This Is a Movie Review: 3100: Run and Become

Leave a comment

If a race consists of 3100 miles over the course of 52 days, with breaks for sleeping and even a haircut, can it really be considered a race? Or is it more of a running regimen? Semantics aside, this is clearly an impressive feat, and Sanjay Rawal’s documentary 3100: Run and Become (which is having its world premiere at the Illuminate Film Festival in Sedona, AZ with plans for a theatrical rollout in late summer 2018) tracks the story of those who have accomplished that feat at the Self-Transcendence 3100 Miler, the world’s longest certified footrace.

The race is situated along a half-mile block in Queens, New York, which competitors must traverse thousands of times as they seek to average at least 60 miles per day. The film chronicles the 2016 edition, mainly focusing on Finnish paperboy Ashprihanal Aalto, an eight-time winner of the event. Along the way, the masters establish their leads by thousands of miles, while others succumb to the heat and are forced to drop out. It is incredible that the latter fate does not befall everyone, considering that they are spending practically the entirety of their waking hours going around and around. Overall, there is a Zen tone to the presentation, as the easygoing Aalto has practically been subsumed by the natural forces that move him along.

Rawal also includes detours about other long-distance runners: a Bushman in the Kalahari, a Navajo on a reservation in Arizona, and a resident of Japan’s mountain temples. They certainly have a thematic connection to Aalto’s story, but it may have been wiser to keep the focus squarely on the 3100. Any long-distance runner or admirer of long-distance runners would surely appreciate a deep dive into the details of what allows Aalto and his fellow competitors to survive and even thrive in this extreme ultramarathon gauntlet. Still, just knowing that this race exists and getting a taste of it is enough to catch a whiff of the transcendence that is being chased.

This Is a Movie Review: ‘Solo: A Star Wars Story’ Succeeds When it Commits to Its Icons Fully or Creates Something Wholly New

Leave a comment

(c) Lucasfilm Ltd. and TM. All Rights Reserved.

This review was originally published on News Cult in May 2018.

Starring: Alden Ehrenreich, Emilia Clarke, Woody Harrelson, Donald Glover, Joonas Suotamo, Paul Bettany, Thandie Newton, Phoebe Waller-Bridge

Director: Ron Howard

Running Time: 135 Minutes

Rating: PG-13 for Lasers and Space Derring-Do

Release Date: May 25, 2018

Nobody can play Han Solo as iconically as Harrison Ford, or so the conventional wisdom goes. Now that we actually have Alden Ehrenreich’s version to dissect, we can render a more practical verdict about just how successful he is or isn’t. And while indeed young Solo has nothing on classic Solo, the task is not necessarily as impossible as originally advertised, which we know because we do not have to look far to find someone else pulling off that goal, as Donald Glover’s take on Lando Calrissian manages to be just as iconic as, if not more so (time will tell, ultimately), Billy Dee Williams’ version.

To be fair, Glover probably has the easier task, insofar as it is the less restricted one. While Ford is one of the major players in four Star Wars films, Williams only has about 15 minutes of screen time across two episodes. Ergo, Glover has plenty more freedom to fill in the blanks and create new blanks never hinted at previously, while Ehrenreich is locked into coloring necessary backstory, like earning the life debt that Chewie owes him and making the Kessel Run in under 12 parsecs. But the biggest difference is in the quality of preparation. Glover feels like someone who has been auditioning to play Lando his whole life, while Ehrenreich feels like someone who has been training to be an actor, and maybe more specifically a movie star, but not so specifically Han Solo in particular. That specificity and passion is almost certainly necessary to pull off the job of simultaneously paying homage to a famous character and making it one’s own. Maybe there are some folks out there who have been playing Han Solo in front of the mirror their whole lives, but Ehrenreich is probably not one of them. He gets the job done, but he does not take it to the next level.

Solo does not rely entirely on checking off a bunch of backstory checkpoints. Like any well-bred Star Wars movie, it is populated with a menagerie of diverse characters. As far as the new faces go, most prominent are Emilia Clarke as Qi’ra, Han’s childhood friend and partner-in-crime, and Woody Harrelson as Tobias Beckett, Han’s smuggling mentor. They are appropriately cast, but they feel like could be any Emilia Clarke or Woody Harrelson character, as opposed to the roles of a lifetime that add new definition to what a Star War can be. Same goes for crime lord Dryden Vos, who can be easily and unfussily added to Paul Bettany’s murderers’ row of villain roles.

But not-so-quietly revolutionary is Phoebe Waller-Bridge’s motion-capture performance as L3-37, Lando’s feisty, herky-jerky droid companion. Waller-Bridge’s success comes from a starting point totally opposite of Glover’s, as she had never seen a Star Wars film before auditioning. Consequently, her performance is not beholden to any droids that have preceded her. She takes full advantage of the individuality inherent to a set of beings that seem to have plenty of free will despite also being conditioned by their programming. Her relationship with Lando suggests an open-minded (pansexual even) imagination that might as well be explored in a cinematic universe as vast as this one. And therein lies a template for keeping fresh the perhaps infinite number of future Star Wars: anchor them in a deepened spin on the familiar while introducing a high-risk, wholly fresh concoction.

Solo: A Star Wars Story is Recommended If You Like: Community’s Star Wars homages, Watching poker when you have no idea what the rules are, Human-cyborg relations

Grade: 3.5 out of 5 Parsecs

 

This Is a Movie Review: On Chesil Beach

Leave a comment

CREDIT: Bleecker Street

I give On Chesil Beach 2 out of 5 Past Traumas: https://uinterview.com/reviews/movies/on-chesil-beach-movie-review-saoirse-ronans-talents-can-only-carry-this-romantic-tragedy-so-far/

This Is a Movie Review: First Reformed

1 Comment

CREDIT: A24

I give First Reformed 4 out of 5 Pepto-Bismols: https://uinterview.com/reviews/movies/first-reformed-movie-review-ethan-hawke-gives-a-career-best-performance-as-a-conflicted-reverend/

This Is a Movie Review: Pope Francis – A Man of His Word

Leave a comment

Pope Francis, in Wim Wender’s docuemntary, POPE FRANCIS – A MAN OF HIS WORD, a Focus Features release. (c) 2018 CTV, Célestes, Solares, Neue Road Movies, Decia, PTS ART’s Factory

I give Pope Francis – A Man of His Word 4 out of 5 Franciscan Breezes: https://uinterview.com/reviews/movies/pope-francis-a-man-of-his-word-movie-review-powerful-documentary-delivers-genuine-message-of-hope/

This Is a Movie Review: Deadpool 2

Leave a comment

CREDIT: Twentieth Century Fox

I give Deadpool 2 2.5 out of 5 Baby Legs: https://uinterview.com/reviews/movies/deadpool-2-movie-review-second-time-not-the-charm-for-exhausting-sequel/

This Is a Movie Review: Breaking In

Leave a comment

CREDIT: Paul Sarkis/Universal Pictures

I give Breaking In 2 out of 5 Intercoms: https://uinterview.com/reviews/movies/breaking-in-movie-review-gabrielle-union-is-a-fearsome-mother-in-a-by-the-books-occasionally-weird-home-invasion-thriller/

This Is a Movie Review: Beast

Leave a comment

CREDIT: Roadside Attractions

I give Beast 3.5 out of 5 Glass Shards: https://uinterview.com/reviews/movies/beast-movie-review-british-thriller-reveals-that-the-animal-lies-within-us-all/

This Is a Movie Review: Overboard (2018)

Leave a comment

CREDIT: Metro Goldwyn Mayer Pictures/Pantelion Films

I give Overboard (2018) 3 out of 5 Baggy Seahawks Jerseys: http://uinterview.com/reviews/movies/overboard-movie-review-anna-faris-and-eugenio-derbez-are-a-sweet-enough-duo-to-overcome-this-remakes-fundamental-flaws/

This Is a Movie Review: Does Motherhood Gradually Get Better for Everyone? I Don’t Know, But Let’s Watch ‘Tully’ in the Meantime

Leave a comment

CREDIT: Focus Features

This review was originally posted on News Cult in May 2018.

Starring: Charlize Theron, Mackenzie Davis, Ron Livingston, Mark Duplass

Director: Jason Reitman

Running Time: 96 Minutes

Rating: R for PG-13-level Profanity, a Wish-Fulfilling Sex Scene, and Some Nudity (Mostly Breastfeeding-Related)

Release Date: May 4, 2018

“How could anyone possibly want to be a mother?” I find myself thinking multiple times while watching Tully. Sure, kids can be bundle of joys for folks who are parentally inclined, but the purgatory of pregnancy and postpartum malaise that Charlize Theron steeps herself in conveys unequivocally the crushing sacrifices required to assemble a happy family. Now, not every mother or mother-to-be is as susceptible to depression as Theron’s Marlo is, but creating another life inside your body pretty much guarantees a transformation of your sense of personhood. So what a blessing it would be to have someone devoted to helping with that transition, and I think we can all agree that a smiling, eager Mackenzie Davis on our doorstep fits the requirements perfectly.

Davis’ titular nanny, hired to take care of Marlo’s new baby overnight so that Mom can get some much-needed sleep, shares a lot of DNA with Manic Pixie Dream Girls, that oft-bemoaned breed of rom-com stock character designed for the express purpose of making the lead character discover the joy of loving life. But the Manic Pixie Night Nanny, or at least this particular one, avoids being similarly frustrating, because taking care of all of Marlo’s needs is kind of in her job description. She comes across as a real, layered person because some people really are that expertly enthusiastic about childcare, and she is granted a life and concerns of her own outside her employment. But as Tully proves to be the most perfect nanny ever and starts to become a friend and confidante, the questions arise: just how is it possible that she is this perfect? How long can, and should, this arrangement last?

In her third collaboration with director Jason Reitman, screenwriter Diablo Cody takes plenty of piercing (but loving?) digs at the sort of suburban bougie lifestyle that accompanies the concept of a night nanny. According to Marlo’s brother Craig (Mark Duplass, so often playing the embodiment of bougie entitlement), this may be the sort of indulgence only rich assholes get to have, but at least these particular rich assholes are of the unwittingly hilarious kind. The New York crowd at my screening cracked up heartily at a dog named “Prosecco” and the reveal that an elementary school kid’s talent show talent is “Pilates.” (Distressingly, though, I was the only one laughing at a sneaky reference to a certain ’90s cartoon.)

I feel that I must now get into a spoiler alert, which I want to be careful about, because the fact that there is a spoiler alert is already a bit of a spoiler, as this is not the type of movie you would expect to have secrets that need protecting. But because of the nature of what is spoilable, it feels irresponsible not to mention that it could be traumatic to mothers who have experienced pregnancy-related mental health issues. Tully ultimately reveals itself to be a different movie than it initially appears to be – not worse, but a lot heavier. It is something I cannot get out of my head, and I think that is a good thing, as it offers an approach to certain facts of life that is well worth digesting.

Tully is Recommended If You Like: Bougie Suburban Satire (like that of Beatriz at Dinner), Young Adult, The Babadook

Grade: 4 out of 5 Milk Spills

Older Entries Newer Entries