RAYA AND THE LAST DRAGON Review

The latest Disney princess to enter the chat is a Southeast Asian princess named Raya and she absolutely rules. It's always impressive when storytellers can manipulate your standard archetypes to somehow create what are still compelling characters experiencing fanciful if not familiar situations that they somehow manage to derive a particular meaning or elicit a specific theme from. That all to say, Raya and the Last Dragon isn't necessarily anything audiences haven't seen before, but it's so well thought out and so well executed that it makes the tropes it takes advantage of feel exceedingly fresh; as if one were experiencing them for the first time. It also doesn't hurt the film was inspired by cultures from Thailand, Indonesia, the Philippines, and Laos among others which inherently adds a certain vigor and resonance to the piece. It's abundantly clear how much the representation in the film mattered to its makers given Raya is Disney's first feature film inspired by Southeast Asia as the creative team that was put in place - namely screenwriters Adam Lin (Crazy Rich Asians) and Qui Nguyen - brought as much experience as they did research to the table. Having writer's representative of the culture at the heart of the story lends the film certain subtleties, nuances, and truths it would undoubtedly have gone without otherwise. Raya's strongest trait isn't how focused it is on diversifying the Mouse House's princess portfolio, but rather how seamlessly it integrates these cultures into Disney's age old formula while remaining true to the ancestry and traditions that have inspired this variation on the hero's journey. There is a difference in representation and concentration though, and while the representation in Raya certainly matters what makes it even more exceptional is how the film doesn't concentrate solely on the culture by placing it at the center of the narrative, but more by building the context of the story in a land many will consider fictional, but who just as many will recognize as home. Raya treats all princesses equal by giving the titular Asian princess as rousing an adventure as Mulan and as moving a quest as Elsa with nary a prince or romantic subplot in sight. In short, the representation occurs by using the tropes of the action/adventure genre to enlighten non-Asian audiences to a culture that isn't their own. By showcasing the importance of trust as its primary theme, delivering beautiful visuals that are meaningful even if all may not fully realize or comprehend why, as well as simply being a positive portrayal of what said trust, optimism, and understanding can do for the world Raya and the Last Dragon is a near-perfect film that takes the best of what movies have to offer and delivers them in spades if not necessarily breaking the mold. 

GEMINI MAN Review

There are few things more disappointing than a movie that moots the charisma of Will Smith. And yet, somehow, Ang Lee's Gemini Man manages to not only do this, but do so as the film literally doubles the amount Smith while equally subduing the level of charm the movie star typically brings. Gemini Man is a science project of a movie in which Lee once again tries to make a case for the practice of utilizing higher frame rates as opposed to the traditional 24 frames per second, which is pretty much how all movies have been shot since moving pictures and sound collided. As with his previous feature, Billy Lynn’s Long Halftime Walk, the filmmaker shot Gemini Man at 120 frames per second and though only a handful of theaters in North America will be able to show the film in this intended format Lee continues to insist this is the way of the future of cinema or more appropriately-the next step in salvaging the theater-going experience. To this point, Lee's intentions are obviously admirable as he is experimenting in these techniques to try and enhance the immersiveness of the theatrical experience and it might even be further to this point that Lee has tried to implement such techniques through as generic a genre thriller as Gemini Man, but despite the technology (and this is something Lee should have learned on Billy Lynn) the level at which an audience is immersed in a film and the experience of movie-going as a whole is still rooted in the basics of story and character. That's not to say the core concept of Gemini Man doesn't have potential-films cut from the same cloth such as Looper, Minority Report or even The Terminator to a certain extent have all succeeded in different ways while more or less using the same tools-but here, the premise seems to simply be an excuse to try these new advancements in the field of filmmaking; essentially making Gemini Man a crapshoot of a movie that will help the film industry figure out what works and what doesn't. Furthermore, in the age of properties and brands being bigger than old school movie stars Will Smith is still arguably still one of the biggest celebrities if not movie stars on the planet still as well as being one of the most charming and likable personalities to boot, but in Gemini Man all of that presence and personality is squandered in a movie uninterested in who Smith's character is. Gemini Man ultimately feels less like a step forward in any aspect of its production and more like a regression in the ability of Lee to tell a compelling story with or without all the bells and whistles.

First Trailer for Ang Lee's GEMINI MAN Starring Will Smith

Paramount Pictures has released the first trailer for Ang Lee's latest directorial effort, Gemini Man, a sci-fi thriller that employs Will Smith as an assassin tasked with hunting down his younger self-a clone. While the premise may sound more than a little familiar (Looper anyone?) and it's not a great sign that the screenplay is credited to at least seven individuals this is still an Ang Lee (Brokeback Mountain, The Ice Storm) production and for that reason alone is worthy of some attention. Lee, who last won an Oscar for his directing effort on 2012's visually stunning Life of PI had a rough time with his follow-up in 2016's war drama, Billy Lynn’s Long Halftime Walk. The filmmaker, who has always been known to push the technological limits, shot that film completely in 4K and at 120 frames-per-second, but unlike PI (at least during it's theatrical run) the film made no cultural impact and even less of a box office impact as the $40 million production barely made it past $30 million at the worldwide box office. With Gemini Man, Lee enters into a more straightforward genre picture and with a double dose of one of our most charismatic stars as Smith is pulling double duty in portraying both the younger and older versions of himself (unlike Looper) as Lee is using de-aging VFX to portray the 50-year-old Smith hunting down his 23-year-old self. All of this said, the trailer looks a little more bland than I was hoping given the team involved and the story they're telling, but the action looks to be executed in a top notch fashion (as it should coming from the guy who made Crouching Tiger, Hidden Dragon) even if trailer trope of using a sad cover song-especially a song like “Forever Young”-really puts into perspective how kind of "behind the current" this trailer makes the movie feel despite the fact it's undoubtedly on the cutting edge of technology. Here's to hoping this is just a bad piece of marketing rather than a true indication of the final product. Gemini Man also stars Mary Elizabeth Winstead, Clive Owen, Benedict Wong, Douglas Hodge, and opens on October 11th, 2019.

ANNIHILATION Review

Everything about writer/director Alex Garland's (Ex Machina) latest film, Annihilation, is subtle; it more alludes to everything than it does outright tell you what it wants you to think or what you should believe. This is key as Annihilation still presents a very specific set of circumstances and specific set of details around what is happening within these weird circumstances, but if you're going in for the creature effects and twist endings don't be surprised if you walk out disappointed on both accounts. In fact, as the credits began to roll in my screening last night the first thing I heard from a viewer seated behind me was a disdainful, "...okay?" as if they were more than a little unsatisfied by the conclusion Garland delivered. It's not hard to see why this might be case though, as most viewers and people in general have been set-up and conditioned to expect explicit answers and resolutions from our mainstream entertainment, but it was clear after Garland's 2015 directorial debut that the filmmaker wasn't interested in pleasing the masses, but more in pondering the possibilities. Annihilation, in many ways, is a movie that explores this very phenomenon of what our minds create when prompted and how so often what is imagined is greater than anything the reality of a situation could ever deliver. Each of the leading women who participate in the expedition that takes place in Annihilation have certain ideas of what they might encounter when entering "The Shimmer", but none of them really have a grasp on what they're getting themselves into or what lies ahead prior to their journey; each has no doubt imagined what might lie ahead of course, and it is in these ponderings that the reality of what they encounter comes to be so frightening. There is likely a large metaphor of some kind and/or a deeper meaning to the film at large that my limited mind has yet to comprehend, but after an initial viewing it is clear that what is going on in Garland's latest is more than what can be comprehended in a single viewing. In fact, I almost wanted to re-watch the film again as soon as it finished because I knew what I'd gathered from that first viewing barely scratched the surface. Annihilation, I think, is largely a movie about self-destruction with the catalyst of "The Shimmer" serving to personify whatever type of self-destruction the individual viewer might relate to most, at least that's what I'm going with at the moment.

DOCTOR STRANGE Review

From the outset where Marvel Studios shows off its brand new logo that features clips of its heroes in action from previous films rather than clips of art from their older comic books it is clear just how much of a brand this studio and their particular type of super hero films have become. What is more telling though, is just how aware Marvel is of this fact and how boldly they state their accomplishments in this re-branding of their title card. This slight boasting by the company sets up good and bad expectations for the film that proceeds it as Doctor Strange very much operates within the familiar world Marvel has built while at the same time reminding us of just how high Marvel can fly leaving this rule of a movie to be something of a letdown. Of course, that is the one glaring barrier all Marvel movies now have to overcome in how do they not just play as large scale TV episodes, but more singular stories that feel worthy of the big screen treatment. It's not necessarily that Dr. Stephen Strange isn't worthy of such treatment, but more in the pantheon of all Marvel has done before and all it plans to do in the future this initial outing with the soon-to-be Sorcerer Supreme feels as brisk and as superfluous to the Marvel Cinematic Universe as The Incredible Hulk now ranks. Not that Doctor Strange doesn't introduce a whole new dimension of possibilities to the MCU, but were this film to not work out the way Marvel expects it to for some reason they could essentially ignore its existence and move on with the physical dangers the film tells us The Avengers protect our world from. That won't happen, of course, but that's the type of indifferent feeling director Scott Derrickson's (The Exorcism of Emily Rose, Sinister) take on a Marvel property unfortunately conjures up. Making this worse is the fact that Doctor Strange features some of the more daring and downright trippy visuals that have been seen in a Marvel movie as well as some of the weirder sequences in the studios filmography that, while visually enchanting, make it even more apparent just how standard the narrative is. Why Marvel and Kevin Feige were willing to go out on something of a risky limb with their visuals as well as just how far Strange can push his powers, but not with the story that brings the titular Doctor into the world of magic and mysticism is a little perplexing, but at the end of the day it's clear this is a board room picture designed to change up Marvel's winning formula just enough so as to appear to be something new and different, but what in reality will rely on the same tricks that have guaranteed consistent hints for eight years now.

New Trailer for DOCTOR STRANGE Starring Benedict Cumberbatch

I don't know much about Doctor Strange, but I'm beginning to feel like the only one who is kind of "meh" on the whole thing. Having not read many comics much less those of Marvel's Sorcerer Supreme I come at director Scott Derickson's (The Exorcism of Emily Rose, Sinister) take on the Marvel hero and his entry into the Marvel Cinematic Universe the same way I came at Thor-intrigued, but slightly concerned. This is clearly somewhat new territory for the company given Doctor Strange very much exists in a magical reality. While Thor exists among the Gods and the Guardians of the Galaxy exist among the cosmos it feels as if Doctor Strange has the biggest potential to come off as cheesy and/or slightly corny. Say what you will, but that's how that tag joke struck me-cheesier than anything else. Do I actually think Doctor Strange will be the movie that sinks the Marvel ship? Absolutely not-this company is a juggernaut with no end in sight, but do I feel like Strange will make a cultural impact the way the Guardians did or that Benedict Cumberbatch will completely own the titular role the way that say, Chris Hemsworth or Robert Downey Jr. do? No, not really. That feels crazy to say given the incredible cast this thing has assembled and being a fan of Derickson's previous work in the horror genre I'm optimistic about what he might do in the realm of the astral plane, but something just feels lacking in the footage we've seen so far. More interesting though is that it seems Derickson and his team haven't had to adhere to as many story points as Thor's first outing which gives hope that we might really be allowed to dig in and get to know this character without having to worry about extraneous plot strands. While this full-length trailer didn't do much for me I'm still excited to see what the feature brings to the MCU and have enough faith in Derickson, his long-time collaborator and screenwriter C. Robert Cargill, as well as Jon Spaihts (Prometheus) to hope for the best. Doctor Strange also stars Rachel McAdams, Tilda Swinton, Mads Mikkelsen, Chiwetel Ejiofor, Michael Stuhlbarg, Benedict Wong, Scott Adkins, and opens on November 4th, 2016.

First Trailer for Marvel's DOCTOR STRANGE

I don't know much of Doctor Strange. I've never read any comics much less those of the Marvel's Sorcerer Supreme and more importantly the character never had a 90's animated series for me to latch onto. And so, I come at director Scott Derickson's (The Exorcism of Emily Rose, Sinister) take on the Marvel hero and his entry into the Marvel Cinematic Universe the same way I came at Thor-intrigued, but slightly concerned. This is clearly somewhat new territory for the company given Doctor Strange very much exists in a magical reality. While Thor exists among the Gods and the Guardians of the Galaxy exist among the cosmos it feels as if Doctor Strange has the biggest potential to come off as cheesy and/or slightly corny. I don't actually believe it will be an issue given Marvel has been able to overcome both of those obstacles with the aforementioned properties, but still. With Doctor Strange the credibility is already upped quite a bit given they were able to cast Benedict Cumberbatch as Master of the Mystic Arts. With this first look at footage from the film I feel very much the same way I did about Thor after its first trailer in that visually it looks nothing short of impressive and even comes across as confident in its unique charms, but seems to be slightly straining to fit into what has already been molded. Lucky for Derickson and this property in general their movie doesn't seem to be part of a strict plan to lead to an already in motion team-up, though I'd be surprised if Strange didn't show up in Infinity War in some capacity. More, Derickson and his team don't have to adhere to as many story points as Thor giving me even greater hope. No matter what, I'm excited to see what the feature brings to the MCU and have enough faith in Derickson, his long-time collaborator and screenwriter C. Robert Cargill, and Jon Spaihts (Prometheus) to hope for the best. Doctor Strange also stars Rachel McAdams, Tilda Swinton, Mads Mikkelsen, Chiwetel Ejiofor, Michael Stuhlbarg, Benedict Wong, Scott Adkins, and opens on November 4th, 2016.