June 12, 2019
jmunney
Cinema, Movie Reviews
Chris Hemsworth, Emma Thompson, F. Gary Gray, Kumail Nanjiani, Larry Bourgeois, Laurent Bourgeois, Les Twins, Liam Neeson, Men in Black, Men in Black International, MIB, Rafe Spall, Rebecca Ferguson, Tessa Thompson
CREDIT: Giles Keyte/Sony Pictures
Starring: Tessa Thompson, Chris Hemsworth, Liam Neeson, Rebecca Ferguson, Rafe Spall, Kumail Nanjiani, Laurent Bourgeois, Larry Bourgeois, Emma Thompson
Director: F. Gray Gray
Running Time: 115 Minutes
Rating: PG-13 for Gooey Alien Residue
Release Date: June 14, 2019
It’s often a joy to watch professionals perform their jobs competently, so there’s a bit of a thrill to watching Molly (Tessa Thompson) turn into Agent M in the opening act of Men in Black International. After she has an extraterrestrial encounter as a child, she dedicates her life to the goal of joining the secretive alien-monitoring organization, and she is undoubtedly a promising recruit, perhaps one of their best ever. But when it comes to making a film, what we demand isn’t competency so much as artistry. Director F. Gary Gray and his cast and crew have delivered a competent product, and I imagine they had a lot of fun making it. But it is not an out-of-this-world experience, nothing that rocks your sense of reality to its core.
The presence of “International” in the title and the lack of Agents J and K in the lineup seems to promise that we’ll be getting something a little different from what we’ve seen before. And it’s true, this chapter offers plenty that wasn’t on display in MIB‘s 1-3. But we have seen it in other movies in general. There’s the sort of globetrotting typical of Indiana Jones and James Bond, plus a paranoid infiltration angle that calls to mind Invasion of the Body Snatchers, as well as a spy-within-our-ranks routine we know and love from John le Carré thrillers. Even the alien creature design, which at first glance features plenty of original imagination, may have had some inadvertent inspiration, as one blue fellow looks like the X-Men’s Beast, but with quills instead of fur. (Perhaps it’s a case of convergent evolution?) If the only movies you’ve ever seen are Men in Black, Men in Black 2, and Men in Black 3, then perhaps Men in Black International will expand your consciousness, but for the rest of us, we will continue the search elsewhere for whatever originality remains in the universe.
Men in Black International is Recommended If You Like: Reassembling spare parents
Grade: 2 out of 5 Neuralyzers
June 10, 2019
jmunney
Cinema, Movie Reviews
Adam Driver, Austin Butler, Bill Murray, Caleb Landry Jones, Carol Kane, Chloë Sevigny, Danny Glover, Eszter Balint, Iggy Pop, ironic zombies, Jim Jarmusch, Larry Fessenden, Luka Sabbat, Rosie Perez, RZA, Sara Driver, Selena Gomez, Steve Buscemi, The Dead Don't Die, Tilda Swinton, Tom Waits, zombies
CREDIT: Abbot Genser/Focus Features
Starring: Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Carol Kane, Selena Gomez, Tom Waits, Austin Butler, Eszter Balint, Luka Sabbat, Larry Fessenden
Director: Jim Jarmusch
Running Time: 103 Minutes
Rating: R for Ironic, But Visceral Zombie Violence
Release Date: June 14, 2019 (Limited)
Sometime around 2010, it was determined that it was every filmmaker’s God-given right to make their very own zombie movie. In the case of Jim Jarmusch, he was divinely matched with The Dead Don’t Die, a droll, occasionally fourth wall-breaking portrait of ravaged-by-the-undead small town life patrolled by Police Officers Bill Murray and Adam Driver. In a post-Shaun of the Dead world, The Dead Don’t Die is far from necessary, but it is sufficiently diverting. It adds an environmental wrinkle to the zombie mythos, as fracking is implied to be the culprit behind the upending of nature. If Jarmusch is crying out for us to protect the Earth, that warning is perhaps a little too late, considering how disastrous climate change has already become. But that’s no big deal (for the movie, that is – the planet is screwed), as he seems to have more goofball ideas on his mind anyway.
The zombie blood and guts are sufficiently hardcore, with the bodily fluids as wet and unleashed as the dialogue is dry and bottled-up. But the main attraction are not the ghouls so much as the characters and their unique ways of being human and/or inhuman. That is to say, while Tilda Swinton has badass sword skills as the town’s new undertaker, it’s more amusing that she gets to lean into a hardcore Scottish persona. This is the type of movie in which Selena Gomez tells Caleb Landry Jones, “Your film knowledge is impressive,” after he mentions some pretty basic info about George Romero, and then Larry Fessenden refers to Gomez and her friends who are passing through town as “hipsters from the city” and “hipsters with their irony” (the odds seem to be that they’re from Cleveland). If that sounds hilarious to you, you know who you are, and you can expect to mostly be satisfied, though you may (or may not) have issues with the shaggy, shambling plot structure.
The Dead Don’t Die is Recommended If You Like: Remaining at an ironic remove, but not being too-cool-for-school about it
Grade: 3.5 out of 5 Diner Coffee Pots
June 7, 2019
jmunney
Cinema, Movie Reviews
Alexander Skarsgård, Andy Serkis, Bob Odenkirk, Charlize Theron, Jonathan Levine, June Diane Raphael, Long Shot, O’Shea Jackson Jr., Ravi Patel, Seth Rogen
CREDIT: Philippe Bossé
I’m not sure what Long Shot‘s sense of the political landscape is. It seems to believe that the difference between Democrats and Republicans can actually be quite nebulous, which is interesting to think about, and maybe true in some cases, but certainly not in the majority of my experience. It also has some valuable things to say about the importance of compromise, although it’s kind of shouty and generic about it. But anyway, this is mostly a love story.
At first blush, it might look like the same old tale between a beautiful blonde (Charlize Theron as a presidential candidate) and a lovable schlub (Seth Rogen as a journalist-cum-speechwriter), but it downplays any eyeroll-worthy aspect of that setup by clearly illustrating the mutual attraction here. So Long Shot works best when it investigates what ambitious people are willing to sacrifice or not sacrifice, and why, in the name of the people they care about, though it would have benefited from more specific political window-dressing.
I give Long Shot My Satisfied Endorsement.
June 6, 2019
jmunney
Cinema, Movie Reviews
Danny Glover, Finn Wittrock, Jello Biafra, Jimmie Fails, Joe Talbot, Jonathan Majors, Mike Epps, Rob Morgan, The Last Black Man in San Francisco, Tichina Arnold
CREDIT: A24
Starring: Jimmie Fails, Jonathan Majors, Danny Glover, Tichina Arnold, Rob Morgan, Mike Epps, Finn Wittrock
Director: Joe Talbot
Running Time: 120 Minutes
Rating: R for A Mild Mix of Profanity, Brief Nudity, and Drug Use
Release Date: June 7, 2019 (Limited)
The Last Black Man in San Francisco has one of the most (if not THE MOST) valuable qualities in cinema, and art in general, insofar as it truly feels unlike anything else that has come before it. It’s about lifelong pals Jimmie (Jimmie Fails) and Montgomery (Jonathan Majors), who have a sort-of-magical journey living in the title city while squatting in the house that Jimmie claims his grandfather built years ago. The story is based on Fails’ own life, and I greatly appreciate the visionary perspective he provides along with director Joe Talbot.
This isn’t a movie I loved right away, but it’s one that I want to keep in mind to see how it sticks with me months, years, or even decades from now. It is one that I can imagine expanding in my mind as I digest more of its unique flavors. I saw it about a month ago, and I haven’t thought about it too much unprompted since then. For now, as I’m purposefully reflecting upon it, I must make sure to note my love of an early scene in which Jimmie and Montgomery skateboard through the city to the tune of a Philip Glass-esque composition, and I must also mention that former Dead Kennedys lead singer Jello Biafra plays a dorky tour guide. So that’s where we are in 2019.
The Last Black Man in San Francisco is Recommended If You Like: San Francisco Geography and Architecture, Discovering a New Voice, Sorry to Bother You, Blindspotting
Grade: 3.5 out of 5 Squatters
June 6, 2019
jmunney
Cinema, Movie Reviews
Amy Ryan, Emma Thompson, Hugh Dancy, Ike Barinholtz, John Early, John Lithgow Denis O'Hare, Late Night, Max Casella, Mindy Kaling, Nisha Ganatra, Paul Walter Hauser, Reid Scott
CREDIT: Emily Aragones/Amazon Studios
Starring: Emma Thompson, Mindy Kaling, John Lithgow Denis O’Hare, Reid Scott, Hugh Dancy, Max Casella, Amy Ryan, Paul Walter Hauser, John Early, Ike Barinholtz
Director: Nisha Ganatra
Running Time: 102 Minutes
Rating: R for Comedy Writers Talking as They Do
Release Date: June 7, 2019 (Limited)/Expands Nationwide June 14, 2019
Late Night stars Mindy Kaling (who also penned the script) as Molly Patel, the new hire at a talk show’s previously all-male, all-white writers’ room. But the real kicker isn’t so much the push for a diversity hire as much as it is Molly’s professional background, or lack thereof. She previously worked as an efficiency expert at a chemical plant and made it into her new gig through the most contrived of circumstances. I could complain about how unlikely Molly’s journey is, but I actually don’t care about the unlikelihood. The most improbable version of this story possible is perfectly fine so long as it is also some combination of funny, unique, and insightful. Alas, it is not really any of those things.
CREDIT: Emily Aragones/Amazon Studios
The setup isn’t the problem. In addition to the Molly angle, there’s also the matter of this show being hosted by a woman, the legendary (i.e., relic) Katherine Newbury (Emma Thompson). Late Night tries to say something meaningful about how even a woman can reinforce the good ol’ boy status quo. But Katherine’s mistreatment of her staff transcends gender and race. And ultimately the social commentary amounts to little more than a red herring. This is mainly the story of the odd couple friendship that develops between Katherine and Molly, which is nice enough, but it struggles to be resonant within a rather scattered, shallow approach.
Late Night is Recommended If You Like: Watching old middle-of-the-road late night talk show clips
Grade: 2.5 out of 5 Monologue Jokes
June 5, 2019
jmunney
Cinema, Movie Reviews
Alexandra Shipp, Ato Essandoh, Dark Phoenix, Evan Peters, james mcavoy, Jean Grey, Jennifer Lawrence, Jessica Chastain, Kodi Smit-McPhee, Michael Fassbender, Nicholas Hoult, Scott Shepherd, Simon Kinberg, Sophie Turner, Tye Sheridan, X-Men, X-Men: Dark Phoenix
CREDIT: Twentieth Century Fox
Starring: Sophie Turner, James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Jessica Chastain, Tye Sheridan, Evan Peters, Alexandra Shipp, Kodi Smit-McPhee, Scott Shepherd, Ato Essandoh
Director: Simon Kinberg
Running Time: 114 Minute
Rating: PG-13 for Getting Suddenly Violently Tossed About by Telekinesis
Release Date: June 7, 2019
I love the X-Men. They’re my favorite superhero team, and still, through it all, my favorite superhero movie franchise. They’ve delivered some dizzying cinematic heights but also some flicks that have driven me batty. So it pains me to say that Dark Phoenix did not make me feel much in the way of any strong emotions.
Some say that the X-Men series is burdened by tangled, contradictory continuity. I say it’s bolstered by it. Whereas other cinematic universes are careful to keep every little thread in line for the health of a sturdy timeline, the Merry Mutants traverse decades willy-nilly, tossing off whatever plotlines just aren’t working and cruising along with whatever’s exciting and vibrant, paradoxes be damned! Dark Phoenix doesn’t reject that approach, but it doesn’t embrace it either. It’s mostly content to tell a straightforward story, while occasionally throwing out some half-baked ideas. It’s a movie unstuck in time, instead of proudly giving the middle finger to any temporal concepts.
Dark Phoenix is clearly a labor of love. It’s the directorial debut of Simon Kinberg, who’s been with the franchise for over a decade, and it’s based on one of the most beloved comics storylines, in which telepathic telekinetic Jean Grey (Sophie Turner) bonds with a super-hot cosmic force to become the most powerful creature on the planet, perhaps the whole universe. It’s a huge climactic big screen culmination that’s been promised to us for quite some time, but after seeing how it’s turned out, I mainly want to say: we would have been okay without this movie. Or maybe now just wasn’t the right time for it. It’s arriving hot on the heels of an X-Men movie whose title literally referred to the end of the world and another that said a fitting goodbye to a pair of iconic X-characters.
But it shouldn’t have been impossible for Dark Phoenix to be another rousing, revolutionary statement so soon after those conclusive paradigm changes. In fact, it would have totally been in keeping with this franchise’s always-moving-forward ethos. But that’s not going to happen when a climactic battle scene takes place in some random New York hotel or when Professor X and Magneto run through the same old rigamarole of bickering and then making a temporary peace. When the stakes are this high, you have to go for broke.
Dark Phoenix is Recommended If You Like: X-Men completism, if you gotta
Grade: 2.5 out of 5 Firebirds
May 30, 2019
jmunney
Cinema, Movie Reviews
Aisha Hinds, Bradley Whitford, Charles Dance, David Straitharn, Godzilla, Godzilla: King of the Monsters, Ken Watanabe, Kyle Chandler, Michael Dougherty, Millie Bobby Brown, O’Shea Jackson Jr., Sally Hawkins, Thomas Middleditch, Vera Farmiga, Ziyi Zhang
CREDIT: Warner Bros./YouTube
Starring: Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Bradley Whitford, Sally Hawkins, Charles Dance, Ken Watanabe, Thomas Middleditch, Aisha Hinds, O’Shea Jackson Jr., David Straitharn, Ziyi Zhang
Director: Michael Dougherty
Running Time: 132 Minutes
Rating: PG-13 for Monster-on-Monster Smashing and Even Some Human-on-Human Violence
Release Date: May 31, 2019
As promised, there are plenty of massive beasts in Godzilla: King of the Monsters, but there are also a lot of human beings, and they’ve got plenty on their to-do list. They debate which monsters are friends and which are foe, and they retrieve some objects that may or may not be MacGuffins, and honestly I could not make heads or tails of what they’re trying to do. This is a murderer’s row of heavy hitters wading through incomprehensibility. That’s not necessarily a dealbreaker, though, because when you come to see a Godzilla movie, you’re there for the monsters.
But here’s the thing: the fight scenes are just as incoherent! They’re distressingly dark, and edited way too quickly to make sense of what is going on. Every once in a while, there’s a really satisfying chomp or smackdown, but for the most part the splendor of the kaiju is obscured by too much visual clutter. King of the Monsters put me most in mind of the third Transformers flick, Dark of the Moon, a good chunk of which was an interminable clash of metal on metal. King of the Monsters is marred by sound design that is just as off-putting. In theory, I can understand why people would enjoy Godzilla getting into a battle royale with Mothra, Rodan, and the like a lot more than I can understand the appeal of robots clanging against each other. But this numbing onslaught is far from the best that this genre can offer.
Godzilla: King of the Monsters is Recommended If You Like: Non-stop giant monster battles
Grade: 2 out of 5 Roars
May 29, 2019
jmunney
Cinema, Movie Reviews
Allison Janney, Blumhouse, Corey Fogelmanis, Dante Brown, Diana Silvers, Gianni Paolo, Juliette Lewis, Kyanna Simone Simpson, Luke Evans, Ma, McKaley Miller, Missi Pyle, Octavia Spencer, Tate Taylor
CREDIT: Universal Pictures
Starring: Octavia Spencer, Diana Silvers, Juliette Lewis, McKaley Miller, Corey Fogelmanis, Luke Evans, Gianni Paolo, Dante Brown, Missi Pyle, Allison Janney, Kyanna Simone Simpson
Director: Tate Taylor
Running Time: 99 Minutes
Rating: R for A Multitude of Torturous Weapons, Sloppy Teen Partying, and Deeply Disturbing Secrets
Release Date: May 31, 2019
In terms of how closely its advertising matches the actual product, Ma fits in one of the most satisfying of cinematic molds. It is very much the movie that the trailers have promised you, but it is also oh so much more. I am reluctant to go into any more detail because of how satisfied I was to discover everything as it was revealed to me. Even my “Recommended If You Like” section below is a bit of a land mine, as the mere mention of predecessors that Ma resembles could constitute a spoiler. But suffice it to say that in this stew of theoretically clashing flavors, Octavia Spencer is more than able to handle all the tones and motivations she is required to convey.
It should go without saying that if you’re a high school student, it’s probably not the best idea to party in the basement of a random woman who you know only because she buys you alcohol. But teenagers are known for making boneheaded decisions, and Sue Ann’s (aka Ma’s) house seems a lot safer than the alternative of drinking in the woods. Also, these kids don’t realize that they are characters in a horror movie and thus being lured into a trap. Furthermore, Sue Ann is remarkably savvy about understanding the way young people communicate, both in person and through social media. Just when you think she is going to go in for the kill right away, you realize that she is actually playing the tangled, multifarious long game. Ultimately, she becomes reckless in ways that threaten her upper hand but that keep the audience satisfyingly stunned and entertained. This is a wild, risk-taking movie that takes inspiration from plenty of classics that have come before it but that also stands on its own as a truly unique and deadly specimen.
Ma is Recommended If You Like: Carrie, Misery, Saw, Sharp Objects
Grade: 4 out of 5 Cases of Booze
May 28, 2019
jmunney
Cinema, Movie Reviews
Bernie Taupin, Bryce Dallas Howard, Dexter Fletcher, Elton John, Jamie Bell, Richard Madden, Rocketman, Taron Egerton
CREDIT: Paramount Pictures
Starring: Taron Egerton, Jamie Bell, Bryce Dallas Howard, Richard Madden
Director: Dexter Fletcher
Running Time: 121 Minutes
Rating: R for Fabulous Rock Star Indulgences
Release Date: May 31, 2019
Have you ever felt so exhilarated by a movie that you thought, “I never knew it was possible to get this high?” Presumably you have, as you care enough about cinema to read reviews by film buffs who are just as passionate as you are. But you also, like me, might be worried that you will never experience this feeling again. When it comes, it’s often inspired by a really rousing song-and-dance number, and it seems like those are in short supply these days. Too many music biopics are satisfied with just touching on the nuts and bolts of rock stardom. But I don’t think that’s because they don’t want to capture the spirit of their subjects. It requires a tricky sort of alchemy to make a music movie that really sings, but somehow through the magic combination of Elton John’s discography, Taron Egerton’s cheeky and gleeful and tormented performance, and Dexter Fletcher’s go-for-broke direction, Rocketman has found the right formula.
It helps a great deal that it’s an actual musical. Biopics are often categorized by awards groups as musicals, but that’s often a misnomer, because the performance scenes are generally just that: performances. But in Rocketman, they are instead excuses for flights of fancy. As Egerton adroitly digs into the former Reginald Dwight’s oeuvre, he is buoyed along by sudden losses of gravity, stages that turn into whirlwinds, impromptu interpretive dances, and a general sense that anything could happen. This film is also a tale of triumphing over addiction, as it is framed around a group therapy session in which John recounts how he got to this crazy point in his life. You get the sense that while living alongside parents who never quite understood him, a manager who took advantage of him, and at least one loyal friend and partner who stuck beside him for decades, a corresponding world of chaos and ebullience was constantly bouncing around in his head. Rocketman has captured that part of his psyche marvelously, and it is now a decadent treat for the whole world to feast upon.
Rocketman is Recommended If You Like: The Elton John Songbook, All That Jazz
Grade: 4 out of 5 Feathered Outfits
May 25, 2019
jmunney
Cinema, Movie Reviews
Andre Benjamin, Claire Denis, High Life, Juliette Binoche, Mia Goth, Robert Pattinson
© 2013 ALCATRAZ FILMS/WILD BUNCH/ARTE FRANCE CINEMA/PANDORA PRODUKTION
At the beginning of High Life, I was inspired to be wonderstruck by the cosmos, asking the eternal questions like, “How vast is the vastness of space?” and “What existed before existence?” These queries are terrifying in their unanswerability, but also comforting in how they remind us that the construct of the universe is so much bigger than everything we know. But then the rest of High Life is just about living and getting on. And that’s all well and good, and it’s worth exploring that routine in outer space, whether or not it’s populated by convicted criminals. It’s an unstructured viewing experience, and you’ll struggle to care if you’re not especially tuned in to director Claire Denis’ wavelength, though you might occasionally be thrilled by the daring approach. I appreciate High Life for staking out a unique place in cinema, but I don’t particularly ever want to experience it again (at least not most of it).
I give High Life A Medium Lack of Gravity.
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