I invite all my readers to re-watch the trailer for Peppermint and apply this simple listening test. It opens with Jennifer Garner repeating the precious nursery rhyme claim about her daughter’s virtues. She has “love in her heart, snow in her eyes,” and the final claim, “peppermint in her blood.” At least I’m certain it’s got to be “blood,” because the first time I watched this trailer and my ears got a hold of that line, it genuinely sounded like Garner was saying “peppermint in her butt.” This flummoxed me and even more so that they would name the movie after this. Try it yourself and see what you hear, then listen for the other word (it’s like the new yanny/laurel aural conundrum). If I concentrate on either interpretation, I can hear it. Regardless of whether this “butt” vs. “blood” mystery can ever be resolved, the filmmakers decided to cut the entire verbal exchange from the finished version, leaving no reason for Peppermint to be called Peppermint other than the daughter’s passing affinity for the ice cream flavor. As asinine and odd as this whole endeavor reads for you, this might actually be the best part of Peppermint, a rote and tiresome action exercise that does too little too often and squanders the resources of a perfectly game Garner.
Our heroine, Riley North (Garner), started as mild-mannered mom and bank teller. Then one day Latinx gang members brazenly gun down her husband and child. A corrupt legal system lets the killers go free and Riley disappears for five years. When she returns, she’s become a ninja trained in an array of weapons. She takes her one-woman crusade against the gang, the cartel, and the corrupt judges and lawyers who serve them, while the police, lead by John Gallagher Jr., try and stop her from going too far and becoming the very monster that she’s been fighting to protect others from.
This is basically another Death Wish-style grisly revenge thriller when, as a true sign of how repeated this formula has become, we already even had a literal Death Wish remake with Bruce Willis earlier in 2018. It’s easy to understand the appeal of the lurid revenge fantasy, but they require more effort than Peppermint is willing to provide if they’re to rise above the litany of direct-to-DVD drivel. I’m in no way against this kind of movie, or direct-to-DVD action entities, but it all comes down to development and execution, and that’s where Peppermint slips up, having peaked at the idea stage. Clearly this was sold to film executives as a “lady Punisher or Taken” and it’s from the director of the first Taken, Pierre Morel. Garner was kicking (peppermint) butt and taking names for years on TV’s Alias. Why not? The problem is that there’s so little thought put to the characters, the plot, the action, and even the structure of basic payoffs. Here’s a telling example. The three gang members responsible for killing Riley’s family are themselves killed around the 45-minute mark, and they’re killed off-screen in a terribly anti-climactic and abrupt plot move robbing the viewer of any sort of emotional punch watching our heroine gain her years-in-the-making vengeance. Think this over. The only characters we’re really rooting for her to topple, to watch them be punished on screen for their misdeeds, and it’s off-screen. This isn’t No Country for Old Men here; it’s barely the eightieth rendition of Death Wish.
Garner’s character is too opaque to be that interesting. She’s allowed to vacillate between Grieving and Angry but that’s the extent of her depth. We never really get a sense of what’s going on with her, how her actions are affecting her. She’s not even that interesting as an action lead. There’s no real glimpse of a personality here. She’s more a weapon poised to her next target, with little down time between. Garner gets into toned fighting shape and has a flinty, F-you vibe and it all feels wasted on creatively lacking fight choreography. Riley becomes a social media avenger and this is about as much commentary or depth the film affords her. Because we squandered the catharsis of seeing the guilty gang members get their just rewards, the movie has to manufacture more disposable Latinx criminals, like they put out a casting call for characters they forgot they were going to need. From a structural standpoint, you never get a great sense of where Peppermint is going after that 45-minute mark. It just opens on one location after another and we watch Riley wreck havoc on personality-free bad guys we never got a chance to know and loathe. It starts to feel like a series of mundane video game stages to be cleared.
Many of the shortcomings can be forgiven if the action delivers, and it simply cannot. It’s one bland fistfight and shootout after another. There isn’t a sequence I can remember that stands out. There are moments, punctuations of vicious violence that has a brusque, darkly comic accentuation. There’s nothing remotely John Wick, or Atomic Blonde, when it comes to the fight choreography. The geography is too rarely taken into account and there are few organic complications. This is flabbergasting when you remember that Morel also directed the vividly kinetic French action movie District B13. The editing here also feels very choppy, taking more away from Garner’s physical skills having their showcase. One of the great moments of 2017 was the brutal and brutally long tracking shot following Charlize Theron’s super spy pummeling men through her growing fatigue. It was a sequence designed to showcase the choreography and the actress’ refined skills. What constitutes Riley North’s own “particular set of skills”? There’s nothing especially clever about how she dispatches with the bad guys. Her path to vengeance comes across as too easy. She’s able to torch an entire piñata warehouse of gang members like a cheap… piñata. The easy victories and lazy action development are the final reminders that this is a rote genre paycheck and little more.
Whether the peppermint was in her daughter’s blood, her butt, or any other personal cavity, it’s a terrible title for an R-rated action movie and reeks of the forced sweet/nasty irony I think the filmmakers, or marketing team, want to employ by having a woman as their Charles Bronson-styled deliverer of death and destruction (what, a woman as a killer?). The action is forgettable, the characters are barely one-dimensional clichés, and Garner deserves better. She’s 47 years old and as spry and captivating as ever. Give her an Atomic Blonde of her own. Peppermint isn’t it. If your expectations are generous, you may find just enough to keep your interest with Peppermint. It left me with a bad taste in my mouth.
Nate’s Grade: C-
Coming off the cataclysm of Avengers: Infinity War, Marvel’s latest serves as a palate cleanser, a breezy and light-hearted comic adventure with little more on its mind than having fun with its possibilities and leaving the audience happy. The basic premise of a team of thieves that can shrink or expand at will calls for a light touch, and returning director Peyton Reed (Bring it On) and his team have a strong idea of what an Ant-Man movie should be. Ant-Man and the Wasp won’t blow anyone away with its story or characters but it hits a sweet spot of silly comic affability that kept me smiling.
Scott Lang (Paul Rudd) is close to ending his two-year house arrest following the events of the Berlin brawl in Captain America: Civil War. His old partner Hope Van Dyne (Evangeline Lily) a.k.a. the Wasp is working with her scientist father, Hank Pym (Michael Douglas), to discover the location of the missing Janet Van Dyne (Michelle Pfeiffer), lost for decades in the subatomic quantum realm. They need Scott’s help to steal the final parts necessary to complete their quantum field transporter. There are other forces looking to make use of Hank Pym’s technology, namely Ghost (Hannah John-Kamen), a woman who can phase through matter, and an unscrupulous local buyer (Walton Goggins) looking to profit. With the help of the Wasp, Scott Lang must protect his friends and allies so they can rescue Janet Van Dyne before she’s lost for good, and he cannot be caught before his house arrest period comes to an end or he’ll go to jail.
When any action movie has unique circumstances, especially those in the superhero realm because of their unique powers, I crave the proper development of the concept and the action sequences to make clever and imaginative use of their available tools. If you have characters that can shrink, that can make other objects big or small, and there’s a villain that can phase, then I expect a thorough and fun implementation of these elements to separate the movie from others. It takes a while to get going, but once the streamlined exposition is behind us, including multiple instances of explaining the plot to the audience, Ant-Man and the Wasp zips by on its sheer sense of sprightly whimsy and visual wonder. Paul Rudd (Wet Hot American Summer) is still as effortlessly charming as ever and elevates every scene partner. When it’s moving, the film does a fine job at entertaining, with funny quips and charming actors and visual panache. When it slows things down to explain or introduce perfunctory characters (looking at you, Laurence Fishburne) that’s when it becomes less than mighty. Ant-Man and the Wasp kept me laughing throughout, especially with the triumphant return of series MVP Michael Pena (CHIPs) as the energetic, motor-mouthed Luis. There are enjoyable payoffs strewn throughout and solid comic asides. It doesn’t feel too jokey to the point that nobody involved cares. It feels like everyone is united with the same mission statement.
The final act in particular is a blast, as now we have our MacGuffin and all of the various teams vying for it in an elaborate series of chase scenes. The cars are racing back and forth, under and over one another, with characters constantly jockeying for top position. It’s an exciting flourish to a conclusion, and every time a car went tiny for a split-second escape, or an ordinary item like a Pez dispenser went huge to form an obstacle, I grew happier and happier. The screenwriters unleashed a flurry of fun and zippy action ideas. Some will balk at the lower level of stakes in the Ant-Man films, or their general aw-shucks silly charm, but I view both as a virtue. Just because it’s a superhero movie doesn’t mean there can’t be a healthy degree of amusement, if properly executed and applied.
The villains are kept interesting enough, through concept or casting. With Ghost, here’s another character that can manipulate matter to her advantage. Her back-story is pretty ordinary (science experiment, looking for way to end pain/save her life) and kept mostly uncomplicated, as her plan is a matter of life and death. Hannah John-Kamen (Ready Player One) has a terrific look and physicality to her, but she’s lacking anything really memorable to do as a performer. Her character has some cool moves but that’s all. It feels like more could have been done with this antagonist. Then there’s genteel local criminal Sonny Burch who is given great gusto by Walton Goggins (The Hateful Eight). It’s like he simply plugged his Justified character’s smooth charisma. He’s a gentleman robber who has just enough self-awareness to acknowledge the absurd. A highlight of the film is an exchange between Goggins and Pena. He’s so good in such a relatively throwaway criminal role that I wish Marvel had saved Goggins for something grander down the line, something to really let his charisma seep into his wild, anarchic energy below the surface.
With all that said, the events involving the rescue of Janet Van Dyne are the weakest parts of the movie, and this saps the other Van Dyne characters as well. I just found myself caring very little for this excursion into the quantum realm, especially when we have fancy heists and opponents who can walk through walls. I understand the importance the rescue mission has with the other characters, but it didn’t feel that important to me. I was more invested in Scott’s ever-increasing near misses being caught breaking his house arrest, which was days away from being lifted by the FBI. Those scenes gave me the delightful Randall Park too (TV’s Fresh Off the Boat). Maybe it’s a casualty of the film’s genial tone, but I think the real culprit why I found myself unmoved is that the Janet rescue is the core storyline attached to Hope and Hank. Beforehand, Hank Pym served as a grumpy mentor figure for Scott, and now he’s mostly complaining about Scott’s exploits and how they invariably jeopardize the retrieval of his wife. Hope gets her spotlight, and name in the title, as Wasp, but she too is saddled with the same humdrum boring material. Lily (The Hobbit films) goes from scene to scene with a cloud of pinched annoyance. They’ve taken two characters who were more interesting in the first film, sanded off things that made them interesting, and bumped up their screen time, which is not a great formula. Everyone seems so irritable around this plotline, and when you haven’t invested much in it, that irritation becomes dangerously off-putting.
If you’re looking for silly, lighthearted escapism, Ant-Man and the Wasp is a superhero flick with entertainment as its top priority and enough infectious fun to achieve its more modest goal. It doesn’t follow the heist formula of the first film but it still finds room for comic asides and stacking payoffs for a lively, inventive final act. It’s definitely a lesser movie in the Marvel Cinematic Universe (MCU) but you need adventures in lower stakes too, especially after twenty movies and counting. Ant-Man and the Wasp could have used some fine-tuning and tightening, especially in its second act, and the quantum stuff definitely didn’t register for me, but it’s a mostly fun and acceptable summer escapade.
Nate’s Grade: B
Dear reader, I want you to know upfront that I’m writing this review for one major purpose, and that is to complain about its ending. Had this movie ended differently, I probably would have simply postponed writing about it. Then writer/director Aaron Katz (Land Ho!) went with his ending, and now we need to talk about Gemini, a neo-noir set in the world of movie stars, paparazzi, and sycophantic hangers-on in the city of angels.
The beginning thirty minutes do a fine job of establishing a world and perspective. We follow the day-to-day of Jill (Lola Kirke), a personal assistant to a popular actress, Heather Anderson (Zoe Kravitz). She deals with pushy directors, invasive press, and boundary-blurring fan interactions. She’s Heather’s support and one of her best friends. Katz does a very effective job of establishing Jill’s world of responsibilities as well as her confusing sense of where she fits in this equation. Is she more hired-help or BFF? Heather backs out of a movie and talks about starting her own production company, with Jill and her developing projects that appeal to them. That night, Heather is fearful that someone has been following her and asks for a gun. Jill gives her one, loading the bullets. The next day, Jill comes back to Heather’s palatial home and finds her dead on the floor and the growing realization that she is the number one suspect (her fingerprints are on the gun).
That’s the first third of the movie and it works well. Katz’s screenplay slowly builds, organically establishing the complicated world of Jill and her general sense of being an outsider wherever she goes. Once the murder takes place, Gemini becomes more recognizable with its film noir elements, as Jill adopts a disguise and investigates a series of suspects that could have killed the starlet, including the director she spurned and an old boyfriend who has trouble letting go. This is also where Katz introduces a new threat in the presence of Detective Edward Ahn (John Cho). He’s a calm, empathetic man but he always seems to know more than he lets on, asking probing questions that Jill doesn’t feel comfortable answering. Each new trip to a suspect presents a different mood and aim. Jill’s visit with the director becomes a humorous sit-down where the guy theorizes who is guilty if it were a movie, finally concluding it would probably be Jill as a twist. Jill infiltrates the ex-boyfriend’s hotel room and has to avoid detection and it is an efficient small-scale suspense sequence. All the while the detective appears to be circling something.
The are several merits of Katz’s film that are worth mentioning. The acting is generally good all around, especially from Kirke (Gone Girl, Amazon’s Mozart in the Jungle). She’s a natural screen presence while still radiating a sense of relatability. There’s a lot going on behind those saucer-eyes of hers and I wish the movie served her better by the end. Kravtiz (Rough Night) and Cho (Star Trek Beyond) are both unpredictable in different ways, making the audience glean extra subtleties from their guarded performances. The sleek cinematography by Andrew Reed (Cold Weather) deals in cool teals and purples, creating a hazy, 1980s-esque atmosphere without becoming annoying omnipresent like in a Nicolas Refn film. It’s style without being eaten alive by it (Neon Demon broadside?). The musical score by Keegan DeWitt (Hearts Beat Loud) is suitably moody, working in typical noir elements like brass instruments with a modern ambient sensibility. Under Katz’s direction, the movie has fun with introducing classic noir tropes and giving them a twist, as well as diverting from them, like our heroine being an ordinary outsider.
And now comes the part where I must discuss the ending to Gemini and, in doing so, will spoil the movie significantly. If you’d like to continue reading and understand the bulk of my grievance, please proceed ahead with spoilers. This has served as your warning, dear reader.
As the film is nearing its end, it looks like Heather’s secret bisexual fling is being presented as the most likely candidate. The two of them were caught smooching by a late-night paparazzi and this could present some career problems. Jill sneaks away from the supposed lion’s den and heads out to a cabin in the California woods, the spot the fling was talking to. She enters the cabin and finds… Heather there alive and well. You see the dead body in Heather’s home was not her but the super eager fan they had encountered earlier, a look-alike made more obscured with parts of her brain missing. Apparently Heather killed her because she was stalking her and she feared for her life, or so she says. She hid out and waited for everything to die down. Jill is understandably very angry especially since she became the prime suspect. Heather is sorry but not that sorry. Do the crime scene investigators not take fingerprints? Blood samples? I’m uncertain of the timeline of Gemini but this fake-out could only last a couple days, charitably. It creates suspicion that there’s more than Heather is willingly admitting.
This sets up an exclusive interview with a big journalist, the first point in re-branding Heather after the news came out, and trying to push the narrative in the direction they want. Then all of a sudden Detective Ahn shows up at the taping and asks if he can watch as a favor. Jill considers this, confirming the case is closed, and allows it. All right, it’s at this point where all the major players are together in a crucible of secrets. Something good is going to happen, because why else bring these characters together in this moment? And then as the interview begins and Katz’s camera slowly pans over to the L.A. skyline and slowly zooms in, and this is where I started yelling at my screen. This is not an ending. This is five minutes away from an ending. The comeuppance of a starlet thinking she can get away with anything and put upon her vulnerable and faithful assistant is all set. The instincts of our wily detective will be proven right. Jill will have become a stronger character, able to suss out the truth and cut off a destructive force. Justice will be had, the truth will come out, and it will feel like a natural climax of the entire 90-minute movie. And then none of that happens. Nothing happens. It’s all setup and then the L.A. skyline (end spoilers).
Gemini is a frustrating movie with good acting, a dash of style, and some potently moody moments to tickle a neo-noir enthusiast. Until the ending. I was flabbergasted. Katz delivered a cop-out of an ending, and subsequently makes his overall film one that I don’t even think I can recommend, even to neo-noir acolytes. Gemini, I wrote this review because of your ending and I’m still waiting on one. I’ll be here if you need me.
Nate’s Grade: C
The prevailing problem with Pixar sequels (and prequels) lacking “Toy” in their title is that they never feel like stories needing to be told, tales that will enrich our understanding of the characters and their larger world. I would much more gladly like a Monster’s Inc. sequel where Adult Boo is visited by her old closet-dwelling friends rather than an inoffensively cute prequel explaining how characters became friends long ago. The Incredibles universe always seemed like the one most demanding of a real sequel. Writer/director Brad Bird created a rich retro-futuristic world with numerous possibilities. I’m happy to report that Incredibles 2, while not soaring to the exact heights of its predecessor, is still a very worthy sequel that even manages to outshine the original in select areas.
Taking place literally seconds after the conclusion of the 2004 film, the Parr family fights together against the Underminer. The city, however, is none too happy about the collateral damage. Superheroes are still illegal. There’s no more relocation either. The Parrs are stuck, until a pair of billionaire siblings (voiced by Bob Odenkirk, Catherine Keener) reaches out to try and repeal the superhero ban. They want to position Helen Parr a.k.a. Elastigirl (Holy Hunter) for the public relations campaign (she causes a lot less collateral damage than her husband). Bob Parr a.k.a. Mr. Incredible (Craig T. Nelson) encourages his wife to go out and save the day, though he’s barely holding back his jealousy. He takes on the domestic duties, helping Dash (Huck Milner), moody daughter Violet (Sarah Vowell), and the young baby, Jack-Jack (Eli Fucile, reprising the role of voicing a baby, for real). A villain known as the Screenslaver is terrorizing the city and hypnotizing citizens through hijacked broadcasts. Elastigirl tries to uncover the mystery of the Screenslaver while Mr. Incredible tries to juggle the realities of stay-at-home parenthood.
Bird’s sense of visual inventiveness is still heartily alive and whimsically well in the medium of animation. Bird’s original film was an imaginative marvel with its intricate action sequences, some of which are the best in any medium, animated or live-action. He’s a choreographer of action that upholds the basic tenants of action, namely that if you have characters with special abilities, they should be utilized, along with attention toward geography and the purpose of the scene. It’s a genuine pleasure to watch well developed action sequences that go beyond flashy style, that account for mini-goals and organic complications. Take for instance Elastigirl’s motorcycle chase scene. It’s exciting as is but when the bike breaks apart, taking advantage of Elastigirl’s stretchy powers, that’s when it becomes even more gratifying and clever. There is a group of lesser super heroes that come out of the shadows thanks to Elastigirl’s heroics. At first they’re played for primarily comedic value, but Bird smartly turns them into a force to be reckoned with when they band together. I especially appreciate having a character with portal-manifesting powers and finding many opportunities to explore this unique power. When the film is humming with its visual energy and inventiveness, Incredibles 2 is a gloriously entertaining and satisfying action movie told by one of the best on the business.
The action is on par (no pun intended) with the first film even as the overall experience lacks the emotional stakes and depths of the first Incredibles. That should not be seen as some destabilizing deficiency as The Incredibles was a nearly flawless film (it’s my second favorite Pixar film after WALL-E). There were moments in the original film that transcended the superhero setting, where they Parr family felt like real people with real emotions and relatable stakes, like Mr. Incredible’s confession that he’s not strong enough to suffer the loss of his family. While Bird’s film made several homages to the James Bond cannon, there were real stakes. People could die. Many superheroes did, albeit mostly off-screen. This was Pixar’s first PG-rated film and that’s because it dealt with some heavy thematic issues in a mature manner. The bad guys weren’t like the movies, Helen Parr warned; they would kill children if given the chance. Incredibles 2 doesn’t have any real moments like that to cut through the whiz-bang.
This time it’s Elastigirl enjoying the limelight, and there’s a notable feminist message of a woman finally getting her due. She relishes the adventure though is willing to sacrifice it for her family if needed, which her husband will refuse to allow her to do. Her success is his success, he reminds himself. The sooner she succeeds the sooner he can also get back out there to fight crime. I think one of the reasons the characterization isn’t as developed this time is because of the abbreviated time frame. We’re literally picking up seconds from the first movie and dealing with the immediate consequences. We’re only following the events of a few weeks, maybe months at most, and while the Parr family undergoes trials and disappointments, It feels like maybe there just wasn’t enough space for the characters to have succinct arcs and grow substantially. This is a quibble for an otherwise great movie. Incredibles 2 still stay true to the characters you love.
The exploration of Mr. Incredible’s descent into domestic life was my favorite part of the film, and I had been worried it would be outdated Mr. Mom-style jokes. The movie steers away from most of the tired gender tropes, moving past simply having an incompetent man performing household duties in hilariously incompetent ways. The jokes aren’t dependent upon a man doing them so much as someone who feels out of step and beleaguered, so parenthood in general. The first movie was about midlife identity crises and that has carried over into this sequel as well. Bob has a meaningful challenge with each one of his children, having to re-learn old concepts with his son and adapt to new ones, having to tackle the minefield of dating with his daughter and finding the right tone, and the increasingly the demands of a child with, let’s call them, special needs. The Jack-Jack segments are inspired pieces of old school Looney Tunes slapstick. Each new power provides another point of discovery for our characters that, remember, are initially clueless about Jack-Jack’s amazing abilities. Mr. Incredible is so eager to get back to being a super hero that forcing him to confront his own inadequacies as a parent is a smart way to better open him up as a three-dimensional character. I enjoyed the action of Elastigirl’s spotlight missions but I kept looking forward to returning to the other Parrs.
In a few areas I would even say Incredibles 2 has its original beat, especially in the realm of comedy and visual inventiveness. Part of that is simply the advancement of the technology allowing Bird more freedom to up the ante as well as showcase more intricate facial emotions. There are some areas that just cannot compare, which is not to say that they are bad on their own. The late twist of the villain’s identity should be more than obvious for anyone paying attention. The themes of this movie are much hazier this time around. There are a few that pop up, like police surveillance and body cams, then a general screed against the general social malaise brought on from technology, then breaking unjust laws to serve a more realized sense of justice, and then finally the movie settles on what seems like its true theme, the danger of being too dependent on, essentially, government assistance. If the superheroes represent the government, the villain’s plot is to shake people away from waiting for the superheroes to fix everything and growing over reliant on outside assistance (finally a summer blockbuster with a message even Paul Ryan could love). Bird has featured some Randian ideals in past films, The Incredibles a prime example. My pal Ben Bailey strongly believes that the first film’s villain had the right idea though wrong method. Superheroes are by design egotistical. The belief that there are people who are better and deserving of a elite, preferential status seems antithetical with the sequel’s major theme. Or maybe it’s the mutated evolution of Ayn Rand’s sense of political objectivism. Feel free to debate at the kitchen table with your own family.
If the major fault of Incredibles 2 (there is no “The;” look it up if you doubt me) is that it can’t quite live up to the dizzying heights of the original, then that’s hardly a damning fault. In the 14 ensuing years, the superhero movie has become the dominant Hollywood blockbuster, and Bird needed to think long and hard about how his return visit would distinguish itself from a cluttered landscape of super heroics. Bird finds meaningful and interesting stories for both the “normal” version of his family unit as well as their super selves. Fans of the original should find more than enough to entertain themselves with even if the depth and characterization aren’t as wonderfully realized. There’s great comedy, great action, and great fun to be had with Pixar’s best sequel not with “Toy” in its title.
Nate’s Grade: A-
The Ocean’s movies, with the exception of the too-cool-for-school 12, have glided by on their charm, style, and a knack for having fun with cool characters and satisfying twists and turns. After 2007’s rebounding Ocean’s 13, it looked like the franchise was going back to dormancy, and then writer/director Gary Ross (The Hunger Games) resuscitated it with an all-female team, following the exploits of recently paroled Debbie Ocean (Sandra Bullock). Like her (recently deceased?!) older brother, Debbie has a big score in mind, the New York Met Gala, but more specifically a $150 million diamond necklace to be worn by self-involved acting starlet, Daphne Kluger (Anne Hathaway). Debbie gathers a team of specialists and, with the help of he best friend Lou (Cate Blanchett), the assembled eight schemes to get rich off the neck of Ms. Kluger. Like its predecessors, this movie glides on by thanks to fun characters to root for and a fun heist that packs enough setups, payoffs, and reversals. The heist formula demands a protracted setup but this gives way to a bevy of payoffs, when done correctly, and even more payoffs when complications must be dealt with in a rapid time. Each of the ladies get a significant part of the heist, though not all of them have the same level of memorable involvement in the movie itself. Ocean’s Eight is a slick crime fantasy given a feminine twist, dipping into gaga fashions, killer jewelry, and celebrity worship. Bullock is a strong lead but it’s Blanchett that won my heart, so confidant in her wardrobe of striking men’s wear. Hathaway is a cut-up as a flaky actress needing constant validation. Part of the allure of the movie, and the heist itself, are the high-end clothes and accessories. Its prime escapism for the target audience to “ooo” and “ahhh,” as my theater did. Ross follows the house style of Steven Soderbergh closely with lots of tracking shots, zooms, and a consistent sense of movement. The pacing is swift and thankfully there’s a significant resolution after the heist that still finds time for even more payoffs. It’s not quite on par with the original, but I’d declare Ocean’s Eight the best of the sequels. It’s fizzy fun, but what happens if there are three more of them?
Nate’s Grade: B
It’s one part survival-at-sea drama, one part relationship drama, and you get an equal slice of both until an unforeseen ending explains why the narrative was so divided. Based on a true story, Adrift tells the journey and survival of a couple (Shailene Woodley, Sam Claflin) lost at sea for 41 days after getting too close to a hurricane. Woodley takes the lead to fix the sailboat, gather supplies, tend to the grievous injuries of her boyfriend, and plot their treacherous path to Hawaii. If they’re off just a few degrees, it will be life and death. The survival half is viscerally entertaining and steady with its details, allowing the audience to get comfortable in following the steps and reasons. The camerawork by director Baltasar Kormakur (Everest) is sweeping and methodical, pulling us into the danger and isolation while creating a sterling sense of verisimilitude. The screenplay vacillates between the present and past, supplying flashbacks to fill out the romantic relationship. It’s a smart move because it allows us to immediately get into the stakes of survival while also finding room to develop the characters in a more normal setting. Plus it also makes more sense by the Tully-esque end. This is pretty much Woodley’s (HBO’s Big Little Lies) show; her secondary co-star might as well be her nipples poking through her character’s swimwear and tops. As readers may know, I’m a big fan of Woodley and the naturalism she brings to her performances, and Adrift is no exception. She can say so much through her smiles. She’s a great anchor for a storyteller. Ultimately, Adrift is a survival drama that takes a while to get going but leaves a favorable impression thanks to the acting and technical merits.
Nate’s Grade: B
Can you tell a rape-revenge movie from a feminist perspective? The lazy storyteller or analyst would say movies like I Spit on Your Grave are feminist because it involves a wronged woman wrecking righteous vengeance on her almost-assuredly male attackers. However, if you’ve seen I Spit on your Grave, or its remake, or any genre thriller where rape is treated as the inciting incident, you’ll know these movies are hardly feminist. The protagonists typically exist to be objectified, then traumatized, then transformed into sadistic killers. It’s not exactly the most nuanced or dignified portraits of sexual violence. French writer/director Coralie Fargeat attempts to give this tired trope a feminist spin with Revenge, a thrilling, grueling, wildly bloody good time. It’s a thriller with real bite.
Jen (Matilda Lutz) is enjoying a vacation with her boyfriend Richard (Kevin Janssens), who also happens to be a married family man. She’s lounging around in a deserted bungalow for Richard’s hunting getaway, a regular vacation he shares with his other pals Stan (Vincent Colombe) and Dimitri (Guillaume Bouchede). Jen makes herself at home and Stan, in particular, lusts over her. While Richard is away, Stan attacks and rapes Jen. Richard offers to set her up with a new life in another country but Jen refuses, demanding to go home. She runs off and is pushed off a cliff by Richard. Miraculously, she survives, and from there the three hunters try to track her down and cover up their misdeeds.
It’s a simple story but Fargeat has an uncommonly sharp command of her craft, knowing what exploitation elements to double down on and when it’s best to show restraint. This allows Revenge to unfold with a natural sense of pacing and direction while still achieving a high level of thrills and satisfaction. I appreciated that Jen doesn’t suddenly become an expert merchant of death. This isn’t like 2013’s You’re Next (though the final act starts to dip into that film’s black comedy of absurdity) where the damsel ends up secretly being a highly-skilled and highly-trained warrior. In Revenge, the self-entitled creeps think they have the upper hand throughout, constantly underestimating the resourcefulness and will power of Jen. Very early in the second act, the three men are on the hunt for Jen, so the movie becomes a cat-and-mouse thriller with each new set piece being its own engrossing mini-movie, adopting varying degrees of tone. There’s a lovely A-to-B-to-C sense of progression to the plot as Jen confronts a new set of obstacles, all the while being hunted by three cocky sexual predators. There’s great joy in rooting for a worthy underdog and also watching villains robbed of their own joy.
Revenge easily taps into our desire to see justice befall some very bad people, and maximum carnage ensues. This is an outstandingly gory movie and the first I can recall in quite some time that genuinely forced me to avert my sight. Fargeat’s camera gets you up close and personal to gashes and seeping wounds, enough to see layers of tissue and fat, and her camera lingers on the bodily destruction, forcing us to squirm in discomfort. It’s highly effective and yet doesn’t feel gratuitous. When the camera dwells on Jen’s wounds, it’s about her perseverance and strength. When the camera dwells on the wounds of the gents, it’s about the extent of their outlandish punishment. There is a hallucinogenic series of gonzo, gory kills meant to goose the audience for extra fun, and it had me laughing after the third daffy dream sequence-within-a-dream sequence. The final act ramps up the bloodletting to an almost comic degree. Characters are literally slipping and sliding on the floor from the copious amount of blood spilled.
This is a gruesome movie to watch but Fargeat knows what an audience wants to see and squirm over and what they don’t. This is typified in how the rape is portrayed. For the beginning of the first act, the camera seems to adopt the perspective of voyeur, often perfectly framing portions of Lutz’ body, notably her posterior. The men take turns leering at her but so has the audience at this point. It affects us to the male gaze. Then an increasingly agitated Stan harasses Jen. This uncomfortable sit-down is excruciatingly tense because we’re waiting for him to pounce, but it also has an effective power because it illustrates the daily minefield women experience deflecting the unwanted attention and affections of men. She’s desperately looking for safe ways out of the conversation that still save the man’s ego, a tricky navigation so as to not upset one’s toxic masculinity. The ensuring rape happens off screen as the camera leaves the scene with Dimitri who even turns up the TV volume to drown out Jen’s panicked screams. For anyone who’s sat through these kinds of movies, they often glorify the horror of the rape and can readily cross a line into icky intentional titillation. Leaving rape off screen is practically admirable.
Revenge is a cut above its genre ilk thanks to its strongly developed suspense sequences. Each set piece or confrontation presents itself in a memorable and different manner, requiring our heroine to use a different set of survival skills. Fargeat has a terrific sense of space, allowing the audience to understand the distances between the two participants. This allows the tension to simmer and boil as directed. Take for instance that bloody finale, which has an extended and very tense portion that revolves around two characters literally chasing around a circular hallway trying to get the jump on one another. That sequence doesn’t work without crisp editing and a proper sense of space. The director also knows when to draw out a scene with long takes and a wandering camera that makes you nervous about what’s going on where we don’t see. There are some wonderful moments of anticipatory dread to amplify the suspense. Fargeat’s smooth camerawork and sense of pacing allows the suspense to nicely develop, as she draws out the dangers for Jen and finds organic complications per scenario.
The actors ably perform their parts and Lutz (Rings) is a future star-in-the-making. A lot of physical acting is required from her and she is highly persuasive in every moment. Her happiness early on is infectious, her discomfort is grueling, and her desperate escapes feel frantic and wild, more a realistic human being fighting for their life than as some slick movie character coasting on a divine sense of cool. Her second half onslaught of titular vengeance still manages to keep the character grounded and mortal; she suffers setbacks and grievous injuries during these fights too, yet she endures. The other gentlemen give strong performances displaying different degrees of toxic masculinity, entitlement, and hapless weasel-ness when exposed. Stan, who previously had been enjoying his turn as an unpredictable threat in preparation to raping Jen, becomes a big blubbering weakling. Belgian actor Kevin Janssens reminded me a lot of a younger Aaron Eckhart. The movie is certainly elevated a few notches thanks to the actors giving you strong rooting points.
Revenge is a grisly, gory, and wild genre movie that will appeal to fans of indie thrillers but also extend behind that loyal clientele. Writer/director Coralie Fargeat demonstrates an innate understanding of not just the genre but the mechanics of suspense as well, engineering and executing terrific suspense sequences while keeping her familiar narrative fresh. I loved her attention to details (not just the gory ones) like the fact that Jen has these pink star earrings for the entire run of her vengeance. Fargeat understands this genre and its audience but also brings an empathetic, feminine perspective to our heroine’s awful plight. I was impressed how grounded this movie remained with its characters even as they were losing a blood bank’s worth of inventory. Even if you are more on the squeamish side when it comes to blood and gore, I’d recommend Revenge as an above average thriller that only becomes more satisfying in execution.
Nate’s Grade: B+
Just in time for Mother’s Day weekend comes two eminently bland, safe, and unmemorable movies that generally waste their female stars. Melissa McCarthy has proven herself one of the most funny and dynamic performers in comedy, but Life of the Party is a listless and groan-inducing back-to-school comedy that feels tonally off, adopting the persona of its tacky, talky, and awkward middle-aged mother. You would think the premise would lead to plenty of R-rated shenanigans, but instead the film adopts a very sedate PG-13 atmosphere, dulling the wild collegiate experience into something so predictable and safe as to be completely inoffensive. It feels like a caricature reminiscent of a feature-length rendition of a Saved by the Bell: The College Years. McCarthy falls back on tired, corny jokes that don’t attempt to be anything else, and the supporting cast is left to gasp and grasp for anything to spark laughs (special credit Gillian Jacobs for doing everything possible as “coma girl”). McCarthy is best when given room to improvise and discover interesting odd angles for jokes, but she also needs a stronger comedic vision, and that’s not going to come from husband/co-writer/director Ben Falcone (Tammy). It feels like they had a general outline for a comedy and, in grand collegiate tradition, pulled an all-nighter and sloppily finished a serviceable draft. I chuckled about four times, mostly involving an exuberant Maya Rudolph and the one clever structural payoff revolving around a much younger fraternal hookup. Mostly, Life of the Party lacks a sense of stakes, credibility, surprises, development, and laughs, though the middle-aged mothers in my preview screening lapped it up, so take my opinion with a grain of salt if the trailer seemed moderately appealing for you.
On the other side, Breaking In is a mundane, low-budget home invasion thriller that disappears almost instantly from memory. I’m struggling to even come up with enough to say in this review that isn’t just repetitions of the word “boring.” Gabrielle Union (Bring it On) plays a mom who brings her two children to visit the estate of her recently deceased, estranged father. Also visiting is a trio of stupid robbers searching for a hidden stash of money. They take the kids hostage though keep them locked in a room and in little danger. Union’s determined mother must break in and save her children. It’s a thriller without anything genuinely thrilling to experience, as each chase or near miss hums along ineptly and tediously, finding the least interesting conclusion. There are no well-drawn suspense set pieces to quicken the pulse, no clever escapes or near-misses, no intriguing villains with strong personalities, and no entertainment to be had through its strained 88 minutes. There are glaring plot holes, chief among them why doesn’t she just flag down a car and call the police rather than hack it alone. Depressingly, Breaking In is actually directed by James McTeigue (V for Vendetta) who seems to have exhausted any sense of style and excitement he may have had earlier in his directing career. It feels like nobody really cared about the movie they were making, and that lack of enthusiasm and effort translates into one very boring and very poorly written and executed thriller. Union deserved a better showcase but, then again, the audience deserved a better movie too.
Life of the Party: C-
Breaking In: D+
I’m going to write a sentence I’ve never written in my history of writing about film: make sure you get all the gas out of your system before sitting down to watch A Quiet Place in the theater. This intense little thriller relies upon a nearly silent film experience which makes you, in the audience, hyper aware of just about every little noise permeating your surroundings. Munching popcorn, opening candy wrappers, brief coughs, you’ll become highly attuned to the faintest of noises. This is why you, dear reader, should be advised to make sure you have no bodily gasses stored in your system. Unless that’s your plan all along, to break the tension with a well-timed expelling of flatulence, going from screening to screening, finding new purpose with being that guy, eating plates of beans in preparation for the long withholding. With all that being said, A Quiet Place is an ingenious little thriller with near flawless execution.
It’s over a year into a world overrun by monsters that are trained to attack the smallest of sounds. What’s left of humanity has had to adapt to a very quiet way of life. The Abbott family has ironically be given a head start to adapt into this scary new world that prioritizes silence. Lee (John Krasinski, also co-writer and director) and Evelyn (Emily Blunt) have a daughter, Regan (Millicent Simmonds), who is deaf, so the family has learned to communicate via sign language. The family walks barefoot on paths of sand and resides in a farmhouse on the edge of a rural community. The Abbott clan is still overcoming the loss of their youngest child who, at and innocent and naïve four years old, was taken by the monsters. Now Evelyn is expecting a new child and the Abbotts must stick together if they are going to survive.
A Quiet Place is a brilliantly simple concept that’s exceptionally well developed and executed. Using the very concept of sound itself as the monster, or the prelude to the monster, is so clever and completely relatable. It trains the audience to fear sound itself. It also serves the role of placing the audience in a hyper aware state of continuous dread. Any little sound we deeply dread, and there are so many ways to make sound in this world above a whisper. The emptiness of the aural landscape creates a template to build upon, so that any small noise feels like an alarm to the sense. The gripping sound design brings a sense of the looming dangers as we hear the thundering claps and crashes of the monsters approach. Krasinski also very cleverly communicates the world from Regan’s deaf perspective. When the camera focuses on her, the sound levels drop entirely, and then when another character is onscreen, they rise back up. It’s an extremely effective and smart way to drop the audience into her vulnerable position.
This is a movie that sets up the stakes upfront. A young child dies for doing something stupid but entirely in character for a young child (whom I’m assuming never personally encountered these creatures). A Quiet Place establishes immediately that this new world is unforgiving of mistakes. A distracted mind, a false step, a sudden impulse, and anyone can be gone forever.
Like the similarly themed Don’t Breathe, the fun is setting up the world, the playing space, and the rules, and then watching it all play out. A Quiet Place does a great job of establishing its world and surroundings and once the action hits midway through it doesn’t let up until the end credits. Fortunately, the thrills never get old too because Krasinski and the other screenwriters, Bryan Woods and Scott Beck, keep finding new and intelligent challenges to explore. The pieces all add up and the details make this world feel extremely well realized, from the marked squeaky floorboards to the routines if separated to the colored warning lights. The tension is already at a constant simmer from its very effective opening sequence that sets the mood. A simple exposed nail on a stair can be a returning point of tremendous uncertainty time and again. The very presence of a pregnancy with a looming due date feels like a bomb waiting to explode. How in the world will a baby be born in a world that punishes sound? I watched this movie with my hand covering my mouth for a far majority of it. Even the jump scares feel well distributed and earned in this movie. Mostly, it’s a film that makes you twist in that delicious sense of anxiety as you wait. It’s nerve-rattling in the best possible way.
Another aspect of what makes the film so worthwhile that won’t get as many headlines is how well developed it is as a drama about a family overcoming grief and guilt. Each member of the Abbott family feels some level of blame for the tragedy and is punishing his or herself. In a way, the events of the film are about processing that grief and handing over the protection of the family. It’s an unspoken shroud that hangs over the entire family, you can see it on their faces, with the heaviness in their eyes, and in their day-to-day anxiety. The film does a great job through the character of Marcus (Noah Jupe), the middle child, of showcasing how this terrifying new normal would affect and fray one’s psyche. He’s petrified with fear and consumed with the scary burden of having to ascend into the role of protector and provider that his father is trying to groom him for when the inevitable comes. The happy version of “the inevitable” is Evelyn and Lee growing old and feeble. The more realistic version is the two of them at some point being felled by these murderous monsters. When Marcus is given a moment to let his guard down, to not worry about the volume of his voice, it’s a sweet father/son moment of bonding that feels entirely fulfilling as well as insightful about this new, peculiar way of life.
A central conflict is the friction between Regan and her father and their desire to understand and empathize with one another. The film’s biggest emotional moment is the conclusion of this, and it feels so fully earned and poignant that even typing it out now stirs me. It’s the culmination of a well-structured screenplay that has found its moments for character development in a nearly silent movie, so that when declarations are made, even with the monsters and its creepy gimmick, you’ll still feel something. These characters matter and their struggles are universal and emotionally appealing. The acting all around by the young children and Krasinski and Blunt is completely believable and engaging.
For a relatively low-budget thriller, I was surprised how much of the monsters we actually saw onscreen. Krasinski still prefers to keep his monsters on the peripheral or in the background, letting the audience’s imagination fill in the horrifying rest. That’s where I thought the movie would stay, but it does not. There are several close-ups of the creatures at work, a mass of teeth and auditory sensors. Their heads open up like blossoming flowers. I know the designs are CGI and yet they looked very realistic, as realistic as a fanciful monster can, naturally. It had the sheen of practical effects, which is the best compliment. The monsters reminded me of the Cloverfield creatures mixed with the Pitch Black aliens. It’s a spooky design and under Krasinski’s attention the menacing creatures never stop being scary.
Who knew John Krasinski had this in him? The affable actor best known for portraying Jim Halpert on the long-running American version of The Office has directed before, an adaptation of a David Foster Wallace book and an indie family dramedy. He’s never ventured into genre filmmaking before. But then again, neither had fellow funnyman Jordan Peele, who came out of nowhere in 2017 with Get Out and rode that to box-office riches, critical acclaim, and an Oscar for Best Original Screenplay. Maybe more performers we view simply through the lens of comedy have tremendous potential to be genre virtuosos. A Quiet Place is not an outright silent movie but one where silence is most keenly felt. The simple premise is beautifully realized, the characters and their plights are affecting, the details are fully thought through (though newspaper publishing is questionably late into this sound apocalypse), and the structure is smartly placed and paced. If you’re looking for a suspenseful, intense, and invigorating movie, A Quiet Place feels like a work out for the senses.
Nate’s Grade: A-
Lara Croft was best known for her exaggerated physical assets (rendered as Madonna-worthy pointed polygons) and short shorts than as any sort of character. She was realized on the big screen in 2001’s Tomb Raider as an elite physical specimen portrayed by Angelina Jolie, where the filmmakers went the added step of padding Jolie’s bosom to better reflect the source material’s image. The filmmakers literally thought this aspect would be make-or-break with fans, as if Jolie herself was not naturally vivacious enough. As you can imagine, Lara Croft was primarily seen as a sexy avatar, whether on the small screen or the big screen. This new Tomb Raider aims to better ground its story, tone, and central heroine, and it mostly succeeds. This is a solid, pleasantly enjoyable mid-tier action movie that might also qualify as the best video-game-to-film adaptation so far (sorry Uwe Boll).
Lara (Alicia Vikander) is struggling in the wake of her father’s (Dominic West) disappearance. It’s been years but she holds onto hope that dear old dad is still out there. One day, she discovers her father’s secret study and a video message he recorded confessing why he left. He’s seeking a fabled tomb on a hidden island off the coast of Japan, a tomb devoted to a powerful goddess of myth who sacrificed her admirers. Also looking for the tomb is Vogel (Walton Goggins) and a team of armed mercenaries. Lara must stay ahead of the mercenaries, find her father and the long-lost hidden tomb.
This is a Lara Croft stripped down and absent the male gaze, which has defined her travails just as much as the treasure hunting adventures. There’s not a single shot in the movie that seeks to ogle Vikander’s lean body. Even her outfit, as mentioned a staple of Croft’s early appeal, is a modest take top and khakis. The emphasis this time is on what she endures and overcomes rather than the curvature of her body. This is an attempt at an origin tale, rebooting Lara for a new generation of fans. She’s less the cool buxom sexpot with the twin pistols than a struggling young woman facing her fears. This is the first time Lara Croft has been envisioned as a character. There’s a level of broader realism that the movie holds onto, positioning this Croft as less the gun blazing super cool badass and more as a stealthy, plucky, and scrappy figure of moderate action. There are moments where she hides and moments where she runs, as they are the best recourse. She’s not imposing in her build and poise like a Gina Carano (Haywire) but Vikander’s got some serious moves. With all that in mind, let’s not get too carried away here. Lara Croft may have some extra dimensions but she’s not exactly a fully formed, three-dimensional character or boasting the kind of magnetic personality that drew us to Indiana Jones or even a Nathan Drake. She’s capable but also limited in interest and charisma.
The action is invigorating enough and given a clear scope of play. Norwegian director Roar Uthaug (The Wave) orchestrates the action in clean long shots and precise edits, allowing the audience a clear sense of what is happening. A frantic bicycle chase and foot chase in the first act are given extra vitality by a roaming camera that takes in the full view. There’s enough variety in the action and natural consequences to keep things interesting. This is a movie that doesn’t feel overpowered with CGI, even though I know it’s present. Uthaug makes a point of emphasizing practical effects and sets, which adds a further level of realism to the excitement. I’d call it a more pared down, realistic version of an action adventure but it still has outlandish set pieces like Lara finding refuge atop a crumbling WWII era bomber that just so happens to be wedged atop a rock face overlooking a steep waterfall. Even during these moments, and the last act takes place almost entirely within the ancient tomb and its traps, the movie keeps things relatively credible. It’s fun without being too flippant and serious enough without losing its sense of amusement. Tomb Raider reminded me a lot of a big-screen version of an Uncharted game, a rollicking adventure that also feels rooted in our own world, but with a hint of the supernatural creeping along the edges. The conclusion has a few nice surprises following this pattern even with the possibility of actual zombies emerging.
Vianker (The Danish Girl) acquits herself nicely in the realm of action-adventure. She gained twelve pounds of muscle and has a pretty impressive six-pack. Vikander is a smaller actress by nature but the filmmakers do a fine job of placing her in believable action scenarios that rely upon her athleticism. Her Lara is a stubbornly independent protagonist who refuses to give up, which makes her a winning force even when her personality fails to sufficiently light up the screen. Vikander hurls herself into the role, performing an impressive array of stunts, and yelping along to the genre demands.
There are some plot holes that are hard to ignore, mostly pertaining to motivations. In the first act, we learn tat Lara is heir to a vast fortune of money and a big company that owns many other subsidiaries. However, she refuses to essentially inherit the company because it means having to sign papers declaring her missing father as deceased. I understand the character’s rejection of wanting to accept her father’s death, but when taken to this extent it becomes almost comical. Lara is seen scraping by for enough money to survive on her own. She’s forced to pawn her heirlooms and work as a bicycle messenger. She’s struggling to get by and yet her pride is standing between her and a massive fortune. This is just stupid. What’s to stop Lara from signing the paperwork, inheriting the fortune, and using said fortune to continue the search for her father? There’s also the motivation of her absentee father, who left to thwart the bad guys from finding the special tomb. However, he inadvertently leads them there because he was tracked. Had he not even left, the bad guys would not have found the island’s location and he could have been in Lara’s life. This is transparent potting to simply move the pieces across a board. Another example is Lu Ren (Daniel Wu) a ship captain ally she picks up that serves no real purpose other than ferrying her to the island. One character that benefits from motivation is the villain, Vogel. He’s not some mustache-twirling rogue but rather a guy hired for a job that wants to go home and see his kids again. It’s a nice, empathetic touch that makes Vogel grounded and a better fit.
Tomb Raider is a smaller, leaner, and enjoyable little action movie of modest ambitions. That sounds very conditional, I’ll admit, but it’s a scaled-down version of an exaggerated character doing splashy, sexy, exaggerated action heroics. It’s a stripped down reboot that grounds the action while still finding enough ways to have fun. It does get a little caught up in the edicts of an origin tale, overpowering moments with “First” significance (First Adventure, First Kill, First Fight, etc.). There are also some head-scratching plot holes that get glossed over to keep things moving along. Vikander is one tough cookie, and the film celebrates her brains as well as her brawn and absent any ogling camerawork. Tomb Raider is a suitably exciting action film that gives some hope for future Croft adventures.
Nate’s Grade: B