I have history with Countdown. Nothing personally with this movie written and directed by Justin Dec but because of the concept, a killer countdown ticking down to a specific person’s ultimate demise. In 2015, a screenwriting pal of mine Joe Marino and I were developing a TV series pitch for… a mystery involving a website counting down to the specific second of specific people’s deaths. We even called it… “Countdown.” Our pitch, which we presented to a producer and, as far as I know, never got further than that, would have opened bigger and bigger, starting with a mysterious slasher killer on a college campus that opens up to, eventually, a self-aware machine arranging life-and-death judgements and manipulating technology to see it through. I still have the pitch document and, if I do say so, it’s not bad. I don’t hold any suspicion with Dec and the filmmakers behind this version of Countdown. Anyone can independently come up with the same high-concept premise, it’s just funny to me the similarities between the two. It’s also unfortunate because, after having seen this 2019 Countdown, that there won’t be any other versions of this worthwhile premise.
Quinn Harris (Elizabeth Lail) is a nurse who is still coming to terms with her mother’s tragic death, her feelings of guilt over the accident that caused it, and being harassed by her boss (Peter Facinelli). Her younger sister downloads a new cool app that predicts when a user will die. It’s only a countdown timer and some people get ninety years and others get three days. Quinn tries deleting the app, even buying a new phone, but it cannot be stopped, and she’s now having strange visions and meeting up with other users who fear the app’s threats are very real.
There’s a reason Countdown almost kind of works. The premise has power. It’s a modern mash-up of The Ring and Final Destination, with a technological trap that curses the user like The Ring and then as the seconds tick closer it becomes a paranoid guessing game of what could befall the victim, much like the sneaky appeal of the Destination movies. This is all evident in the film’s opening eight-minute prologue, which is actually, genuinely a good watch. Had Countdown merely consisted of this opening segment, it could have been an enjoyable short film. It establishes its premise, some degree of rules, then simmers in the dread, and produces a few solid creepy moments and a clever conclusion that signals what Plan A had been for the victim’s demise. It’s got enough punch and dread that I could see it performing well on a fest circuit.
The problem comes when the movie tries to arrange a reasonable explanation for all the supernatural spookery. The mystery of the unknown, a haunted app, is going to be better than uncovering the secrets behind the app and its “terms of agreement.” The mystery behind the app is less interesting to watch than the question of how a character is going to die, which is why this would work better in a smaller time frame like as a short where it plays its trick once. The killer app cites breach in agreement terms if users “alter their acceptance of fate.” It’s legally vague but could basically apply to any time any person cancels plans (an introvert’s worst nightmare come true). This is a silly notion because why is a magical phone app so particular about plans? Then there’s the moment where we get the specs on the data for this app and it’s… bigger than expected (“Like a whole season of Game of Thrones on your phone”). I guess that’s slightly unexpected but who cares? It’s little things like this that start to break down the internal logic of the movie’s menace and Countdown was better off when it didn’t have to support a feature.
The movie starts to crack when it tosses in subplots to fulfill a feature-length running time. Again, this premise could sustain a movie (and even a series) but when the conclusion is simply that the app is demonic and uses divine evil powers, then any sense of mystery about the particulars around it feels like jogging in place. What does it matter when the app can justify any action, counter action, or outlandish scenario because of its demonic nature? Our characters gang together with the belief they can somehow break the curse if they beat the counter by one second, but why would they have any sense this could work and with a supernatural presence that can just change the rules? When you’re dealing with, you know, evil demons, they’re not trustworthy. This explanation means that whatever happens can change at any time just because. It makes it feel like all of the untangled mysteries and the determination to beat the system through some assumed understanding of agreed-upon rules as unsatisfying detours.
The most egregious subplot happens to be a very serious case of sexual harassment and assault by Quinn’s boss. This feels entirely out of place for “scary phone app” movie, and it very much feels grafted on by some studio executive who thought they would make their movie more relevant with the changing times. Like some exec said, “Hey, throw in some of that Me Too stuff. That will show we care. Bring in the women. It’s a very real problem.” I understand that the filmmakers wanted to present a villain who could be conquered in the place of an unknowably powerful demonic entity. It feels monumentally tacky to awkwardly cram in a real story of sexual assault as a questionable means of making the film more topical.
I think there’s an interesting story potential of people, knowing the exact second of their death, using it as a motivator good and bad. Perhaps it motivates them to quit their job and finally tackle a long list of personal goals, ask that one girl out, write that novel as some sort of legacy. Or perhaps it motivates them to live a life free of consequences and to take vengeance against others knowing full well their remaining years have been cut short. There could be an entire group of people who view themselves almost as spiritual warriors who have been blessed with foresight so they run roughshod over society’s rules. There could be lots of interesting sociological and psychological areas this degree of foreknowledge could provide, so it feels a little reductive to simply have it be a demonic curse that nobody thinks much more about.
After appearing on numerous Worst of the Year lists, a countdown in its own right, I was expecting Countdown to be an awful, intelligence-insulting experience. I didn’t hate this. In fact, I think it’s rather competently directed with some effectively eerie moments for a PG-13 horror movie. I enjoyed the TWO comic relief characters, a sarcastic and unscrupulous phone salesman (Tom Segura) and a nerdy priest who is eager to help (P.J. Byrne). I thought the opening eight minutes could have served as a complete short film that would have gotten attention. The film even presents some interesting ideas and complications with its premise. It’s not a good movie, especially with its lackluster conclusions to a lackluster mystery, but it’s not really a bad movie either. It’s 85 minutes of a killer premise but lacking necessary development to keep the interest level high, which is why the jump scares with grabby, clammy demon hands pop up. Countdown isn’t bad as much as it’s more disappointing, a premise that could have been so much more.
Nate’s Grade: C
While it’s become somewhat fashionable to call Frozen overrated, I still think it’s a great movie with an even better soundtrack, songs that I can instantly think of and hear them immediately in my head. I figured Disney would be very careful about a Frozen sequel out of a tactic understanding that they didn’t want to damage their brand. It was six years ago so I figured they hatched a sequel worthy of the big screen and legacy of their billion-dollar hit, but what I received with Frozen II was more akin to a direct-to-DVD sequel that is meant to jump start an afternoon cartoon series called Elsa’s Magical Friends. Prepare for mediocrity, folks, and start dialing back those expectations. The story revolves around Elsa (voiced by Idina Menzel) discovering her past, traveling to a magical land, meeting magical tribes of creatures, and helping to unite a divided people. The sloppiness of the storytelling is staggering. The plot is filled with exposition and the world building is clunky and unclear, designed more to move things along and set up cute creatures ready for holiday merchandise. The characters arcs are nebulous, in the case of Elsa considering she’s never longed to discover a past, and resoundingly lightweight in the case of everyone else; Kristoff (Jonathan Groff) is worried about having the perfect proposal (yawn), and Anna (Kristen Bell) wants to support her sister but also doesn’t want her to march off into danger needlessly (yeah, and…?). Olaf (Josh Gad), the magic snowman, remarks about the nature of change, but by the very end of the movie nothing has really changed, and that’s even after a gigantic potential sacrifice that Anna makes by her lonesome. I felt some emotional pull for the characters but that was because of the holdover of my feelings for them and less because of the situations they found themselves in with this sequel. And let’s get to the songs, which are shockingly forgettable. I was forgetting them even in the middle of them being performed. There’s no “Let It Go,” but there’s also nothing as low as the troll song, but what we’re left with are milquetoast ballads and tunes low on hum-worthy melodies. The best song might actually be a jokey power ballad along the lines of Bryan Adams where Kristoff sings his woes. That’s right, a Kristoff song is maybe the best track in this movie. That feels like a pretty big indication something went wrong. It felt like the kind of quality you’d expect from a direct-to-DVD sequel’s array of new songs. Frozen II feels so bizarrely perfunctory and routine, absent a cohesive theme holding everything together and providing a firm landscape to direct the characters, and going through the motions. It’s not a story that adds greater depth to this world. If you’re expecting something along the lines of quality from the first Frozen, it’s better to simply let those feelings go. And what’s the deal with Elsa’s neck on the poster? It’s far far too long.
Nate’s Grade: B-
Mike Flanagan has taken the mantle from Frank Darabont and become the best film adapter of Stephen King’s stories. Doctor Sleep is a sequel to The Shining but it’s a sequel to Kubrick’s movie version, which King notoriously hated for its alterations. We follow an adult Danny Torrance (Ewan McGregor) as he struggles with addiction in the wake of his family’s tragedy linked to the Overlook Hotel. He starts a new life for himself as a hospice worker, aiding the elderly into a peaceful demise (where he earns the titular nickname), and he takes it upon himself to mentor a young girl, Abra (Kyliegh Curran), who has the same “shining” powers that he has. Trouble is others are looking for these same gifted few, namely Rose the Hat (Rebecca Ferguson) and her gang of traveling undead mutant vampire people feeding off the “steam” or life force of the super-powered they kill. They’re after Abra and her abilities so Danny must rescue her and eventually head back to the source of all his nightmares. This is a relatively solid sequel that has enough intrigue and suspense to cover over the dull parts. It takes too long to get going and then finishes things up too quickly, especially with a climax at the reawakened Overlook that is beginning to hit a groove with nasty ghostly suspense. It felt like I was watching Stephen King’s X-Men with his assortment of super powered people banding together and tracking each other down. The gypsy-like caravan of villains are pretty disposable and lacking strong personality or menace. Ferguson (Mission: Impossible – Fallout) is fun to watch even if she doesn’t feel that threatening. The rules and limitations feel vaguely defined and refined. The nods to the original Shining are selective and bring their own degree of power, as does seeing different actors portray these famous characters in flashback. Flanagan has reverence for both King’s source material and the beloved 1980 film, and bridging the two is a source of enjoyment. The characterization overall is pretty slack and there aren’t much in the way of genuine scares. It’s creepy, it’s occasionally atmospheric, and it’s also really long and drawn out, clocking in at 151 minutes, which is even longer than Kubrick’s movie. It’s an epilogue that gets by on the emotional investment and resolution it provides for Danny while setting up a larger universe of super “shining” psychics. If you don’t care about one, there’s at least some degree of the other to prove entertaining albeit also being underdeveloped. Doctor Sleep (a wasted title) is a workable balance between two masters of horror.
Nate’s Grade: B
As I’ve been making a concerted effort to provide thoughtful film reviews for local Ohio projects, I’ve had to acknowledge my potential bias in several circumstances, having personal or professional connections to those behind and in front of the camera. Well, when it comes to the genre comedy Night Work, this is the most biased I may ever get for a project not carrying my name. Writer/director Kyle Rayburn cast a good friend of mine, Valerie Gilbert, in a key supporting role, and I was so inspired with her character’s unique situation that I went and wrote a 9-part rom-com Web series called The Spirit Inside Me exploring that dynamic in the context of a different genre. Gilbert co-starred in my production, served as my co-creator, and Kyle not only gave us his blessing for our own independent project, he offered constant encouragement and assistance, opening his home to us to film one of the episodes (our lead actress threatened to kidnap his sweetheart of a dog). If it wasn’t for Kyle’s creativity, and later his generosity, there would be no Spirit Inside Me, and I’m very grateful for that outcome (look for the first batch of Spirit episodes in late 2019?). Now I get to review the man’s finished film that he made throughout the fall of 2018 in central Ohio and instead of just blaring, “It’s awesome, go see it,” I feel like I can better serve the filmmakers by providing as objective and professional a review as I can especially for a fun movie that deserves to be seen on the festival circuit and later on home video release.
It’s a world of monsters and men living side-by-side. The Night Work team operate as a for-hire crew to bust some ghosts, keep some creepy crawlies in line, and handle the many supernatural beasties hassling the common folk. Frank Rooker (Scott Wood) is the grizzled, hard-drinking, punch-first-ask-questions-later partner with a tragic past. His young daughter Elizabeth was possessed by a spirit and she has been missing for years. Mysterious clues start to emerge pointing toward Elizabeth being alive, and Frank enlists the help of his magic-oriented, irritable Night Work partner Chase Hardy (Virgil Schnell) and Val (Gilbert), a strong-armed bartender who offers handjobs for a fee (she’s also shares her body with a lesbian samurai). Together, this motley crew will shake down creeps and fakes to find out what really happened to Elizabeth.
The fact that Rayburn and his company of first-time filmmakers threw themselves into the mix unabated and holding to their ambition to tell a funky indie version of True Blood meets Men in Black is impressive. They could have gone an introspective mumblecore route, or a teens-lost-in-the-woods genre slasher, but instead they went with a micro-budgeted fantasy/horror buddy film replete with monsters, vampires, and assorted lesbian samurai possessions. Given the budget, inexperience, and ambitions, I take my hat off to the entire Night Work cast and crew not just for going for broke with a twisted, silly comic vision but also seeing it through.
First and foremost, Night Work is a fun movie that seems to be bristling with weirdness and ideas. There are offhand statements that make me curious about additional stories within this universe of humans and the everyday supernatural. It feels like every scene has so much storytelling potential just around the edges, which may be one of the reasons I took a character concept on the peripheral (love story between two people in one body) and creatively ran with it, writing a whole project devoted simply to exploring that very concept. Each time we’re introduced to a new character with a special power or predicament, the world feels richer and more alive and lived in. That sense permeates the film and provides an enjoyment level no matter the scene. You’ll find something to smile about or to be intrigued over in just about every moment, and that’s because Rayburn and his collaborators have certainly given thought to this unusual world. I enjoyed that characters will make references we don’t fully comprehend (“I thought it was gonna be another Baton Rouge”) but point toward more lived-in experiences to unpack. This is a highly amusing and inherently interesting world open for deeper exploration, possibly in linked sequels, and I think that’s a strong necessity for any storyteller creating a setting different than our own.
Night Work is also a funny movie, borrowing from the likes of Sam Raimi and Kevin Smith. There’s a crude, juvenile humor to the movie, and even when characters are confronted with terrifying monsters and the unknown, they meet it with a devilish glee. If the movie could be condensed into a single expression it would be a mirthful smirk. I laughed out loud at a child getting punched in the face. There’s a playful camaraderie between the various players where they always seem on the cusp of cracking a joke. Rather than be annoying, it keeps things light even when we’re dealing with some pretty spooky stuff, allowing Night Work to maintain a ball-busting comedic tone. It’s the film’s way of telling its audience to enjoy the ride, soak up the characters, and not to be too troubled by the rest, even if there are certain implications that might be more troublesome like a diet of male phalluses. I laughed at several points but smiled even more consistently. Night Work didn’t quite have the budget to achieve affecting horror, so it dives headlong into slapstick, banter, and spunky mischievousness. This works well because clever doesn’t need a dollar amount, only a strong writer and a clearly articulated vision.
The performers are just as enjoyable as the funny banter they’re given. Scott Wood is so damn charismatic that it feels like he simply is Frank Rooker. His line readings have such spit and shine to them that the man can find jokes that I didn’t even know were in the lines; he discovers them with his sozzled, sarcastic nonchalance. He’s a presence that kept drawing me toward him and he serves as a terrific anchor for a movie. Wood needs more film work. His onscreen partner, Virgil Schnell, plays the straight man role growing more exasperated. They have a winning chemistry and, mysteriously, if you close your eyes and listen, Schnell’s voice sounds shockingly identical to Keegan Michael-Key. Gilbert (Pinheads, and, ahem, The Spirit Inside Me) is a welcomed addition and is cheerful and wry no matter what gets thrown at her. I wished she was in the movie even more. Gracie Hayes-Plazolles makes a strong impression as a late character who jostles back and forth between innocence and wickedness and has great fun playing those contrasts.
Because of its micro-budget nature, there are certain aspects of filmmaking you simply have to be charitable over as long as they don’t blunt the overall impact of the intent. There’s not much in the way of a sound mix or advanced lighting or set dressing, and I didn’t care, because this is a movie carried by the colorful characters, weird world, and spirited performances. The fact that Gilbert is splayed with what appears to be a blast of light from God (from an open car trunk in reality) doesn’t matter as much as the excellence with how she delivers an incredulous F-bomb after getting spat in the face as part of a protective ritual. The content of ideas, and the energy and commitment, overcome most of the production shortcomings and can provide their own homespun sense of lo-fi charm. There’s a later sequence where an entire conversation and fight inside a bar occurs through the use of silent movie-style inter-titles. I’m certain it was shot and/or edited this way from the realities of not being able to record good sound in a working bar at the time. However, it’s an unexpected and memorable moment that shows a silly and adaptable side at the ready.
With all that being said, there are some limitations that do affect the overall execution of Night Work and limit where the storytelling can go. For starters, this is a very heavily expositional movie. Going into a new world with monsters and magic requires a degree of expected world building which requires an expected degree of explanation. The trick is to make it seem as natural as possible and match it to the action on screen. Night Work follows a film noir-esque storyline where we follow our heroes from spot to spot, shaking down characters, following trails, picking up clues, and this also lends itself to monologues and interrogations. With Night Work, unfortunately there are too many moments of characters just talking and talking and unloading information about the world, its history, its differences, and it can feel like we just left one scene of characters talking to the audience and entered another scene of characters talking to the audience. Again, some of this is unavoidable, but the mission is to make exposition as invisible as possible and judiciously integrated, showing and not telling. It feels a bit like reading the game manual rather than playing the game. Some of this could have been mitigated by pairing it more through action, making the exposition more fluid. Instead of a character unloading information on what something does, we see it. Instead of learning what monsters exist, we see them, maybe even sitting pretty at a bar. I circle back to Men in Black and how it was able to slowly pull back and reveal more of its droll world and how it operated as needed.
The pacing can be strained at times and my theory is because of the effort to get the final product over the finish line of an 80-minute feature running time. Some scenes and shots feel like they go on longer than necessary to convey information or mood, and there are multiple scenes of watching people drive set to soundtrack music or watching people walk down the street, sometimes sped up, set to soundtrack music. It’s different later when we watch Frank and Chase slowly creep through an abandoned building because there’s tension and mystery, anticipation, but watching people drive while listening to music feels like mood setting at best and filler at worst. You can get away with some of this to establish a sense of style and place, but if you choose this route too often, it starts to feel like there just wasn’t enough material available.
Then this makes me think about what could have been added, namely more visual or demonstrative elements and general coverage. Val’s samurai ghost demands some form of visual insert to pair with her recounting of being visited in her dreams. Even if it was brief glimpses, something to show them “together.” Otherwise, this aspect only exists as a theoretical, with the exception of some Japanese words espoused (does the ghost assist with the handjobs?). The same goes with the tragic backstory with Frank’s family. We’re treated to a small moment of his daughter becoming possessed, but the rest is delivered via extended voice over while Frank trundles around his home. Moments that could be ten seconds are stretched to two minutes, to cover for the voice over, to cover for the running time, or simply because there weren’t other editing options. Rarely will sequences feel like there are more than two to three angles to select from, and this isn’t a problem by itself except when it comes to some edits. Without inserts or tighter shots (I can only recall a mere handful of close-ups) there aren’t opportunities to wipe clean edits, so occasionally the same shot will awkwardly dissolve to a different take of the same shot. It’s moments like that where the amateurism, which I find as a general badge of honor for the project, can become an unwanted interference.
Night Work is a fun, ribald little movie that has its own sense of charm, from its budgetary limitations to the expansive possibilities of its strange world. As soon as it was drawing to a close, with some life-changing circumstances and reunions, I was thinking, “Man, I almost wish that movie was starting right now.” It’s a great, drama-heavy starting point for a movie, and I’d be lying if part of me didn’t wish Night Work began at that point rather than ended there. However, what we do get with Night Work feels like the first step in a larger universe of monsters and mishaps, one I hope Rayburn’s promised next project, Satanic Soccer Mom from Ohio, will synch up with, further exploring the outer edges of this dark and demented playing field. The actors are committed and highly amusing with a special commendation for Wood’s efforts. Rayburn and his entire team, populated with friends, family, and amateur craftsmen, have aimed high and mostly hit their entertainment targets, using limitations mostly to their benefit. This is a charming movie with a strong sense of itself and the desire to entertain in a broad, goofy style. Even with adjusted expectations, there should be something for fans of genre cinema, unconventional comedies, and monsters to dig into. Night Work feels like a promising beginning, both for the filmmakers and its world. Rayburn did it, he made a movie on his own, and now with one movie under his belt, I hope he keeps cranking out more genre comedies happy to be genre comedies.
Nate’s Grade: B-
Dark Phoenix is the end of the X-Men as we know it. The franchise is arguably the reason that Disney bought Fox, to combine its Marvel properties under one creative universe, and hastened its ultimate demise. The franchise kicked off in 2000 when nobody knew what a Hugh Jackman was. Over the course of 19 years we’ve had ten total X-films (the original trilogy, four prequels, three Wolverine solo films — I’m not counting the two Deadpool entries) of varying quality. Dark Phoenix is longtime series writer Simon Kinberg’s debut as a director and was originally intended for a fall 2018 release before it got pushed back for extensive reshoots. There was even some doubt whether Disney would release Dark Phoenix or shunt it to its new streaming service (that’s my prediction for the long-delayed New Mutants, which released its trailer… in 2017). Ultimately this is the final X-Men movie, as we have known them for 19 years, and it’s the equivalent of a mayonnaise sandwich at room temperature: something nobody really wanted and delivered in a package not designed to satisfy.
In 1992, the X-Men are called upon by the president when the government is left with no other options. Charles Xavier (James McAvoy) watches over as shape-shifting Mystique/Raven (Jennifer Lawrence) leads the younger X-kids, Cyclops (Tye Sheridan) and Jean Grey (Sophie Turner) and Nightcrawler (Kodi Smit-McPhee) and Storm (Alexandra Shipp), into space to save some astronauts. A strange cosmic energy cloud zaps Jean Grey and supercharges her telekinetic powers. At first she feels more alive but is losing control and worrying her friends. After a tragic confrontation, she runs off to find Magneto (Michael Fassbender) while a mysterious alien woman (Jessica Chastain) seeks to gain the “phoenix” powers.
Thoroughly mediocre, Dark Phoenix is a pitiful ending to a franchise that kicked off the superhero era of the twenty-first century. This is a pretty sad ending to a franchise that has admittedly had more downs than ups (I’d say four of the ten X-Men movies have genuinely been good, two were fine, and four have been different levels of bad). What’s even more peculiar is this is Kinberg’s second attempt at the Dark Phoenix storyline, arguably the most famous in X-Men comics, and it doesn’t work — again. At least 2006’s The Last Stand had other storylines that presented topics of interest, like the choice over taking a mutant cure and whether this should be a choice after all. The problem with Dark Phoenix is that it’s nothing but Dark Phoenix with little variation but it doesn’t ever expand on the Dark Phoenix dilemma. Act Two of the film seems to consist of the same scene on repeat, where Jean Grey complains about her power struggles to some character, warns them, doesn’t want to harm people, and then something bad happens and more characters elect to try and murder her. It’s like watching the same TV show recycle the same plot but just changing the characters. It makes for a saggy mid section that loses momentum and cannot regain it. The last act feels like a different movie because… it is. Thanks to late reshoots, the final act is a series of clashes aboard a military train. There are some fun moments of mutant-power action, especially Magneto and Nightcrawler. It doesn’t make much sense to what came before (when questioned why Magneto is trying to save Jean after literally trying to kill her ten minutes earlier, he says, “I had a change of heart”) but the sequence is at least diverting and visually playful in a way the rest of the movie had been missing. By the end of the film, much of it feels rushed and little feels earned, especially the time you’ve spent watching it.
I’m going to declare that the villains in Dark Phoenix are actually the worst in the entire universe of X-Men movies. They’re aliens adopting human form and they talk… so… slowly… and in unshakable monotone. They’re an alien species that wants the powers of the super space cloud. That’s it. That’s all you get. I have no idea what attracted Jessica Chastain (Molly’s Game) to this role and almost feel like it must have changed at some point. She walks around in a zombie-like daze with a giant platinum blonde wig that makes her look like an albino. At no point are any of these aliens interesting. At no point do they present personalities. At no point does their overall powers become clear. They seem invulnerable to anything, except when the script needs them not to be, and their vaguely defined powers seem limitless. Because of the creative choices with Jean Grey and how she developed her Dark Phoenix powers, extra emphasis is placed on the villains to carry the burden, and they could be eliminated entirely and not be missed in the slightest. It’s genuinely hilarious to watch them walk so stiltedly and then break into a run. The best thing Chastain does is strut in stilettos while taking a dozen blasting firearms to the face.
There are just some weird moments in this movie. Apparently Charles Xavier watches the students have their beer blasts in the woods and also keeps a thermal heat analysis of them during these moments (“That student’s really hot… I mean… getting really hot…, uh…”). That’s so weird and possibly perverted. There’s a running clothing item with blood that never gets changed. You’ll listen to “whose blood is that?” close to ten times. It’s always been inherently goofy watching these trained actors make silly strained faces while pretending to do things with their mind powers. Except this movie it goes a step further. There’s a moment of goofy strain face versus goofy strain face while the actors thrust their arms out, and there’s a scene where Jean Grey only has one arm out and then, to power up, she throws out her second arm. That’s not how mind powers work. There are several character jumps that seem rushed and unearned, like Charles becoming a focal point of disdain amongst his fellow X-people over his catering to public relations. Everyone is so quick to jump on the murder wagon when it comes to Jean Grey, which makes me wonder if they never really liked her and have just been waiting for a good excuse to kill her. The seesawing public support on mutants can be extremely confusing. The action sequences are filmed in a very haphazard way with replenishing bad guys to be disposed. During key stretches of the movie, I didn’t know who was on screen, where they had come from, and what relations they were to one another until punches started being thrown.
Continuity has never been a thing the X-universe cherished, especially once you started throwing in time travel with 2014’s Days of Future Past. However, Dark Phoenix complicates matters with its disregard for the overall continuity. Firstly, I am not a fan of the idea that these prequel films all take place in separate decades. It worked with First Class which tied the cultural revolutions and changing mores to the characters and their selfI identity, plus the Cold War paranoia. It even worked for Days of Future Past being set in the early 70s, during the malaise of the optimism of the 1960s. That related to the character arc for Raven on her quest for vengeance and the individual versus society. But what did Apocalypse have to gain by taking place in 1983? What does Dark Phoenix gain by taking place in 1992? Plus it means that these characters have hardly aged in 30 years and in less than a decade James McAvoy and Michael Fassbender are going to look like Patrick Stewart and Ian McKellen (no offense to McKellen, but that’s quite a sudden, precipitous drop). Let’s even say the older movies are eliminated from the timeline after the reboot of Days of Future Past. Just in the LAST movie they established that Jean Grey had the powerful phoenix spirit and abilities within her, as it was the final push to topple the bad guy.
Allow me to get into more detail why this disregard is so troublesome and erroneous. Judging from the trailers and marketing, I thought Dark Phoenix was going to be an addiction metaphor, with Jean Grey embracing a self-destructive thrill that made her feel good even as it pushed others away and forced her down a darker path. Despite the ads emphasizing this aspect, the actual movie ignores this addiction metaphor for a cosmic illness she contracts. Kinberg and the filmmakers have dropped that Jean Grey had this power within her and have made her a victim of an external force from space. This is far less interesting because it makes the story of Jean as reactive from external forces taking over. Space clouds resembling a pink Parallax (the poop cloud monster from 2011’s Green Lantern) did it all. That’s boring.
Think of the stronger version already within reach that examined the power within her that Charles has been keeping limited thanks to withholding her memories of her parent’s deadly accident. Because she was denied this essential part of her past she was never able to process her trauma and work through it. The man she trusted, the father figure telling her how to best control her feelings and powers has been inhibiting her the whole time and manipulating her. That betrayal could reignite the power already within her, and her journey would be about self-discovery while also confronting the gaslighting by those she trusted. You could even go further and have Charles eventually revealed as a villain for psychically altering people’s memories and minds to his ideal of what is right. That’s the better movie. They might as well have gone all-out and ended with the destruction of the Earth and the death of everybody we know because why not? What we get with Dark Phoenix is a woman who glows a lot thanks to an inscrutable pink space cloud.
It’s hard for these talented actors to hide their disinterest; some have been eyeing the exits since the last film. I challenge every reader to look at the painting of Chastain’s face on the very poster, which to me reads loudly, “Let’s just get this thing done with.” Turner (HBO’s Game of Thrones) is the best thing in the movie and yet the screenplay doesn’t give her an actual character arc with depth. It feels like she has three or four stages in the movie where Kinberg just asks her to repeat the same note over and over. Many of the actors that have been here since 2011’s First Class feel like they’re on autopilot. It’s simply another level of mediocrity that ends up defining this disappointing movie.
If you asked writer/director Simon Kinberg, in private so he could be truly honest, whether he would have repeated what happens in Dark Phoenix as the very last X-Men movie, and I legitimately think he would say no. That’s the problem with the movie is that it’s a double dip that, surprisingly, doesn’t get better. The story is boring and repetitive, the action is bland, the characters are at the mercy of a story that has no interest in them, and the resolution does not provide any satisfying finality. It feels like the close of a weekly television episode that knows more is to come except it’s been cancelled. The X-Men movies have been at their best when they’ve been about something, when they’ve gone inside their characters and the conflicts of living in a society of oppression and prejudice and fear. The franchise lends itself to being more than spandex-clad superheroes fighting each other. The division between the good X-Men movies and the bad X-Men movies is wide and clear; nobody is going to put Logan and Apocalypse in the same grade. It’s easy to tell when the plots connect to character and have exciting themes to go with their exciting action sequences. Coming to a shrug-worthy series conclusion, I think I’d rather rewatch The Last Stand than the second go-round of the Phoenix saga. The X-Men ultimately go out with a whimper but that doesn’t take away from the greatness of the other films. It’s been nearly two decades, and I’m grateful for the ride, but it’s a shame it had to end this way.
Nate’s Grade: C-
The Conjuring universe has gotten pretty big pretty quickly, but all it takes is one substandard spin-off to make you realize just how much craft and care are needed to make these things work right. The Curse of La Llorona (safe bet the most mispronounced title of the year) has a connection to the priest from the first Annabelle movie, and it features a supernatural spirit, a ghostly woman in a wedding dress hunting for children to replace the ones that she murdered in spite centuries ago. The main problem with Llorona is that it is so repetitive. The ghost story winds up being over an hour of the same jump scares over and over, the same high-pitched shrieks, the same door slams, the same overzealous film score, again and again. The movie occasionally introduces a unique plot mechanic like the spirit not being able to cross a makeshift barrier as long as it stays unbroken. One minute later: one of the dumb kids breaks it to reach for her dumb doll. Why even introduce a plot mechanic that involves limitations for your supernatural villain to simply cast it aside literally minutes later? If a horror movie is not going to go to the trouble of developing characters I care about, it better produce clever and effective suspense set pieces to generate that missing entertainment. This movie is cursed by not doing either, and so it becomes a redundant series of the same lame scares. There really isn’t a reason for The Curse of La Llorona to exist other than one more chance to remind me just how much better James Wan is when it comes to horror scene construction. Skip this one, folks.
Nate’s Grade: C
The new Hellboy reboot is utterly fascinating but in a way I doubt the filmmakers intended. The confluence of bizarre, arbitrary plotting, budget limitations, artistic self-indulgences, and tonal imbalances makes for a truly entertaining watch but for all the wrong reasons. A recent apt comparison would be the Wachowskis’ 2015 shining artifact-of-hubris Jupiter Ascending, an expensive and ambitious mess that left me dumbfounded how something like that could slip through the studio system. Right from the 500 A.D. opening prologue of Hellboy I was laughing under my breath, trying valiantly to make sense of what I was watching. It played like camp, ridiculous high-end camp, but I don’t think that was the intent of director Neil Marshall (The Descent) and company. I think they were going for a cocky, carefree sense of apathetic cool and wanted to have fun unleashing an adolescent fantasy of monsters, violence, and droll one-liners. Hellboy is an experience, all right.
Hellboy (David Harbour), child of hell and intended tool for evil Nazi world domination, has been raised by his surrogate father, Professor Bloom (Ian Mcshane), as a valuable asset in the Bureau of Paranormal Research and Defense (BPRD), the fighters against the things that go bump in the night. An ancient evil witch, The Blood Queen (Milla Jovovich), is being resurrected one dismembered piece at a time. Hellboy and his associates, psychic smartass Alice Monaghan (Sasha Lane) and agent/were-jaguar Major Ben Daimio (Daniel Dae Kim), must track the whereabouts of the Blood Queen before she can fulfill her goal of unleashing hell on Earth.
The storytelling for the 2019 Hellboy is its biggest hurdle that it cannot get over. I think ninety percent of this movie’s dialogue, and storytelling in general, is expositional, and the remaining ten percent are groan-worthy quips (after kissing a gross witch, Hellboy says, “Somebody get me a mint” — har har). Every moment is explaining the person in the scene, the stakes of the scene, the purpose of the scene, the setting of the scene, the other people in the scene, and then re-explaining one of these elements. Every single freaking scene. Every ten minutes a new character is thrown into the mix and the cycle starts anew; it feels like the screenplay is cramming for a test by the end credits. In addition to these expository present-day scenes, there are five separate flashback sequences to explain superfluous back-stories. Do we need a flashback to explain the motivation behind the pig man, who is pretty much a standard henchman? Would the audience not believe he has a grudge against Hellboy if we lacked a key flashback to set up the history between our protagonist and this unimportant side villain? Does Daimio need a flashback to showcase his military team being attacked by something vaguely mysterious? Or can he just say he was attacked and we reveal later the full extent of his… were-jaguar powers? Did we need an entire segment where Hellboy travels to another dimension to tussle with the imprisoned witch Baba Yaga to find out a location? Did we need an entire Arthurian legend to set up a super special weapon that will kill our villain, or could it have been anything else? Then there are prophecies and counter-prophecies and I was exhausted by the end of these relentless two hours. It feels less like a coherent two-hour movie and more like an aborted television pilot intending to set up weekly wacky adventures and preview a larger realm of potential storytelling avenues. We even get the extended set-up for a hopeful sequel that will all most certainly never materialize.
The bonkers narrative inconsistency and runaway pacing make it feel like anything can happen at any moment, but not in a good way. It makes it feel like very little onscreen legitimately matters because the next second a character could just say, “Hey, here’s that thing,” or, “Here’s a new person that cancels out that previous thing.” It feels like the internal rules of the storytelling are completely ephemeral. I kept shaking my head and shrugging my shoulders, just like the breathless inconsistency of Jupiter Ascending. I was not a fan of the original 2004 Hellboy (if I recall I cited it as one of the worst films of that year) and one major reason was just the sheer number of goofy elements that felt overwhelming to any sense of a baseline of believability for me to gravitate toward. I feel like if I were to revisit the original Hellboy I might be more charitable (I enjoyed the second film), but this 2019 edition is an even bigger culprit because it feels like nothing in any previous ten minutes matters. The screenplay is structured like one disposable video game fetch-quest after another.
You can almost see the movie that Marshall and his team were aiming for, a weird hard-R action/sci-fi film with strange creatures and smarmy attitude. There are moments where you can tell a lot of fun was had designing certain ghouls and monsters, like the hell beasts unleashed that include a spike-legged monstrosity that ka-bobs people as it stomps. It’s moments like that where you see the zeal of crazy creativity that must have attracted Marshall and others to this project. It’s too bad there aren’t enough of them. There’s a sequence where Hellboy takes on a trio of giants that’s filmed in a style meant to evoke one long tracking shot. It doesn’t quite get there thanks to the limits of the budget’s special effects to conceal the seams. This is an issue throughout the movie. The special effects can get surprisingly shoddy, especially a spirit late in the film that shockingly resembled something akin to an early 2000s PS2 game. If the budget could not adequately handle these sequences then maybe there should have been less new characters and excursions and we could have concentrated on what we had and done it better.
I pity Harbour (Stranger Things) for stepping into the oversized shoes of fan favorite Ron Perlman. It’s quite a challenge to follow up the guy who seemed born to play this part, but Harbour does a good job with what he’s been given. The character is a bit more sulky and surly than we’ve seen in the previous incarnations. It makes Hellboy feel like a giant moody teenager chaffing under his dad’s house rules and saying nobody understands him. The practical makeup is great and still allows Harbour the ability to emote comfortably though he always appears to be grimacing. MacShane (TV’s American Gods) is a more ornery father figure than John Hurt, and he seems in a hurry to get through his lines and get out of here. Jovovich (Resident Evil… everything) is an enjoyably hammy villain with her withering sneers and overly dramatic intonations, but she knows what she’s doing here. The same can be said for what might be the most pointless character in the whole movie, a Nazi hunter known as “Lobster Johnson,” played by Thomas Haden Church (Easy A), who plays it like he’s in one of those heightened propaganda inserts from 1997’s Starship Troopers. The actual side characters for Hellboy are the weakest because the film doesn’t know what to do with them. Lane (American Honey) and Kim (TV’s Lost) are both good actors but the movie doesn’t understand that a character foil is more than a bickering, doubtful sidekick.
I would almost recommend watching the new Hellboy reboot for the same reasons I would Jupiter Ascending. It’s rare to see a big screen stumble where it feels like the movie is just being made up as it transpires before your eyes, where the mishmash of tones, intent, and mishandled execution is confusing, disconcerting, and even a little bit thrilling. This might not be a good film for various reasons but it can be a good watch. If that sounds like your own version of heaven, give the newest Hellboy a passing chance.
Nate’s Grade: C
I already know my computer’s spell check is going to hate this review. In the wake of the box-office bonanza of It, prolific author Stephen King is a hot property once again for studios and everything old is new again. Pet Sematary (yes it’s intentionally misspelled) is a remake of a 1989 that was a hit back in the day. It was never regarded as a good movie but had its campy entertainment, so there was some room for improvement. Early reviews were positive and I raised my hopes for the 2019 edition, but after having seen the finished product, maybe some movies too are better off left dead.
Louis (Jason Clarke) and Rachel (Amy Seimetz) have moved to small-town Maine for a little peace and quiet and to spend more time with their children, nine-year-old Ellie (Jete Laurence) and their toddler, Gage. They happen to live next to a busy road with dangerous drivers speeding at all hours. An accident claims the life of their beloved family cat, but the kindly old neighbor Jud (John Lithgow) has a piece of advice. Beyond the “pet sematary” in the woods is a place where the buried dead come back to life. The cat comes back, though is mean and different. Later, another accident takes the life of Ellie, and Louis cannot let her go. He buries her in the hallowed grounds, she comes back, but she’s not daddy’s little girl any longer, and people will pay a high price.
Eschewing a sense of camp, the film risks being overrun by its own sense of seriousness, which only works if there is room given to explore the ramifications of grief, the choices people make when they’re hurting, and the irony of good intentions. If you’re going to go in a serious direction then you need the confidence and dedication to play to that decision, and that’s not the case with the 2019 Pet Sematary. It’s lacking those important moments of contemplation or even dwelling with the horror of bringing back a loved one from the dead. There’s only so much evil hissing cat you can have before you hit a limit and start saying, “What else you got?” There’s going to be an escalation, I don’t think it’s much of a spoiler, considering the nature of the premise but also its predecessor being 30 years old, that one of the children will die only to be brought back. It’s also an easy speculation that they will “come back wrong” but the drama is processing this decision and trying to mitigate the mounting consequences. How far will a parent go to protect their child even if that child is an undead murderer? The trials should strain the moral resolve or our protagonist while reveling in the grotesque.
Because every viewer is going to already expect this much, it’s the film’s job to develop this premise in a satisfying manner and/or provide surprises from our expectations. Pet Sematary 2019 unfortunately does neither, barreling through the dramatic downtime when it could be developing its horror and unleashing standard slasher jump scares. When Louis is brushing his daughter’s tangled hair he runs his fingers over the metal staples in the back of her skull holding her head together. It’s a stark reminder that she is not the same, and it goes beyond her scraggly voice and unyielding stares meant to convey the same information. The film needed more moments like this, small details to unnerve and remind, rather than making her essentially The Ring girl from the start. The movie voluntarily eliminates its own storytelling runway, giving it little room to ramp things up and being forced to simply jump to the big bad killer demon girl. The filmmakers try and compensate somewhat by giving Rachel her own independent haunting, seeing hallucinations of her dead, twisted deformed sister. Those sequences reminded me of the slow stirring sequences in 2017’s It, drawing in the audience to dread what will happen next. It’s a side plot that could be eliminated entirely and I enjoyed these sequences the most because it was at least something pregnant with possibility.
Many of the new additions feel like the filmmakers are fumbling for something else to be scary because they’ve consciously or unconsciously admitted defeat with their zombie. She’s creepy, sure, but she starts at full creepy and stays there. We get things like animal masks reminiscent of 2013’s home invasion thriller You’re Next. We get the spooky visions of ghosts that the child can see. We get Rachel’s taunting visions that never feel fully integrated into the larger whole with any thematic value. It could have tapped into her guilt praying for the demise of her sister for a well-earned sense of relief, and this same feeling coming ahead anew with her reanimated child, challenging her to reconcile her past actions and personal culpability and goad her into action. But like most aspects of the supernatural be-careful-what-you-wish-for parable, it’s given precious little deliberation and instead it’s more standard thriller moments to goose scares. I do appreciate that the film takes its sense of bleakness to the very bitter end, departing from the 1989 original for an even darker conclusion. The only problem is that it left me wanting the sequel. By the end, I think many viewers will agree that they wish a Pet Sematary movie, at least one under this oh-so-serious-slasher direction, had started at this end point instead and gone forward, exploring the full ramifications of the larger world.
As is wont for the Internet, there has been some gnashing of teeth over the fact that the remake kills a different child, but I think this is the smart move. It allows the remake to stand apart from the original and chart a path of its own, not that it’s very far. It also boosts the practicality of what it can do for horror. As any parent may attest, there’s more to worry about what a nine-year-old can do than a two-year-old. Even reanimated and filled with supernatural power, it’s still a small child that can be overwhelmed. An evil pre-schooler has a bit more limited mobility for their murder rampages.
For fans of King, or fans of genre horror, there may be enough standard thrills and chills to enjoy the new Pet Sematary. In the extremely spotty spectrum of King movie adaptations, it’s definitely somewhere in the middle, not bad per se but nothing special.
Nate’s Grade: C+
I think it’s important to state that Us is not Get Out and that’s perfectly okay. Not every movie can be a Get Out, an experience that was so refreshing, socially relevant, wickedly fun and dynamic that I immediately wanted to see it again and tell everyone I know to join in. Writer/director Jordan Peele shed his funnyman past and flexed his impressive genre know-how to make a knockout of a movie with an amazingly structured story, allowing all of the pieces to snap together with clever precision. It was my own second favorite film of 2017 and I was highly looking forward to Peele’s follow-up in the realm of what goes bump in the night. Don’t go into Us expecting Get Out. It’s not quite the sum of its parts and has some storytelling shortcomings that limit the impact of its visceral thrills. It’s an engaging horror movie, but it’s far more allegorical and far less tidy and satisfying.
The Wilson family is spending their summer vacation at a rental home in Santa Cruz, California. Adelaide (Lupita Nyong’o) and her husband Gabe (Winston Duke) are trying to enjoy a getaway with their children, teenage daughter Zora (Shahadi Wright Joseph) and young son Jason (Evan Alex), when strange coincidences keep occurring. This is the same beach town where many years ago Adelaide had a traumatic childhood experience getting lost from her bickering parents. Then one night Jason informs his family that there’s another family standing in their driveway. The Wilson family is hounded by mysterious doppelgangers, each a cracked mirror version of themselves. This new family wants what the Wilsons have and will use any bloody means to see that they get it.
Us is more a straight horror film and has plenty of excellent, terrifying, and smartly directed scenes to make an audience squirm in their seat. Peele has established in two movies a strong instinct for horror and how to expertly stage a scene. His camera is judicious in what it does and does not show the audience, holding onto moments to escalate tension and providing no escape for an eager audience. The majority of the second act is a home invasion thriller and these scenes and subsequent chases and escapes can be nerve-wracking. Each character has their own opponent and each has their own method of trying to outsmart or out maneuver their downtrodden doppelganger. I was getting plenty of Funny Games vibes, a movie I downright despise, but what it could have been if the creator actually cared about the inhabitants. The family and their bonding is a strong empathetic anchor for the audience, so we watch each member of the family battle a literal incarnation of their inner demons. Peele also assembles an effective collection of spooky imagery, from caged rabbits, to the slice of golden scissors, to a carnival funhouse, to even the nature of that 80s social event, Hands Across America. You can sense Peele’s love of horror and the entertainment value horror movies afford. There’s a strong central mystery to guide the narrative and the sense of discovery from Act Two onward keeps things fresh as we learn more and more about these doubles.
From a technical craft standpoint, Us has the upper hand over Get Out. This is a movie that wants to scare you and Peele has devoted great consideration into his artistic elements to achieve that key principle. Peele knows exactly how to craft a particular mood and what genre elements to pepper in and to what amount for the right response. The photography by Mike Gioulakis (It Follows) is evocative and makes great use of limited light to capture an eerie and unsettling feeling. The musical score by Michael Abels is also exceptional, making the most of each heightened scene and doing wonders with a dark, operatic version of the chill 90s song “I Got 5 On It” by Luniz. It makes for a fun, frightening, and favorable film experience in the moment-to-moment sequences of build and release.
The performances are another strength, with each member of the family getting extra range thanks to their dual roles. Nyong’o (Black Panther, 12 Years a Slave) is the standout and emotional center of the movie. Her double is the leader of her clan and the only one that has the ability to speak, except speaking isn’t quite the right word. It’s more like the words escape her throat, raspy and without intonation. It’s a remarkable commitment on her part and she tries a lot of weird character tics, most of them work, from her herky-jerky to robotically possessed physical movements, unblinking eyes, and then there’s that startling voice. Duke (Black Panther) finds his footing as a comedic foil, starting as a corny but loving dad and thrust into a family defender that gets more and more tired of the horror movie nonsense he endures. The kids all do solid, effective work with what they’re given, seizing their moments. Elizabeth Moss (The Handmaid’s Tale) plays a bourgeoisie friend and has a fantastic moment with lip gloss that made me horrified and entranced all at once.
This is where the merits of the film start running into conflict with Peele’s muddled intentions and messy execution toward the finish. As I said, it’s far more allegorical in approach; meaning for the longest time it seems to be a film outside the bounds of literal interpretation. That’s fine since many horror films rely upon a heaping helping of metaphor for larger implications. I was prepared for Us to stay in this creative territory. Except Peele makes a late decision to squeeze his movie into a bizarre and distracting middle ground, where it feels like the metaphor is the real message, if you can decode it. Once you stand back and assess the full Us, it doesn’t hold together in allegory or explanation.
Even hours after seeing the movie, I cannot say whatsoever what the intended theme is for Us, and this really befuddles me since Get Out was laser-focused in this regard. Peele isn’t just cranking out fun, throwaway genre movies, he’s trying to make statements through horror and elevating the genre in artistic ways. Get Out postulated how being a black man in America was like living in a horror movie and a Stepford Wives-meets-Being John Malkovich commentary on the usurpation of minority agency and the commodification of black bodies. It’s not every day that a horror movie wins an Oscar for Best Original Screenplay, let alone deserves it, and Peele’s treatise on race relations was perfectly structured, each piece snapping together and better informing the whole, with setups and payoffs galore, and at its heart was its relevant message. With Us, I don’t really know what Peele is trying to say here. There’s a simple duality theme but that seems pretty weak and underdeveloped. There may be a have/have not inequality discussion but this gets into trouble in the final act (more on that below). I don’t think race even factors into the overall message, as a late turn reveals that the doppelgangers extend beyond our central African-American family. What is Peele trying to say with Us? I’m at a real loss and I’m trying to process that confusion and my own expectations.
This might have worked better had Peele not elected to supply a hasty sci-fi explanation for why things are the way they are, and in the process he strands his film in a contentious middle zone that tries to find a logical context to plant his allegory. I won’t get into what exactly the details of this explanation are but suffice to say it doesn’t really hold together and invites far more questions, each one picking apart the reality of the film, which disintegrates at an ever-increasing speed. How far-reaching is this conspiracy? What is the ultimate goal? How do these people think they will win? Why now? There’s also a big twist ending that should be obvious for anyone paying attention, but what makes this decision worse is not that it’s predictable but that it hardly sheds any new dimension to what came before. It doesn’t really change our reading of certain people because of the time it happened and so the big meaning is its existence as a twist. It doesn’t redefine the narrative in the way that great twists should. It might play into a larger thematic point except, as described above, that area is hard to ascertain. The last third of Us gives a sense of scope and rationale but the movie also loses its form, trading in dream logic and then trying to provide a new real world context that cannot hold.
Friends have already asked me whether Us is a good movie, and I’ve found myself saying, “Yes, but…” Peele’s follow-up left me with more questions than answers and a nagging sense of dissatisfaction that began to eat away at my otherwise good time in the theater. Us has some fantastic moments and tense scares but I cannot say what its muddled theme is, the hazy explanation doesn’t really work, and the overall intent left me perplexed. It’s an evocative horror movie with solid to great performances from a very game cast of characters. Given its more free-floating plot, it feels like the kind of movie that would hold together by a strong thematic core. I think most people will leave Us somewhat scratching their heads and wondering what it was all about, but not as an accessible puzzle to decode. It’s more a puzzle that doesn’t resemble the picture on the box and is frustratingly missing a few too many pieces to come together.
Nate’s Grade: B
Wonder Woman may have beaten her to the punch but Carol Danvers, a.k.a. Captain Marvel, deserves her own share of headlines as the first woman to have her own starring vehicle in the highly successful Marvel Cinematic Universe (MCU). Her presence was first teased in the post-credit scene of Infinity War. After twenty-one films, Captain Marvel gets squeezed into the penultimate chapter before closing the book on the MCU as we know it for a decade, and it feels like a throwback in both good and bad ways.
Carol Danvers (Brie Larson), or “Vers” as she’s known on the Kree home planet, is part of an elite alien squad of “noble warrior heroes” fighting in a long-running war against another alien race, the shape-shifting Skrulls. Carol Danvers goes back to her home planet of Earth (a.k.a. Planet C-53) in the 1990s to look for a hidden weapon linked to a mentor she can’t quite remember, a woman (Annette Bening) from her past life on Earth as an Air Force pilot. Carol Danvers must try and recall who she is with the help of Agent Nick Fury (Samuel L. Jackson) and stay one step ahead from the invading Skrulls.
This definitely feels like a lower-to-mid tier Marvel entry, something more akin to the Phase One years (2008-2012) where the initial franchises were just starting to get a sense of direction and personality. They were also lacking the larger depth of character development, social and political messaging, as well as judicious independence from the overall studio formula that has come to define dozens of superhero blockbusters. It’s not a bad movie, and is fairly entertaining throughout its 124-minute run time, but it’s hard not to notice the shortcomings that, frankly, haven’t been this transparent in an MCU movie for some years now. I had to think back on a comparable MCU experience and I had to go back to 2015 with Avengers: Age of Ultron or maybe even 2013’s Thor: The Dark World. In short, Captain Marvel just feels a little less super in many important areas.
This is the first female-lead superhero film in the MCU (sorry Black Widow) and Carol Danvers has been a character in Marvel comics since 1968, and yet the film doesn’t put together a compelling case why she is the one getting her big screen moment. The character suffers that wonderfully tired movie trope of the foggy memory, so we have a protagonist trying to discover who she is alongside the audience. This would be a fine starting point for her to essentially reclaim her humanity and her agency as she travels back to good ole C-53 and learns more about her past. There’s a core of a beginning theme already present there, the nature of what it means to be human, and how it can be viewed as a weakness by n alien species and how it comes to be a strength for her. Maybe that’s too pat but it’s a start. The problem is that Carol Danvers isn’t seen to be that interesting. She’s somewhat boring and the presentation feels a tad inauthentic; when she’s quippy it feels forced, and when she’s badass it feels lethargic. There’s a personal journey that challenges her to assess her preconceived notions of good and evil in an ongoing intergalactic conflict, but it’s so impersonal. Even when she’s revisiting with friends and reminiscing (what she can) it doesn’t feel like we’re getting that much more insight than we had before. She’s a warrior. She’s upstanding. She definitely doesn’t like men telling her what she can and cannot do. But what else do we know besides her increasingly invincible super powers? What is most important to her that drives her? What are her flaws other than a faulty memory? When she goes full super saiyan it should be celebratory and joyous and instead it feels more weirdly perfunctory.
I love Larson as an actress and have been singing her praises for dramas (Room, Short Term 12) and comedies (21 Jump Street, Scott Pilgrim) for years, and I kept waiting and waiting to be wowed by her in this role. I was left unfulfilled. Larson is a terrific actress and can be so expressive, resolute, heartbreaking, and inspiring, and I grew frustrated as the movie kept her talents buttoned up for too long. She seems too removed from the action even as it’s happening in the moment. It’s not that she’s too serious (“smile more” chime the denizens of cretinous “men’s rights activists”) because her character should be serious. It’s that she hasn’t been given enough depth and interest a hero deserves.
Jackson (Glass) and Mendelsohn (Ready Player One) were my favorite parts of the movie. Watching a 40-something Jackson front and center looking like he was ripped out from 90s cinema is remarkable. The movie is at its best when Jackson and Larson are working their 90s buddy cop chemistry together. There’s a fun running joke about how Fury loses his eye with some near-misses played for comedy (reminiscent of Crispin Glover’s eventual armless bellhop in Hot Tub Time Machine) and while the film does a disservice to Carol Danvers’ character it opens up Fury even more as a person. Mendelsohn has become a go-to villain for Hollywood and the filmmakers use this to their advantage. He slinks around having a good time being bad, but there’s also a surprising turn that provides unexpected pathos and depth to what could have been a one-note scary-looking bad guy. In a movie that deserves headlines for being the first female-lead MCU entry, the supporting dudes end up having the most depth and success, which is rather odd.
Captain Marvel is missing a larger sense of vision and purpose, which is why it feels more like a throwback to those early days. Directing/co-witting husband-and-wife team Anna Bodin and Ryan Fleck (Half Nelson, Mississippi Grind) don’t manage to have a feel for the material and for action as a whole. There are some pretty-looking sequences and some moments that strike their intended effect well, but the structure of their movie could use a bit of an overhaul. The first act, the pre-Earth return, is a bit convoluted and could be condensed. This even goes for the Kree Special Forces team (Kree Team Six?), which comprise many differentiated soldiers when really three non-Jude Law members would suffice. The Kree characters are stranded for the middle act and when they come back it’s hard not to feel disinterest. The concluding act brings the various plotlines together better with some good twists I did not see coming and appreciated. However, the climax is missing out on its triumphant jubilation because of the spotty characterization and the haphazard action direction. From the start, the action is unimpressive and poorly choreographed and edited. The chases are humdrum and the special effects are surprisingly substandard at too many turns. It’s hard to tell what’s happening in many fight scenes, and once Carol Danvers gets her full super laser-blasting powers, the screen becomes even more obstructed and even harder to decipher. Bodin and Fleck have showcased a natural feel for visual storytelling but action appears beyond their grasp for now.
Captain Marvel suffers from being asked to do too much, slap together an origin tale for the last essential character for the conclusion to a larger multi-movie storyline, also forging the beginning of the MCU timeline as a prequel for Fury and S.H.I.E.L.D, as well as some connective back-story with the Guardians universe. It has to do a lot of heavy lifting in two hours that the screenplay and characterization do not seem best equipped to handle. The humor is a bit dull and unsure of itself, relying upon certain beats one too may times, notably a cute orange cat tagging along. Even the 90s setting feels like something tacked on for easy jokes about dial-up Internet and references to Radio Shack. It feels like simple nostalgia and that goes to the soundtrack selections as well. This must have been the easiest job the music supervisor ever had for a film, having to do a mere cursory scan of 90s alternative rock for the hits. An action sequence set to No Doubt’s “Just a Girl” should have more attitude than it does. A dream/trance sequence set to Nirvana’s “Come As You Are” should be creepier and more unsettling. By the end, as the credits flash onscreen set to the guitar chords of Hole’s “Celebrity Skin,” I felt certifiable 90s fatigue.
I feel like I’m piling on Captain Marvel with complaints and quibbles and presenting the impression that it’s a bad or dimly entertaining film. It’s not a bad experience but it definitely has its share of flaws that hinder the enjoyment factor. As a white guy in his thirties, Hollywood has been making movies tailor-made for me as their default setting. I cannot underestimate the cultural and personal impact this will have for millions of women and young girls who have been eagerly waiting for a big-budget movie with a strong female protagonist front and center. Wonder Woman was a cultural and commercial touchstone that might diminish the luster of Captain Marvel for some, but the MCU is its own unparalleled zeitgeist. Having a woman carry a movie in this special high-profile film universe will mean considerably much to many. I wish it was a better movie, but even lower-tier Marvel is still better than plenty, and that may be enough. I’ll look forward to see how other screenwriters and filmmakers make use of the character in the ensuing Avengers sequel coming out next month. I’ll reserve my final judgment on the character after I see how she fits into the larger picture and with storytelling talents that have shown more aptitude toward the super stuff.
Nate’s Grade: B-