (Wilson)’s health being a motivating factor for his wife to prevent, again. The supporting characters are bland or broad and the mystery itself isn’t that interesting, nor is the ultimate villain. In the realm of Conjuring as weekly TV show formula, this feels like an acceptable middle episode with the expectations that they can improve the next week. The “based on true cases” selling point is also starting to grate in light of the reality that a man blamed his own actions on the devil and these controversial people sought to exonerate a murderer. The real-life version is morally abhorrent. The junky horror version can work as long as it doesn’t take itself too seriously. If the other Conjuring movies were gourmet entries, then this is more the fast food version. It may still satisfy fans but it’s definitely not as well made and with questionable ingredients.
Nate’s Grade: C+
Chris Rock seems like an odd choice to spearhead a revival of the dormant Saw franchise, but the actor was a rabid fan of the grisly horror series and came to producers with an idea for a new Saw movie, and the results are Spiral: From the Book of Saw, like it’s a Biblical chapter. A Jigsaw copycat killer is targeting corrupt police officers and those who protected them, and Rock plays a detective who dared to turn in his partner after he murdered a crime scene witness. Rock’s character is seen as a traitor by his fellow brethren in blue, and as the Jigsaw copycat continues his or her bloody rampage, the history of police abuse and cover-ups comes to light. The problem with Spiral is that it feels like an entirely different independent script that somebody attached gory Saw set pieces and said, “Reboot.” The Saw set pieces get increasingly ludicrous and gross and the drama in between, where Rock tracks clues and barks at his peers, feels like boring connective tissue the movie can’t even bother to pretend is worth the effort. Both parts feel rote, the police conspiracy thriller and the gory death traps. The movie is also entirely predictable by the nature of the economy of characters. Within 15 minutes, I was able to predict the identity of the copycat killer as well as their connection and motive. This movie desperately needed more time with Rock and Samuel L. Jackson together. Another issue is that the movie ends abruptly and with a needed extra turn missing, perhaps where Rock agrees to work with the killer and justifies the executions as righteous reform. I wanted this new Saw to be more in keeping with Saw 6, the best sequel and most topical of the franchise where health care employees were put to fiendish ironic tests to punish them for denying medical coverage. It feels like targeting bad cops would produce more social commentary, but I guess that would get in the way of watching people try and sever their own spine on a single nail. Spiral doesn’t feel any more promising than the other attempted Jigsaw reboot in 2017 even with its topical elements. It might be cheap enough to earn a sequel, but it feels like a franchise eternally going in circles.
A Quiet Place Part II is the first movie I’ve seen physically in theaters since the middle of March 2020, and I genuinely missed the experience. It’s been the longest I’ve ever gone in my adult life without seeing movies in the theater, and this was one that felt like the presentation would be elevated by the big screen and superior sound system. Taking place nearly minutes after the conclusion of the 2018 hit, the surviving Abbott family ventures off their farm to find refuge and potentially find a way to protect themselves and neighboring communities from the killer monsters attracted to noise. The opening is the only flashback we get; everything else is forward-looking. I would have enjoyed getting more Day One experiences where the monsters first attacked, especially as we become open to new characters and their own harrowing journeys. The movie, written and directed by John Krasinski, isn’t quite as novel and brilliantly executed as its predecessor, but it’s still a strong sequel that gives you more while leaving you wanting more by the end. The majority of this lean 97 minutes is split between the family, one half staying put in a warehouse basement, and the other traveling out into the open to find a radio tower. The set pieces are still taut though rely more on jump scares this go-round, granted well executed jump scares that still got me to jolt in my seat and squeeze my girlfriend’s hand a little tighter. Cillian Murphy (Batman Begins) is the most significant addition as an Abbott family friend who has lost his whole family since that opening flashback. He’s a broken-down man, a parallel for Krasinski’s father figure from the first film, and at points it feels like he’s being set up to appear sinister, or at least hiding some dark secret that never really comes to fruition. The world building is expanded and introduces a very Walking Dead-familiar trope of desperate people being just as dangerous as deadly monsters, though in a world of hearing-enhanced creatures, I would think there’s more danger in larger numbers than security. The movie earns its triumphant ending even if the staging, and cross-cutting, is a little heavy-handed. A Quiet Place Part II is a successful sequel that understands the unique appeal of its franchise and how to keep an audience squirming while also remain emotionally involved and curious for more.
A Quiet Place Part II: B+
Godzilla vs. Kong is the kind of movie where you need to question what your qualifications would be for its true entertainment value. Four films into the fledgling MonsterVerse, we’ve set up its Batman vs. Superman, its Infinity War, its climax, the biggest names on the biggest stage to settle the score once and for all. With indie director Adam Wingard at the helm, best known for peculiarly violent genre-defying movies like You’re Next and The Guest, the results with G vs. K (I’m not writing the full name every time) strictly fall into the realm of dumb fun. It’s up to you which of those categorical designations will reign supreme, the dumb or the fun.
The gigantic 100-foot tall ape Kong is being kept in a caged atrium by the Monarch organization. Godzilla is running amuck and attacking a shady company that may have a shady conspiracy afoot. Kong and Godzilla are two alpha predators, the last known titans, and it’s believed that Godzilla is seeking out Kong to put him down for good. The government is trying to protect its great ape, figure out why the big lizard is acting up, and maybe explore this kooky Hollow Earth theory. There’s a reason I haven’t mentioned any human character names because, once again, they don’t really matter.
This movie is going to entirely depend on how much your love of monster brawls can, essentially, push aside crazy, incoherent plotting and meaningless human characters. If you’re the kind of fan going to G vs. K and expecting nothing else than bruising knockdown fights that decimate the landscape and ensure untold death, no matter how many times we’re told the entire city of Hong Kong has miraculously evacuated in minutes, then the movie delivers. There are three big brawls and each one of them is satisfying and has a weighty quality to them; they really do feel like heavyweight title fights, with each side giving it their all and then some. It’s an epic showdown and we demand the best from this clash of the titans, and Wingard comes alive during these sequences, finding stylish ways to demonstrate and develop the carnage so that the brawls feel unique rather than stale. Each of the three major battles takes place in a different location and uses that environment to its advantage when developing its action particulars. The first bout is at sea and Kong is chained to the galley of a warship, so Godzilla capsizes the ship, attempting to drown Kong. The water is also a far more friendly place for Godzilla, with Kong forced to jump from ship to ship like platforms in an old school video game. The rematch takes place in downtown Hong Kong and offers the traditional metropolitan cataclysm we’ve come to expect from disaster escapades (again, with vague reminders that somehow all these buildings are empty). Godzilla’s fire breath becomes a laser field that Kong must avoid with drastic escapes. Wingard’s camera finds fun ways to communicate the back and forth, at one point seemingly attached to the monsters as they pummel and move, like an arty Darren Aronofsky film. He finds ways to make two age-old creatures fighting still appear visually fresh and exciting. When the creatures are slugging it out, G vs. K is at its best as big-budget popcorn escapism.
I also must applaud that filmmakers that, four movies in, we finally have monster fights where the audience can see what is happening. 2014’s Godzilla reboot kept teasing the big lizard and giving glimpses, a foot there, a closing door here, that built anticipation but also tried audience patience. My biggest complaint was I wanted more Godzilla in my Godzilla movie, and 2019’s King of the Monsters answered this complaint, providing four different monsters to duke it out for monster supremacy. However, the supernatural slug-fests were undercut by sequences that were hard to see. Whether it was in the rain, at night, in a blizzard, in the fog or smoke, it was hard to tell what was happening because of all the annoying visual obfuscation. We had more monster fights, yes, but they weren’t that much easier to see than in 2014. Thankfully, this movie seems like a direct response to that chief criticism. The big fights take place entirely during the day, and not only that, it’s clear and even sunny, making sure we can soak up every loving CGI detail of these two giant pretend creatures having their big pretend rumble. It may sound like I shouldn’t be too congratulatory for a franchise that dares to allow its paying customers to actually see the spectacle that they paid to see, but after several other films of mitigating results, I’m happy we at least can enjoy the big brawls after so much build-up and delayed gratification.
But if you expect more from a versus film other than predicated pugilism from your preferred participants, then G vs. K is going to disappoint. It is a vast understatement to say that this movie is extremely loony. It is so goofy that you will either shrug and go with the silly twists and turns, or you’ll be like several of my friends, and my girlfriend, who just stared stupefied and shook their heads, muttering how much more crazy-pants bananas things could possibly get.
For a franchise that started fairly grounded in 2014 from a science standpoint, and whose sequels have more or less hewn to that tonal vision, G vs. K says, “Hey, what if we…,” and injects whatever it deems might be insane and awesome, like an improv game that never meets resistance. Whatever you may be prepared for, this movie goes deeper and crazier. It literally goes to the center of the Earth and back. If I were to describe the parameters of the final fight, it would sound like I was drunk or needing of mental check-ups from concerned loved ones. It feels like the Asylum version of what a Godzilla and Kong match-up would be, and by that I refer to the low-budget studio known for its schlocky knockoffs and crazy all-you-can-eat buffet-style sci-fi plotting. There’s one solution that literally involves dumping alcohol onto a computer. Again, maybe your exact sensibilities will be a match for this wilder, sillier tonal wavelength; maybe you felt the earlier MonsterVerse entries took themselves too seriously. I’ll readily admit that they devoted far too much time to human drama I felt was, no pun intended, irritatingly small-scale. 2017’s Kong: Skull Island is the high watermark for this monster cinematic universe, and definitely better than you remember, and it didn’t take itself too seriously but found an agreeable baseline that allowed the film to have its spectacle while holding the human drama to be meaningful and entertaining itself. The movie was stylish, fun, and your brain didn’t melt when the big creatures were off-screen for long duration.
With G vs. K, any sense of established connectivity with the other movies is thrown out the window. Sure, there are faces that reappear (hey, Millie Bobby Brown), but they might as well be new characters. Even more than that, the tone of the movie is shifted so forcefully into self-parody, cheesy ludicrousness, including a spaceship serving as a moving defibrillator and psychic skulls, that it’s hard to take anything remotely seriously. I can already hear some detractors saying why should a movie about a giant ape fighting a giant lizard ever be taken seriously, and maybe you’re right you detractor you, but every movie needs an established baseline to provide a foundation of what is real, what is meaningful, and what is exceptional. If everything is crazy, it makes the monster action seem more mundane, and if anything can happen at any moment, it makes the plotting less important of careful setups and development, and satisfaction will be capped.
If you’re just looking for a movie about a giant ape punching a giant lizard with top-notch special effects, well Godzilla vs. Kong has that aplenty, and if that’s enough for you, then enjoy. It’s far more of a Kong sequel with the occasional special appearance from Godzilla, so if you’re more a fan of the big lizard you may be a little miffed at the big guy being a second banana. The action is fun and splashy, and I wish I watched this titanic title match on the big screen where it belongs, and I’ll admit that likely has dulled some of my experience. The sharp tonal shift for the MonsterVerse, and the escalating silliness that climaxes into insanity is either going to be selling point or a breaking point for every viewer. You’ll either rock with glee and happy that this franchise has finally evolved into the schlocky spectacle you’ve been dying for, or you’ll be trying to hang on to the silly, over-the-top plotting to orient your staggered senses. Godzilla vs. Kong is everything the title suggests and little else, and for many that will be enough. For me, I think it kind of lost me somewhere between here and Albuquerque.
Nate’s Grade: C+
Zack Snyder had a unique situation that many filmmakers would never get close to fulfilling. He departed the 2017 Justice League movie in the wake of a family tragedy, Joss Whedon was hired to direct and rewrite extensive reshoots that totaled an estimated additional $30 million dollars, and the world was given the strange amalgamation of two different filmmakers, along with the nightmare-inducing CGI baby lip to replace actor Henry Cavill’s mustache. The 2017 theatrical release of Justice League was meant to be a significant milestone for the DCU, launching an all-star assembly of superheroes and setting up future solo adventures and franchises. It was meant to be a major kickoff and it was simply a major shrug. The general public was indifferent to the 2017 League, and it seems like the DC brass is positioning for a cinematic universe do-over, retaining the elements they liked (Jason Momoa, Gal Gadot) and jettisoning the other pieces to start anew. In the ensuing years, fans have been petitioning for the fabled “Snyder Cut,” a theoretical version of Justice League that was closer to Snyder’s original artistic vision before the studio intervention and interloping of Whedon. It became a joke on social media and then one day it became real. Warner executives, seeing opportunity with the rabid fanbase, decided to give Snyder an additional $70 million to finish his version of Justice League. It would be an exclusive to their new streaming platform, HBO MAX, and Snyder could complete his version without artistic compromise. The resulting four-hour version, titled Zack Snyder’s Justice League, is less a movie than a mini-series, and a rare chance for a director to complete the story they wanted to tell without artistic compromise. After having watched the full four hours, along with re-watching the 2017 version again for comparison, The Snyder Cut just feels like the original version only longer. I would actually advise people that if they haven’t watched either Justice League to simply catch the 2017 version. At least its mediocrity is half your time investment.
Once again, months (?) after the death of Superman (Cavill), Bruce Wayne (Ben Affleck) is traveling the world and recruiting a very specific group of job candidates. He needs serious help to combat an oncoming alien adversary, Steppenwolf (voiced by Cirian Hinds). The cosmic Big Bad is looking for three special boxes, a.k.a. mother boxes, to destroy the world and make way for his master, Darkseid. Wonder Woman (Gal Gadot) helps Batman convince the half-man/half-machine hybrid Cyborg (Ray Fisher), underwater dweller Aquaman (Jason Momoa), and hyperactive speedster Flash (Ezra Miller) to form a league of sorts to thwart Steppenwolf.
I think it’s unfair to judge the 2017 film to the Snyder Cut as a movie simply because this version never would have been released in theaters. No studio would have released a four-hour version. The two edicts that Whedon was given by the studio when coming aboard the project was that it could not be over two hours and to lighten it up. Imagine what the 2021 Snyder Cut would look like if Snyder was then tasked to cut it down to a more manageable two-hour running length. I predict many of the same scenes being eliminated or dramatically trimmed down. That’s the main takeaway from the Snyder Cut, that there is more room for everything, and quite often too much room. I swear a full hour of this movie might be ponderous slow-motion sequences. Plot-wise, Zack Snyder’s Justice League is pretty close to what was released in theaters in 2017. The action sequences are extended longer (Steppenwolf’s attack on the Amazons has increased from six minutes to a whopping twelve minutes) but I don’t know if they’re dramatically improved. Instead of two punches there’s four; instead of one chase, there’s two. It’s that kind of stuff, filling out the sequences but not really elaborating on them in an exciting fashion that reorients the moment. I liked some additions, like the inclusion of blood during the underwater Atlantis fight because it added a neat visual flair, but the added action is often obscured by visual decisions that dis-empower the experience (more on that later). I found myself growing restless with the movie. All that added time allows some sequences and plot beats to breathe better, but it also allows Snyder to meander to his greater indulgence (more on that later as well, notably on the multiple epilogues). The four hours feel like Snyder’s kitchen sink approach, and with the benefit of years of hindsight from the critical and fan reception of the 2017 version, he’s able to spend tens of millions to correct mistakes and improve a flawed film.
I hate how this movie looks for multiple reasons. The most obvious difference is that the aspect ratio has been altered to a 4:3 ratio more reminiscent of pre-widescreen television. Why is this the case? Snyder has said he cropped his movie to this boxy format so that it could be played on IMAX screens. That’s fine, but why crop your movie now months if not possible years before it will ever play on IMAX screens? When it comes time to adjust for the IMAX screen, adjust then. Why must every viewer see this limited version now on their widescreen televisions at home? It’s just so bizarre to me. It would be like if Quentin Tarantino reasoned that his movies will eventually play on airplanes, so he better get ready and cut back his widescreen into a flat, pan-and-scan mode, and he might as well include alternate takes and scenes to cover for those that would be deemed too profane or intense for the all-ages captive audience of an airplane, and then that version was the one he released to all audiences and we were stuck with it. Snyder had millions of dollars to reshoot his epic and he lopped off the edges, meaning you’re getting more movie but also less (at least the footage predating the new reshoots) in every second because of the framing. The grandeur of the superhero saga is also extremely hampered by the drab color palette. Snyder has always preferred muted colors to his movies but his Justice League drains all life and vibrancy. Everything is literal shades of grey. Color is not allowed to exist in this universe. A sunset is almost comical. Apparently, there’s going to be an official black-and-white version but we’re already practically there. Some could argue the oppressive grey is meant to evoke the grief and heaviness of the picture, and I’ll give you some leeway with that, but the drab colors also nullify the visuals. It’s simply harder to see everything that’s happening even during the daytime, and then you tack on the ugly CGI that makes everything look like a fuzzy video game. For a movie that has cost potentially over $350 million dollars combined, Justice League looks so phony. Maybe that’s part of Snyder’s overall stylized look, he’s never really been one to visually ground his operatic action spectacles, but I feel like the aspect ratio and color palate just make it worse. For those four hours, this is often a very visually unappealing movie to watch.
With the added time, there are definite benefits and characters that are lifted by the extra attention. Chief among them is Cyborg, a character that felt like a Swiss army knife in the original who was just there to perform whatever techno jazz the movie required at a moment’s notice. With the Snyder Cut, the character becomes more engaging and given a fuller arc relating to the relationship between father and son. The father’s placement in the story actually matters and Cyborg has more of a personal journey coming to terms with his new abilities. There is a back-story with his frayed relationship with his father, his accident that caused him to become the creature he is, and a reoccurring theme of a son blaming his father and the father trying to reconnect with the son he refused to part with. I still think Cyborg ranks low on the list of superheroes, but the additional scenes give the character more weight, more tragedy, and more intrigue. Another added benefit is that Steppenwolf’s motivation is improved as well as his look. He’s now outfitted with a herring-bone armor that twitches over his body. It’s a more intimidating look than what he had going on in 2017. I also appreciated that he now has more motivation other than “conquer the universe” because now it’s “conquer the universe to get back in the good graces of the boss.” Steppenwolf is trying to repay a debt and make amends, and that makes him slightly more interesting than his generic motivation in the original theatrical cut.
However, not all the new editions are as smooth or as helpful. The added time with the rest of the Justice League doesn’t seem to have added anything to their characters. Each one’s arc is more or less the same from the 2017 version, except now we have even more scenes of Wonder Woman wondering whether she needs to get off the sidelines and be more involved (the events of WW84 conflict with this timeline) and Aquaman rejecting his call to adventure from the Atlanians. Neither is a richer portrayal and the scenes are redundant. Take Wonder Woman finding out about Steppenwolf’s attack. In the 2017 version, her mother lights an arrow and it sails into Greek ruins, signaling her daughter, who knows what this means. In the Snyder cut, the arrow still lights the Greek ruins, but now Wonder Woman visits the ruins, she gathers a stick, she wraps a cloth around it, she dips it in kerosene, she lights it on fire, she enters a secret room because of the arrow, she jumps down a cliff, she finds a hidden temple with hieroglyphics warning about Steppenwolf and the mother boxes and Darkseid. Even if you really wanted the end where she sees those hieroglyphic warnings, why did we need these many steps to get there? The opening hostage/bank heist scene is given far more attention, with multiple scenes of hostages being terrorized, and then Wonder Woman literally vaporizes the chief terrorist. A little girl looks at her, likely traumatized for life by the whole experience, and says wistfully, “I want to be like you when I grow up.” She wants to be a murderer? In Snyder’s universe, Superman kills people, Batman kills people, so why not Wonder Woman too?
The revised introduction of Barry Allen is also regrettable. He’s applying for a dog walking job and a car accident occurs and he saves the day, but not before slowing down time in a frustrating manner. This is because he seems to be dawdling while the rest of the world is frozen, which makes the event seem less special. His movements seem less urgent than Quicksilver in the X-Men films when he would perform the same memorable slow-mo set pieces. I disliked that the Flash’s big involvement in the final showdown was literally running around in a circle, a repeat of what he had done prior. Also making the slow-mo save introduction less special is the fact that the Flash picks up a hotdog floating in midair for silly reasons. It’s drawn out with interminable slow-motion and the song choice is baffling, a common theme throughout Snyder’s movies. I think he’s been smarting ever since he painfully paired Leonard Cohen’s “Hallelujah” with a sex scene in 2009’s Watchmen, and now we must al endure similar awkward auditory pairings. Every song inclusion just feels wrong here. As Aquaman is drinking and walking along a pier, in slow motion, we hear “There is a Kingdom” by Nick Cave, and it just doesn’t pair right, especially in contrast with the hard-rocking guitar riffs from The White Stripes in the 2017 version. For good measure, Snyder even includes another “Hallelujah” cover by the end for good measure, as if he’s still fighting this same battle over musical taste.
And then there’s the barrage of epilogues, each the start of a story never to be continued, and it approaches the realm of self-parody (spoilers to follow). We get three endings, the first an extension of the post-credit scene from the 2017 version where Lex Luthor (Jessie Eisenberg) suggests the formation of a Legion of Doom for villains. He even shares with Deathstroke (Joe Manganiello) that Bruce Wayne is Batman. Well, that could be an interesting next step, but we know it’s not to be so it becomes just a teasing preview. The next ending cuts forward in time to the dusty, apocalyptic vision that Batman had in Batman vs. Superman, and he’s got a crew including an older Flash, Meera (Amber Heard, why does she have a British accent now?), and even Jared Leto’s Joker. They’re facing off against a villainous Superman who has been driven mad by the death of Lois Lane (Amy Adams), which is pretty much the plot of the Injustice games. The Joker is antagonizing Batman with some references to killing someone close to the Dark Knight, and this whole sequence amounts to Snyder basically saying, “Hey, here’s where I wanted to go with things but you’ll never see it.” Then there’s a third ending, because the second is revealed to be another dream/vision for Batman, where he meets Martian Manhunter, a character that, other than diehard comic aficionados, no one cares about and has been given any reason to care about. The guy just introduces himself and Batman is like, “Oh, cool,” and that’s the ending Snyder decides to close his four hours with. There is a literal half-hour of epilogues and false endings to finish with and I was exhausted. I owe Peter Jackson an apology.
In my original review of the 2017 Justice League, I wrote, “I think I might have actually preferred Joss Whedon not being involved and simply releasing the full Zack Snyder cut. It would have been stylistically more coherent. Much of the Whedon reshoots do not feel like they are for the better. To be fair, he came in late and this franchise behemoth had already gone too far to fully alter its fate. There are small moments that work but the big moments are what fail. This movie is missing setups, payoffs, and character arcs. It’s missing pathos and emotion. It’s missing memorable action sequences that are exciting and varied. It’s missing basic internal logic. It’s missing a greater relevance.” Some of those issues are resolved with the four-hour Snyder cut and too many others still remain. At the end of the day, this is still just a longer, bloodier version of a mediocre superhero movie, except now we get stuff like Batman saying the F-word, so I guess that’s cool. I have more of an artistic appreciation for what Whedon had to pull off to even wrangle this beast into two hours. I’m happy Snyder was able to fulfill his complete vision and that HBO MAX offered a platform that would provide such a rare opportunity of expensive art unencumbered by studio meddling. I can’t say it’s worth your four hours, nor can I say it’s dramatically better than the 2017 version because whatever benefits it offers are weighed down by the extraneous, the redundancies, and the length. As it stands, I feel I have no choice but to grade Zack Snyder’s Justice League the same as the 2017 Justice League.
Nate’s Grade: C
Trying to sequelize Silence of the Lambs is surely harder than trying to sequelize The Blair Witch Project. The novel Hannibal by Thomas Harris I don’t think will be confused as a necessary burst of creative ambition and more of a chance to cash in on the love of Hannibal Lector. Though I’ve not read a line from the book from what I’m told the movie is faithful until the much hated ending. Starting a film off a so-so book isn’t a good way to begin, especially when you lose four of the components that made it shine Oscar gold.
The element that Silence of the Lambs carried with it was stealthily gripping psychological horror. It hung with you in every closed breath you would take, surrounding you and blanketing your mind. I mean, there aren’t many serial killer movies that win a slew of Oscars. Lambs excelled at psychological horror, but with Hannibal the horror turns into a slasher film more or less. What Lambs held back and left us terrified, Hannibal joyfully bathes in excess and gore.
Julianne Moore, a competent actress, takes over from the ditching Jodie Foster to fill the shoes of FBI agent Clarice Starling. Throughout the picture you know she’s trying her damndest to get that Foster backwoods drawl she used on the original down. The problem for poor Moore though is that her character spends half of the film in the FBI basement being ogled by higher-up Ray Liotta. She doesn’t even meet Hannibal Lector until 3/4 through. Then again, the title of the film isn’t Starling.
Anthony Hopkins returns back to the devil in the flesh and seems to have a grand old time de-boweling everyone. Lector worked in Lambs because he was caged up, like a wild animal not meant for four glass walls, and you never knew what would happen. He’d get in your head and he would know what to do with your grey matter – not that he doesn’t have a culinary degree in that department in this film. Lector on the loose is no better than a man with a chainsaw and a hockey mask, though he has a better knowledge of Dante and Florentine romantic literature. Lector worked bottled up, staring at you with dead unblinking calm. He doesn’t work saying goofy “goody-goody” lines and popping out of the shadows.
Since the director, screenwriter, and female lead didn’t show up for the Lambs rehash, it feels a tad chilled with Ridley Scott’s fluid and smooth direction. The cinematography is lush and very warm. Gary Oldman steals the show as the horribly disfigured former client of Lector’s seeking out revenge. His make-up is utterly magnificent and the best part of the film; he is made to look like a human peeled grape. Oldman instills a Texan drawl into the character yet making him the Meryl Streep of villainy.
Hannibal is nowhere near the landmark in excellence that Silence of the Lambs was but it’s not too bad. It might even be good if it wasn’t the sequel to a great film. As it is, it stands as it stands.
Nate’s Grade: B-
WRITER REFLECTIONS 20 YEARS LATER
Serial killer culture dominated the 1990s and oddly enough it’s only gotten more highbrow since. Oh, that’s not to say that you won’t have any shortage of hacky, exploitative movies featuring elaborate murderers with gimmicky calling cards (The Hangman, a killer who literally stages his crime scenes like an ongoing game of hangman). However, the dark obsession with dangerous men (it’s almost always men) has given life to thousands of prestige cable documentaries, true-crime books, and high-profile podcasts like Serial and My Favorite Murder. We still very much have an unchecked fascination for these real and fictitious serial killers and what that may say about our society. In 1992, a serial killer thriller swept the Oscars, one of only three movies to win Best Picture, Actress, Actor, Director, and Screenplay (the others: It Happened One Night, One Flew Over the Cuckoo’s Nest, and American Beauty came close if it hadn’t been for Hilary Swank). That’s how good The Silence of the Lambs was as a movie to overcome the genre biases of older Academy membership (it also helped that there were other genre biases at play for the other Best Picture nominees like Beauty and the Beast, Bugsy, and JFK). It was special.
All of this is to say that Silence of the Lambs was a near impossible project to follow, and author Thomas Harris proved it with the middling-yet-best-selling sequel novel in 1999. It was obvious that it would be adapted into a major feature film, but the only returning Oscar winner from that first foray was Anthony Hopkins, which is kind of important considering his character is the title. The sequel was directed by Ridley Scott (Gladiator), adapted by none other than screenwriting titans David Mamet (The Untouchables) and Steven Zallian (Schindler’s List), and the movie made over $350 million worldwide at the box-office. By all accounts, it was a hit, but was it any good, or was it simply coasting from the acclaim and good will of its predecessor and the A-list cast and crew?
The first thing that becomes immediately apparent while watching Hannibal is that this is not Silence of the Lambs and not in a sense of its accomplishments but more in its chosen ambitions. This is not a psychological thriller in the slightest. It’s a boogeyman monster movie. Nobody here is given to intense introspection about man’s inhumanity to man and other such Topics of Grand Weight. Scott’s sequel is more a Gothic B-movie content to spill stomachs rather than quicken pulses. The opening botched FBI raid is chaotic, action-packed, and the flimsy excuse for why Clarice Starling (Julianne Moore taking over for Jodie Foster) is shelved for most of the movie. It feels like the filmmakers know they need to delay the reunion of our favorite cannibal therapist and FBI agent as long as possible, so the 130-minute film feels like a protracted setup to tease how far audience anticipation can possibly be sustained.
In the meantime, the plot alternates between Dr. Hannibal Lector living it up in Florence, Italy and Starling slumming it in the FBI basement. Slowly, oh so slowly, she picks up the pieces to track Lector’s whereabouts, but until then we indulge a lot of narrative bloat. Do we need to follow an Italian inspector who suspects “Dr. Fell” is not who he says he is and then enact plans to prove his identity and eventually cash in? This man is literally on screen longer than Clarice Starling. We’re introduced to a rich villain, Mason Verger (Gary Oldman), but he’s more plot device than character, an all-expenses bank account to track and apprehend Lector for his bloody violence. I wish there was more to Oldman’s character given the actor and the impressive practical make-up application. He’s a symbol of rot, of vengeance, of obsession. Likewise, Ray Liotta’s lecherous FBI superior to Starling is less a character and more a plot device. He’s the stand-in for the harassment and dismissal Starling receives from her male colleagues, but a little of him goes a long way. His scenes where every other word is some creepy come-on, some sexual entreaty, or some off-color joke (he refers to Lector in homophobic slurs) are excessive. He’s an awful person but every line doesn’t have to be eye-rolling in how obviously terrible he can be. Spending extended time with all of these supporting characters is just a reminder that the movie is looking for excuses to keep its chief participants as far away for as long as possible. It’s frustrating.
The depiction of Hannibal Lector in Silence versus Hannibal is also quite noticeably different. Like most things in this sequel, the character is baser, key characteristics heightened and broadened, and bordering on farce. He’s less a scary intellectual opponent and master manipulator and more a well-read serial killer on vacation. He is profoundly less interesting in Hannibal. That doesn’t mean there isn’t a pleasure to be had watching Hopkins slice and dice his way through Italy and elude capture. Hopkins seems to relish the amplification of the campy and grand Guignol tone of the sequel. He looks to be having a blast as an unleashed beast. His performance is fun but teeters over into self-parody at times. Hearing the erudite man spout ironic catchphrases meant for incongruous comedy de-fangs some of his mystique and intensity.
And yet there are things I still starkly remember even twenty years later. Hannibal is no Oscar-winning thriller operating at an ascendant technical level with engrossing multi-dimensional characters. It’s a boogeyman movie with a scary old man. The ambitions are just lower, but that doesn’t mean that Hannibal is subpar by those lowered goals. It’s still entertaining even when it’s getting silly or overly long. Scott’s visual presentation keeps things engaging and the lovely Italian art and locales are a definite benefit to establishing the gory, Gothic atmosphere. The makeup is outstanding and, as I said back in 2001, Verger resembles a human peeled grape. Feeding a man to wild boars is also quite memorable. The conclusion still has its squirm-worthy high-point with serving Liotta’s fresh brains to himself. It’s a gory comeuppance that feels fitting. In the original book, apparently Starling then bares her breast to Lector, and he goes down on one knee, and they run off together as fugitive lovers. Needless to say, this ending was met with controversy. The film smartly nixes this, especially since I never for one second felt a romantic coupling between these two embittered characters. The movie doesn’t kill the allure of the Hannibal character but it also positions him on the same level as Michael Myers instead of, say, John Doe (Seven). It’s like a Halloween mask version of a real serial killer, dulled and magnified in some ways, but still leaving a fair impression of its source.
The Hannibal Lector incarnation had two more big screen ventures, the 2002 prequel Red Dragon and 2007’s even-further prequel, Hannibal Rising. Neither was terrific, neither was awful, though the answers that Rising offered as to what made Lector the man he is would inevitably prove disappointing (hello, childhood trauma). Arguably the best incarnation of the character, more so than Hopkins or Brian Cox (Succession) as the first big-screen Lector in 1986’s Manhunter, was from NBC’s television series from 2013-2015. Developed by Bryan Fuller (Pushing Daisies, American Gods), and starring Mads Mikkelsen (Casino Royale, Doctor Strange) as America’s favorite high-class cannibal, the series found a way to make a weekly crime procedural operatic and hypnotic and disgustingly beautiful. It’s like the artistic sensibilities from Silence and Hannibal were perfectly blended into a strange lovechild that deserved an even longer time to shine. Recently, just the week of this writing, CBS has begun a 2021 Clarice Starling TV series, though because of rights issues they cannot even reference Hannibal Lector. They have the rights to the senator and her daughter who was kidnapped by Buffalo Bill, as if those characters were what the fanbase was really clamoring for more time with. It looks like any other grisly CBS crime procedural just with a different name. I fully expect it to be canceled after one season.
Looking back at my review from 2001, I found myself nodding in agreement with my younger self from the past. I try not to read my earlier reviews before re-watching the films in question and perhaps might surprise myself by coming up with the same critiques independently. I also quite enjoy this line: “Lector on the loose is no better than a man with a chainsaw and a hockey mask, though he has a better knowledge of Dante and Florentine romantic literature.” I would even keep my grade the same. Twenty years later, the Hannibal Lector character still captures our intrigue and fascination even if he’s deposited in a lesser escapade not fully worth his full abilities.
Re-View Grade: B-
Big, colorful, and brimming with optimism easy to scoff at, Wonder Woman 1984 (WW84) is finally here to save Christmas and maybe movie theaters and it’s an escapist treat. It won’t register among the best of superhero cinema but will likely keep a smile on your face.
In 1984, Diana (Gald Gadot) is working at the Smithsonian Museum in Washington D.C. and fighting crime as her costumed alter ego. She’s never quite moved on from the death of Steve Trevor (Chris Pine) back in WWI and she dearly needs some friends. Barbara (Kristen Wiig) is a mousy co-worker who comes across a mystical artifact, a rock that magically grants wishes. Barbara wishes to be strong like her boss/idol Diana and she gains new intoxicating power. Max Lord (Pedro Pascal) is a wannabe TV pitchman and an empty suit, fleecing investors and barely keeping ahead of his own Ponzi scheme. He learns of the magic rock and wishes himself to become the rock itself, turning him into a living genie. From there, Max’s wishes are spinning out of control, placing the world in greater crisis. Diana is torn because, before Max absconded with the wish rock, she wished for her heart’s desire, the return of Steve. Stopping Max and reversing the effect of the wishes means having to say goodbye to Steve all over again.
The original Wonder Woman was a break from the pallid doom and gloom motifs that Zack Snyder established, and the sequel goes even further with its candy-colored recreation of the 1980s. I was wondering if there would be a good reason to set the movie specifically during the 80s, and it’s mostly for the Cold War and Yuppies. I was pleasantly surprised that Jenkins and company don’t overdo the 80s nostalgia or the fish-out-of-water comedy for Steve Trevor. I thought this was going to be the entire reason for the throwback setting, and this time instead of Diana marveling at a modern world she did not understand it would be Steve. If you’ve watched the film’s trailer, then you’ve seen all of those jokes at Steve’s expense. That’s it. WW84 can manage to surprise you, mostly in a pleasant manner. Its sincerity is its biggest virtue. It’s a movie about plenty of goofy things but at its core it’s about relatable desires and struggle.
WW84 is an improvement over the original in the action department. Returning director Patty Jenkins feels freed of emulating Snyder’s house style and brings a welcomed sense of levity and playfulness to the action. The fight choreography makes significant use of Diana’s lasso, opening up the playing field for her to swing around wildly, at times even literally riding the lightning. At points the lasso seems to have a mind of its own and able to divide into fragments. It’s something that helps separate WW84 from the glut of other superhero movies and it offers pleasing visual variance for the fights. There’s a car chase midway through the film where Diana has to leap from speeding truck to speeding truck, dodging goon gunfire. It’s an exciting and sustained action sequence, yet even across the Middle East, chase clichés will reappear, like dumb kids playing in the street ignorant to any emerging noise like a caravan of speeding vehicles. Jenkins seems even more adept behind the camera for the action, delivering big stunts and memorable spectacle ready to make a splash on a big screen. However, some of the CGI can be shockingly dodgy for a big-budget blockbuster and a final confrontation with a CGI-hybrid creature unfortunately reminded me of the lamentable Cats.
The magic wish rock setup shouldn’t be any harder to believe than, say, a secret island of immortal female warriors or just about anything in the absurd and absurdly entertaining 2018 Aquaman feature film. If I can accept a drumming octopus, I can accept a magic wish rock. WW84 hinges on the concept of the drawbacks of creating your own false reality where every wish comes with a cost and an increasing flood of alarming consequences. It it better to just accept the comfort of lies or accept hard truths? The characters even name-check the classic short story The Monkey’s Paw recognizing the ironic trap. That doesn’t stop characters from struggling with the pull of their burning desires, and it makes for an agreeable return for Steve Trevor. Ever since it was revealed that Pine’s character was returning, I was worried what the possible explanations could have been, pessimistic it would be satisfying. Is he going to be a clone? Reincarnation? The grandson who happens to look identical? The screenplay by Jenkins, Geoff Johns, and Dave Callaham finds a way to make it work by bringing him back through magic but with restrictions. In a very Source Code sort of style, Steve is operating in someone else’s body, but only Diana sees Steve. It’s a decision that frames the return in a personal way that also reminds us what is eating at her. It’s been 70 years and she hasn’t moved on from the man she loved, which can be viewed as sad, romantic, and unquestionably unhealthy. It’s a familiar character arc, having to move on from a loved one and accept grief, but it still works, and it humanizes this mighty Amazon warrior woman. It’s a worthwhile development that opens up these living gods into emotional, vulnerable beings.
With the wish plot comes some gripes and lingering questions. I kept asking, “Is everyone simply not seeing what’s happening?” or, “Is everyone forgetting what has happened?” The scale of the wish consequences is substantial and very public but it never feels like the world is registering just how fantastic these supernatural shenanigans are. In 1984, Wonder Woman is fighting crime as a hobby but still not a named and identified hero. The world does not seem aware of the presence of super beings and amazing powers living among us. So as Max continues his wish-granting ways there are immediate consequences of huge staggering scale, but nobody seems to register how weird and not normal things are, like a giant 50-foot wall suddenly appearing in Egypt. People should be asking what is going on or what others are doing. Therein lies the lingering problem with setting this movie in the past. Much like the 80s-set X-Men: Apocalypse, the events presented generate questions to why future-set movies seem to be ignorant of these same events. If Wonder Woman comes forward and addresses the world, why is she still hiding her identity in 2016’s Batman vs. Superman? And if she learns more about her own super abilities, why does she not make use of these very helpful skills in 2017’s Justice League? These sound like quibbles, and they mostly are, but the movie would have benefited from being a little more judicious with its rules and applications because I started wondering if everyone was oblivious.
I was genuinely surprised how much screen time and consideration was afforded to the primary villain. No, I’m not talking about Barbara/Cheetah, who could have been completely cut from the film. I’m talking about Max Lord. He’s arguably in the film as much as Diana. He’s a con man trying to be a successful TV pitchman and oil tycoon but really he’s trying to be a “somebody” to make his son proud. The problem is that his goal always seems to be just out of reach no matter what is gained. This part confused me. After successful wishes with power and money, Max seems to desperately continue searching for more. I suppose it could just be a general “power-hungry corruption” explanation but I kept asking when enough was enough, and that’s likely the point. I don’t know if Max Lord is a character deserving of this much consideration, but the approach appeals to the film’s empathetic mentality that no one is beyond reach. Rather than the villain having to be physically defeated, WW84 rests on emotionally appealing to a broken man’s sense of self. It makes for a more intriguing conclusion in a superhero realm than merely out-punching the CGI antagonist, like the clunky, lumbering finale from the prior Wonder Woman movie.
The conclusion of WW84 rests upon millions having to make a personal sacrifice for the greater good, which is a lovely sentiment that we could all use at this point after a dispiriting 2020. However, this year has also proven for me that the conclusion of WW84 is pure escapist fantasy. Throughout a deadly pandemic, the United States has been beset by too many people refusing to endure inconveniences in the name of protecting others and saving lives from COVID-19. The cost-benefit doesn’t add up for many if they can’t see the results, never mind the harsh yet sterile reality of over 300,000 dead Americans and counting aided by this selfish obstinance.
Gadot might not ever escape the long shadow of playing a famous superhero but she’s settled into the role nicely and even gets to flex some untapped acting muscles. I was skeptical of Gadot early when she was hired but became a believer in 2017. She definitely has an unmistakable presence onscreen. Gadot’s best moments aren’t even the punching and kicking, which she does with gusto, but the moments where she has to make grand appeals and hard decisions. There are a few emotional moments where Gadot’s familiarity with the character blends together and she and the filmmakers are not afraid to show strength in other ways other than brawn. Gadot still has a very enjoyable chemistry with Pine (Hell or High Water) that makes them a winning pair. One of the film’s highlights is a personal flight through fireworks that delivers sheer joy for Steve Trevor. His awe about the future and getting one more spin with life itself is heartwarming. Pascal (The Mandalorian) is going big and hammy with his performance that reminded me of the Richard Donner Superman movies. Wiig (Ghostbusters) is the big miss for me. She’s not convincing as a threatening foe and her early scenes as a klutzy, put-upon dweeb feel overdone and yet insufficient. We needed more establishment of Barbara’s life before her wish to better recognize why she would never want to go back. One reoccurring street harasser doesn’t cut it.
Wonder Woman 1984 is fun, splashy, and doesn’t lose sight of its characters and their emotional states even as it elevates the world-annihilation stakes. It’s a movie that seems more confident in its identity than the first film. It accepts that it can be silly, it can be sincere, it can be exciting, it can be smaller and more personal, it can be hokey, it can appeal to your best self. It’s overly long (the opening flashback of young Dianna in the Amazon Games could have been ditched entirely) and not everything works, but the problems are easier to digest and forgive with what does work. It might be the last blockbuster for some time given the uncertain theatrical landscape so I’ll take it. WW84 isn’t the swaggering solo venture the first film proved to be, but I would say it still makes for a mostly satisfying and fun experience that plays to the strength of the creative team.
Nate’s Grade: B-
I don’t know who this new 2020 Craft is intended for and I don’t think the movie knows as well. If you’re a fan of the 1996 original, which has developed quite a reputation for many millennials, then I think you’re going to be relatively disappointed with this remake/reboot/sequel, whatever Blumhouse is calling this. By that description it should be evident that The Craft: Legacy has a bit of an identity crisis. It’s not exactly a remake because it retains so little from the original except in its witchy teenage premise, it’s not exactly a reboot because it doesn’t come together on its own for a new identity, and it’s not exactly a sequel because the only tangential connection to the original is tacked on in the literal final seconds of the movie. If it was trying to please fans of the original, it’s too lacking, and if it’s trying to chart its own course for a new generation of fans, well that doesn’t work either. As a result, it’s another PG-13 remake of an R-rated move that feels like it’s playing to a different crowd.
Lily (Cailee Spaeny, Bad Times at the El Royale) is the new girl at school. Her mother (Michelle Monaghan) is remarrying Adam (David Duchovny), a popular motivational speaker with three older sons of his own. She befriends a group of diverse teenagers when they suspect Lily might have the potential for special gifts. The girls try sending Lily a psychic message and then ask her to join their fledgling coven. The four of them combine their powers and promise to use their synchronicity for good to push back against the patriarchy.
That narrative uncertainty of writer/director Zoe Lister-Jones (Band-Aid) seeps into every moment of the 97 minutes. You get a sense that Jones had a central topic she wanted to provide commentary and then a checklist of “witch stuff” to include that she wasn’t sure about. The activation of the powers in the original related to outcasts grabbing a power denied to them, getting even, going too far, learning some lessons, and then our protagonist having to topple her new friends and the danger they posed thanks to their new powers. With The Craft: Legacy, the magic feels like an afterthought to changing hearts and minds. We only really see one spell and its lengthy outcome where Lily makes her high school bully woke, and he stays that way and joins the girl group as their sensitive pal. This is, by far, the most interesting part of the movie, and yet there’s a larger implication that the movie ignores because it would place our heroines in an uncomfortable light. They’ve reformed the bully into a model citizen of a modern mature man who can admit his vulnerabilities, but they’ve also robbed him of agency and free will. Is this version of him what’s really hiding underneath, or is he simply being manipulated by their spell? This subplot gets more attention than any of the other witches combined. I don’t know anything about the other friends in the group, besides they take their witchy duties seriously and one of them is trans. They get assigned elemental powers later (Earth, Fire, Wind, Water) and that is more definite characterization than anything else. If you asked me what their names were or their defining personality traits I would be stumped.
After last year’s Black Christmas remake, it’s peculiar how closely The Craft: Legacy is following a similar formula. I applaud the diversity behind the camera and having female directors remake these stories for a new time and a new audience, and the concept of toxic masculinity as a threat to all women is potent and provides plenty to work into a horror/thriller dynamic. Yet Black Christmas had to go one step further by saying the evil fraternity that was preying upon women was secretly mind controlled by an evil magic goo of evil. It lets them off the hook. Now with The Craft: Legacy, we have an obvious villain as a symbol of toxic masculinity, and because he’s so obvious I kept waiting for him to be a more insidious foe, manipulating young men into a warped way of thinking about strength and virtue. However, this doesn’t happen. The antagonist feels like any generic abusive husband on any disposable Lifetime original TV movie. The topic doesn’t feel explored or nuanced for its big theme or cleverly matched up with the iconography of horror for extra genre commentary. What about the different sons? couldn’t they reflect different stages of his influence? Or the young and more innocent son, couldn’t he be a target of reprogramming? The movie doesn’t give us anything to really chart. It feels like much must have been left behind through several edits. If Jones and her team wanted to use their movie to make a pertinent statement on toxic masculinity, I was hoping for more than a relatively obvious, “It’s not good.” Even the Black Christmas remake gave its theme more consideration than this and talked about its generational impact.
In the original, each member of the foursome has a backstory, a personality, a central conflict before and after developing her powers. While the conclusion was like Wicca X-Men, the rest of the movie was an effective high school drama with relatable characters. They were Catholic schoolgirls rebelling against their school and their families in the 1990s by practicing witchcraft. It was a statement. Now, the girls practicing witchcraft in a regular school during modern times just feels like an accepted experimentation from a culture that has become more tolerant, and that’s fine, but that means the movie has to provide other avenues to make new statements. The lackadaisical response to the supernatural really harms the movie. It makes it feel like the hook could have been anything. If the characters are given great power, use it sparingly, and then decide they might not be responsible enough so soon after, that’s simply boring storytelling. That’s the equivalent of a man finding a wish-granting genie, and then after the first wish where he asks for new pants he decides, “Oh, too much for me.” This is what I mean by The Craft: Legacy being too timid about being a supernatural horror thriller. It’s got the feminist perspective you’d expect from the underdog characters gaining powers, but it’s lacking a fundamental understanding or appreciation of its genre. It’s mostly confined to multiple nightmares and the occasional jump scare. The concluding good powers versus evil powers face-off is so awkward and cheesy that it deflates any good will earned.
The Craft: Legacy is a perfunctory remake/reboot that doesn’t seem interested in its characters, in its supernatural horror aspects (a sleepwalking brother that’s used as a jump scare and never explained?), or even in the exploration of its major theme on toxic masculinity. There isn’t much in the movie that is outright bad but there is nothing that shines either or proves to be memorable. The 1996 original isn’t exactly a genre classic but it looks so in direct comparison to this flat rehash.
Nate’s Grade: C
Two new movies have been released for streaming, both coincidentally starring Sacha Baron Cohen, and both are highly political, one by design and the other through fortuitous circumstances of history regrettably repeating itself, and both are simultaneously everything you would expect from their creative forces and worth watching in our tumultuous times.
The Trial of the Chicago 7 is a courtroom drama depicting the injustices applied to a dispirit group of anti-war activists who were charged with inciting a riot at the 1968 Democratic National Convention. The various men of different backgrounds and affiliations had their reasons for being there to protest, whether it was building public support to end the Vietnam War, to gain personal publicity, or to get laid, and tensions mounted inside and out the group as the police plan to send a message, harassed protesters, and in one amazingly prescient moment, remove their badges and name tags to then inflict state-sanctioned violence. This is an Aaron Sorkin movie through and through, and his second offering as a director after 2017’s Molly’s Game, and the best thing about the Oscar-winning wordsmith is that watching one of his movies feels like you’ve just downloaded a complete syllabus. The sheer audacious density of information can be overwhelming, but when Sorkin is able to get into his well-established rhythms, the actors feel like wonderful pieces in an orchestra playing to its peak. The real-life story of the activists has plenty of juicy drama and intriguing characters and intra-group conflicts breaking open, mostly between the divided poles of political leaders Tom Hayden (Eddie Redmayne) and counter-culture prankster Abbie Hoffman (Cohen). Bobby Seale (Yahya Abdul Mateen, HBO’s Watchmen) could have gotten his own movie and suffers many of the worst indignities as a member of the Black Panthers who was grafted onto the case in order to make the rest of the indicted men seem scarier by association. The consistent interference by the trial judge (Frank Langella) is shocking. It’s so transparently biased, racist, and unprofessional that I have to believe that many of these anecdotes actually happened because otherwise they seem so absurdly prejudicial that nobody would believe this happened. For a movie with such a sizeable cast of trial litigants, lawyers on both sides, friends and family, and maybe every police officer in Chicago, it’s impressive that Sorkin is able to provide so many with great Sorkin moments, meaning those grandstanding speeches, cutting one-liners, and intensive cross-examination. Not everyone is on the same level of importance. Several of the Chicago 7 are merely bodies on screen, two of the guys serve as little more than a quip-peddling Greek chorus. You sense there’s more being left out to fit into a crammed yet tidy narrative that plays to our demands for satisfying character arcs, reconciliation, and a morally stirring final stand. As a director, Sorkin doesn’t distinguish himself but he lets his meaty script and the performances of his actors get all the attention. The editing, like in Molly’s Game, can be a bit jumpy but it’s to serve the sheer size of information being downloaded during the 129 minutes. The political parallels for today are remarkable and a condemnation of our modern times. The Trial of the Chicago 7 is an invigorating and, at points, exhausting film going experience that can feel like a retro, overstuffed special episode of The West Wing. It’s everything you should expect and want in an Aaron Sorkin courtroom drama, so if you’re already in that anxious camp then this Netflix original will be preaching to the overly verbose choir.
Secretly filmed over the past year, Sacha Baron Cohen reprises his outlandish Borat character to once again lampoon people’s not-so-hidden prejudices, anti-Semitism, xenophobia, and misogyny, which seem to have only gotten worse since the first Borat movie in 2006. The flimsy story follows international journalist Borat returning to America to help improve the standing of his home nation Kazakhstan by offering his daughter Tutar (Maria Bakalova) to the Trump administration. It’s really just a platform for Cohen to adopt a series of disguises (his Borat is too recognizable) and dupe some rubes while exploiting their ignorance and patience. Much of the entertainment comes from the cringe-inducing interactions of how far Cohen and Bakalova will go, marveling at their improvisational skills and also dreading what lines they might cross next. I was laughing fairly consistently, though the schitck naturally won’t be as funny the second time around, even with a 14-year gap in movies. I was really impressed by Bakalova and her own commitment and quick-thinking, keeping pace with a pro like Cohen and really stealing the show because Borat can’t go out in public as before. There are some outrageous moments that work, like Cohen imitating a country singer leading an anti-masking crowd into a singalong with ridiculous verses, and some that simply don’t, like an ongoing stretch where Bakalova explains the appeal of masturbation to a gaggle of deadly silent Republican ladies. Sometimes the comedy seems so broadly caricatured that it’s questionable whether its helpful or harmful, especially the anti-Semitic tropes that Cohen embraces as means of satire. Saying something outrageous to an outraged or shocked party isn’t quite enough. When compiling these hidden camera comedies, they thrive on the oxygen given to them by the targets of the prank. If they don’t really engage, it can feel a bit tired and desperate. I’d say the ratio of hits-to-misses is about half and half but the movie has enough big moments to keep fans happy. The most notorious moment has already been widely disseminated through social media and serves as the climax of the movie, strangely both as the high-point of pranks with big names but also as the emotional catharsis. Tutar poses as a foreign journalist and interviews Trump surrogate Rudy “America’s mayor” Giuliani, who drinks, goes into a hotel bedroom alone with Bakalova, and then lays on the bed while slipping his hand down his pants (like a gentleman does). Borat realizes he doesn’t want to offer his daughter to this creepy, sleazy man and rescues her because he truly does care about her. Borat 2, or Borat: Subsequent Moviefilm, takes a scattershot approach to satire and squarely aims at the science-denying MAGA crowd celebrating the excesses of their leader (who doesn’t sound that different from Borat, come to think of it). It might be more admirable in intent than execution but the new Borat can provide a few belly laughs and a more than a few groans as Cohen attempts to make American funny again.
Trial of the Chicago 7: B+
Borat: Subsequent Moviefilm: B-
I very much enjoyed 2017’s The Babysitter from the very start. The characters had such vitality to them, Samara Weaving (Ready or Not) gave a star-making performance, and it was a wild ride while also having an emotional core with the relationship between the babysitter and her charge, a designated Satanic sacrifice. It was silly, clever, but also satisfying with its character dynamics, and it proved successful for Netflix so they felt, well, why not do it all again? The Babysitter sequel, subtitled Killer Queen, has a strong whiff of desperation trying to awkwardly rekindle the good times. The original writer, Brian Duffield, is not here as a writer but returning director McG is one of the credited writers, which made me wary. Sequel-itis plagues the story as our surviving teen Cole (Judah Lewis) gets into ANOTHER tight spot with ANOTHER group of Satanists looking to sacrifice him to make their dreams come true, and it also happens to also include the SAME supporting villains from the first movie. Even the cheeky onscreen titles go, “Again?!” Why must these killer Satanists only obsessed with this one specific kid as a sacrifice? Diversify your options, folks. It all feels more of the same but just not as good, not as memorable, and not as entertaining. It’s a low-investment movie, something where your ceiling of demands is already pretty generous, so if you enjoy comically over-the-top gore then there are a few moments that might make this sequel palatable. It’s a movie with a “so what?” attitude, adopting a flippant nihilism that makes the attempts at drama a little more forced and inauthentic when they occur, not that the comedy is much better outside the splatterhouse violence. The ending is also rather anticlimactic because it simultaneously involves a deus ex machina while also finding a way to be derivative of another very memorable ending of another Samara Weaving movie. I didn’t think a sequel was needed, and I wasn’t expecting much from a sequel, and I got about what I was expecting. The Babysitter: Killer Queen is a fast-paced and amenable work of cinematic junk food, a genre movie that might have enough genre elements to prove tasty, but by hewing so close to the original, Killer Queen feels more imitation than imagination, and it’s clearly inferior to the original.
Nate’s Grade: C+
Bill and Ted might be one of the most inexplicable franchises in Hollywood. It began as a riff on 80s high school movies by writers Ed Solomon and Chris Matheson, taking the California surfer/stoner goofball supporting character staple and saying, “What if people deeply uninformed about history traveled through time?” 1989’s Bill and Ted’s Excellent Adventure movie was a comic delight, and Bill and Ted became unexpected icons, action figures, and even a Saturday morning cartoon. The 1991 sequel could have easily repackaged another escapade through time but instead it went a completely different, darker, and weirder direction. Bill and Ted’s Bogus Journey followed its characters through death, hell, heaven, and back again. It’s been almost thirty years since Bill and Ted left the pop-culture spotlight behind. What more challenges could you present? Bill and Ted Face the Music is a sweet sequel that explores the, dare I even utter the word, legacy of these cheery doofuses, and while it’s not at the same level as its clever predecessors, I was more than happy to take one last trip with these gents. Most excellent.
It’s been decades since Bill S. Preston Esquire (Alex Winter) and Ted Theodore Logan (Keanu Reeves) hit the big time with their band Wyld Stallyns but life hasn’t quite worked out how they imagined. They had been told their music would bring peace to the world, but they’re in their 50s now, fame now behind them, and they have yet to live up to those heavy expectations. Bill and Ted are struggling to still write that perfect, magical song, the one they were destined for, but both men have growing doubts over whether or not they can make it happen. Their adult daughters (Samara Weaving, Brigette Lundy-Paine) want to help and take the ole phone booth time machine for a spin, collecting famous great musicians throughout time to help collaborate with their dear old dude dads before all of reality unravels if that fabled song cannot be written.
Just as Bogus Journey rejected being a lazy reprise, Face the Music inclines to chart its own path as a sequel rather than replicating the hits of old while also staying reverent to why people loved the originals. This is more a time travel movie, and the daughters even go on their own Excellent Adventure rounding up famous musicians through history as a B-story, but the main story is squarely on Bill and Ted facing off against themselves and their collective insecurities. When challenged, the Bill and Ted of present-day figure that they can skip ahead to the future and simply take the world-saving song from their future selves, who obviously would have written it by then. It’s a move the franchise has used before, relying upon future actions to take care of present problems, so it’s fitting for the characters but this is the first film to explore this as a negative. Bill and Ted are desperate and looking for an easy solution and skipping to the end will do that. However, their future selves are pathetic has-beens who have yet to write the ultimate song, and they resent their past selves for setting them up for failure. There are many face-to-face meetings between present and further future versions of Bill and Ted and their interactions become an adversarial tit-for-tat. I looked forward to each new pit stop with future Bill and Ted to see how their lives were and if they were still trying to set up the past Bill and Ted for a long-simmering retribution. The fact that this storyline has a genuinely sweet and even poignant reconciliation is a joyous addition.
Thankfully, Bill and Ted are still the same lovable, affable, and relentlessly positive dudes we’ve known and loved since the 1980s. I appreciate over three movies how much these guys legitimately appreciate and love each other. That’s one reason why it’s so enjoyable to hang out with these guys regardless of what their adventures entail. It would be easy for Bill and Ted to have become jaded in their old age, cynical from not fulfilling their hallowed destiny. They could have some animosity between the two of them that need to be buried in order to work together, rekindle that old magic, and save the world. But the screenwriters know who these characters are. Even when things aren’t going their way, they stay who they are, hopeful and supportive. I also appreciated how this translates to their relationships with their daughters, who clearly love their fathers and want to follow in their footsteps. They even refer to them as “dads” rather than “dad.” The conclusion rests on the daughters and fathers working together, and the positivity that radiates through their relationships allows the ending to reach a surprisingly emotional high for a family of good-natured goofballs.
Face the Music is a bit overstuffed with subplots and characters, and I do wish there could have been some careful pruning to allow more room for the daughters. Bill and Ted’s wives, the princesses from Medieval England, have been recast again (Erinn Hayes, Jayma Mayes), and once again they are barely featured. There is an early conflict between the wives and husbands, and the prospect of losing them motivates Bill and Ted to save their marriages, but this conflict is entirely sidelined after the “end of the world” dilemma overtakes the plot. The wives are in their own subplot and also traveling through time or to parallel dimensions, though we never spend any time with them. There must be entirely cut scenes with them. Their perspectives could have been a whole other movie but they’re only an afterthought, as these characters have always been. Kristen Schaal (My Spy) appears as the daughter to Rufus (the late George Carlin), and we’re introduced to her mother, a deadly robot (Barry’s Anthony Carrigan) set to kill Bill and Ted for questionable reasons, the return of the Grim Reaper (William Sadler), plus all the assembled historical figures with the daughters. Also, just about every supporting family character makes an appearance too. It feels like too much, like the movie is constantly racing forward, juggling people and stories, when we didn’t need it all.
The daughters are more reflections of their fathers than independent characters. Each character, Thea and Billie, is a younger impression of their father and little else. They like the same music their dads like. They have the same goals their dads have. They have the same personalities their dads have. Both actresses are fun and Brigette Lundy-Paine (Netflix’s Atypical) does a wicked impression of a young Reeves, including adopting his sway-heavy gait, but I wish they had more to chew over. It seems cliché to make the central conflict of a third Bill and Ted movie an inter-generational one, where the fathers cannot relate to their daughters, and the four of them go on a fantastic journey that helps to bridge their differences and allow each side to better understand and relate. It might sound cliché but it could also have been compelling as well, and it would have elevated the daughters and their relationship into a primal position, rather than using the relationship with the near non-existent wives as the throwaway motivation for their call to action.
It’s been quite a while since Winter and Reeves have played these parts, and while they both have clear affection for their characters, it’s not quite a seamless relaunch. Reeves (John Wick) has been playing hardass action heroes for so long that it feels like he can’t easily recapture goofball energy. His line deliveries can feel far more stilted and low-energy. Winter hasn’t acted onscreen since 2013 and has transitioned into being a documentary director. He delivers a more spirited performance and hits the comedy notes more effortlessly than Reeves, but the time apart from acting shows. Watching both men imitate their younger selves and going through the same shtick can have a different impact on the viewer. Hearing the same catch-phrases but with deeper, gravely voices isn’t quite the same thing and serves as a warning of the enterprise living in its own shadow. My pal Ben Bailey found an old Bill and Ted to be rather sad. I think that’s part of what Face the Music leans into (including its knowing title). They haven’t succeeded like they wanted. That weighs on them. Neither character is about to contemplate suicide but there is a sense of disappointment about how their careers turned out that they’re barely staying ahead of, which adds a melancholy dimension to these characters still falling back on what they know because it’s all that they know how to do. It’s not overpowering but it’s an acknowledgement of the loss of time.
Bill and Ted Face the Music is a charming, likable, and sweet-natured sequel that wraps up the franchise well, reminding fans why the Bill and Ted characters were so enjoyable from the start. In our COVID times, I’m finding it easier to shrug away some of the movie’s flaws, like its low-budget being noticeable, chintzy CGI special effects, and too many supporting characters on top of not integrating the daughters into the main action in a more significant fashion. It’s 90 minutes of laid back, light-hearted fun with actors and filmmakers who clearly love this franchise, and the screenwriters could have merely coasted and did no such thing. We didn’t need a third Bill and Ted big screen adventure but I’m happy that it still feels, even thirty years later, remarkably like Bill and Ted.
Nate’s Grade: B