ALADDIN Review

I know it's beyond cliché to begin ones film review with a quote from the film you're reviewing, but the 2019 live action re-make of Aladdin was also the last place I expected to find a quote that was compelling enough to open said review with. While, at this point, I guess I won't technically be "opening" the review with the quote...it's close enough. "The more you gain by pretending, the less you actually have," is the quote in question by the way. As this is said by Will Smith's much discussed and often much maligned interpretation of the Genie it immediately became more evident that not only was this new iteration of Aladdin not completely tone deaf to the world in which it exists, but that it also works as something of a meta-commentary on how these live-action versions of these classic animated stories work or not depending on how much of a creative endeavor they are in and of themselves. The Jungle Book, for example, shouldn't have worked because the story was as thin as a wafer and the original was more or less a series of musical numbers, but by default of digging more into Kipling's narrative and creating this immersive environment with photo-realistic characters the film came to feel like something of an endeavor worth rewarding even if the final product wasn't as exceptional as the individual parts would lead one to believe. This is also why Beauty and the Beast didn't work and why Cinderella lands somewhere in the middle of the pack. Alice in Wonderland is the exception given that one had much the same level of investment as Jungle Book, but for one reason or another didn't work. Guy Ritchie's Aladdin only plays pretend for long enough that it warms the audience up to the idea of this new version before beginning to carve its own path and therefore making it its own thing-peaking its head out from under the legacy of the original. In other words, it doesn't gain its credibility by being a carbon copy and therefore amounting to nothing more than a flash in the pan money-maker, but there's surprisingly enough here to give 2019's Aladdin strong enough legs to stand on its own. It actually has a fair amount to offer. I'm as surprised as the next person about this revelation given the trailers and TV spots were more indicative of a train wreck than a triumph and while Ritchie's Aladdin isn't necessarily a triumph in the boldest sense of the word it is a triumph in the sense that it made this 90's-raised thirty-something dude who viewed the original animated film as something of the holy grail of animated films appreciate this new movie not just as an entertaining distraction that honored the original, but as an entertaining endeavor that both honors the original and finds new purpose in its own existence.         

Official Trailer for Disney's ALADDIN Starring Will Smith

It's been a tough road for Disney's live-action adaptation of their 1992 animated classic, Aladdin, thus far as it seems with each new look there is a fair amount of online backlash-most of which seems to be around Will Smith's incarnation of the Genie. Of course, if you're familiar with that seminal nineties movie (and if you're not, you need to get familiar) Genie was always going to be the biggest hurdle considering Robin Williams' groundbreaking iteration. While Williams' performance will obviously loom large it would seem naive to think Smith didn't think through this whole scenario before agreeing to take the role in the first place. Smith had to know he was in something of a no-win situation given the reverence for Williams' interpretation and the fact he would have to come-up with something both radically different and pretty special to even be allowed in the same conversation. I hope this is the case and given this first, true look and representation at what the full film might actually be like I'm more optimistic than I've yet to be in regards to this project at all, but I'm definitely more optimistic than I was a month ago. Alice in Wonderland, Cinderella, Dumbo, those are all one thing, but when you have a property that fuels nostalgia for the entire generation who is now the base demographic with expendable income there has to be a plan in place. With this official trailer we are allowed glimpses at more of the iconic moments from the animated original as well as seeing how the movie might mix things up so as to not be a complete carbon copy. The scale is present here, there is more personality to each of the characters, and there is the expected tone in the editing given this has director Guy Ritchie behind it (Snatch, Sherlock Holmes). That said, some of it does still look very staged and fake as opposed to the natural tangibility one would think is the point in creating these live-action re-makes. On the plus side though, along with some of the classic music that we hear references to in the trailer this live-action version will also feature new songs by Alan Menken and La La Land songwriters Benj Pasek and Justin Paul (Menken wrote with Howard Ashman and Tim Rice for the 1992 version). Aladdin will also star Marwan Kenzari, Navid Negahban, Nasim Pedrad, Billy Magnussen, Numan Acar, Mena Massoud, Naomi Scott, and opens on May 24th, 2019.

New Look at Disney's Live-Action ALADDIN Starring Will Smith

Things are not looking good for Disney's live-action adaptation of their 1992 animated classic, Aladdin, as it seems with each new look there is a fair amount of online backlash-most of which seems to be around Will Smith's incarnation of the Genie. Of course, if you're familiar with that seminal nineties movie (and if you're not, you need to get familiar) Genie was always going to be the biggest hurdle considering Robin Williams' groundbreaking iteration of that being who could grant you three wishes. While Williams' performance will obviously loom large it would be completely unfair to dismiss Smith's take on the character based solely on a single (likely unfinished) CGI shot and a single line of dialogue. I mean, I understand the complaints, but it doesn't look THAT bad and I can only hope the animators continue to the balance of real-life Smith with his animated incarnation to the point the final product offers a more convincing aesthetic. What's unfortunate is this spot revealing Smith as the more recognizable version of Genie was-in some capacity-probably a response to the negative backlash Smith and the film received for this Entertainment Weekly cover. More than anything, my hope is that Smith thought this whole scenario through before even agreeing to take the role in the first place. Alice in Wonderland, Cinderella, Dumbo, those are all one thing, but when you have a property that fuels nostalgia for the entire generation who is now the base of your expendable income demographic there has to be a plan in place. Smith had to know he was in something of a no-win situation given the reverence for Williams' interpretation and the fact he would have to come with something both radically different and pretty special to even be allowed in the same conversation. I hope this is the case. I am a massive Smith fan and have been for a long, long time, but I really hope he has an ace in his back pocket here otherwise it begs the question of why he would even take on this challenge in the first place. We do get a few glimpses of other, big moments from the animated film here as well, but despite director Guy Ritchie's filmography it all looks very staged and fake as opposed to the natural tangibility one would think is the point of these live-action re-makes. On the plus side though, the film will feature new songs by Alan Menken and La La Land songwriters Benj Pasek and Justin Paul (Menken wrote with Howard Ashman and Tim Rice for the 1992 version). Aladdin will also star Marwan Kenzari, Navid Negahban, Nasim Pedrad, Billy Magnussen, Numan Acar, Mena Massoud, Naomi Scott, and opens on May 24th, 2019.

INGRID GOES WEST Review

Writer/director Matt Spicer and his feature directorial debut, Ingrid Goes West, nail it. For a long time. For most of the runtime, actually, Spicer and his film nail exactly what he and it are going for. In every detail the script supplies or that drips from Aubrey Plaza's inherently mocking facade into what the actress applies to the titular character Ingrid Goes West is as sharp as it needs to be in order to achieve this kind of sardonic satire it's going for in each of every one of those aforementioned details. That Spicer and co-writer David Branson Smith are able to craft an interesting narrative from the seemingly simple idea of exposing those who live their lives striving to create the appearance of another kind of life on social media is encouraging first and foremost, but that through this they are able to utilize that premise to support and point out all the obvious and sometimes dangerous/creepy aspects most might not consider when posting to Instagram makes the mockery that much funnier due to the fact it's so true. As with many an inspired tales, Ingrid Goes West begins strong by highlighting some of these little truths to what is not necessarily an exaggerated effect, but maybe more frightening is that depictions of Plaza's Ingrid trying to figure out the best phrasing for an Instagram comment are so accurate they need not be exaggerated, but more just held up in front of us in order to realize how trivial and silly it all really seems. Ingrid Goes West understands this semblance of effortless cool is indeed serious business to some though and with that it doesn't so much talk down to the intended audience it desires to simultaneously mock and enlighten, but rather Spicer and Smith's screenplay comes around to the inevitable (yet encouraging) conclusion that to be your own cool is the coolest cool there is. This is exemplified through a particularly hilarious and exceptionally performed character named Dan Pinto (O'Shea Jackson Jr.) who comes into Ingrid's life at a crucial time and provides the kind of real, tangible, human interaction her life and being so badly craves-even if Ingrid herself doesn't realize this for much of the film. That it takes Ingrid so long to understand the simple epiphany the film eventually has would be rather testing did the majority of the movie not land so precisely on how exhausting it can be to keep up these kinds of fronts that feel obvious in their fraudulence, but are so convincing in their execution they may as well explicitly state that one should feel inferior. That Ingrid Goes West ultimately lands on the non-revelation it does gives this hard and fast social commentary an otherwise disappointing last act.    

THE BIG SHORT Review

In the context of the film it makes perfect sense, but to audiences smothered in cinematic choices this holiday season The Big Short is unfortunately one of the more forgettable titles. It helps marginally that the faces on the poster are four of Hollywood's heaviest hitters with Brad Pitt bringing in the biggest pull (and ironically putting in the least amount of screen time), but even this won't be enough to distract moviegoers from what might be a saturated market made worse by a complicated story that has been relayed in sardonic terms by the director of Anchorman. Of course, if you've payed attention to any of Adam McKay's work you'd know the director of Anchorman and other such Will Ferrell comedies including Talladega Nights and The Other Guys is actually the perfect choice for a film that desires to tell of the housing market crash that occurred in America in 2008. It is a story in need of sharp social commentary, of a mind that might give the boring numbers game an insightful twist and McKay is able to deliver on all fronts by crafting a final product that is as funny and stinging as it is heartbreaking and tragic-a detriment, almost, to the American spirit. And yet, throughout the over two hour runtime the film never ceases to be breathlessly entertaining. There is so much going on, so many words being spoken, so many deals being made, and so many new characters being introduced at such rapid rates that we never have time to settle in, but rather stay perched on the edge of our seats. With its hands in so many different pots it would be easy for the The Big Short to go off the rails, but somewhat unexpectedly the film finds a certain groove in its latter half that, while not matching the frenetic speed of the first two acts, brings in the necessary levity that strikes the perfect balance between both the ridiculousness of the situation and the dire real world consequences. McKay, working from his and Charles Randolph's screenplay that is based on the book by Michael Lewis (The Blind Side, Moneyball), is able to remain so laser focused on what makes these characters so interesting in their own right that the fact they exist in this compelling real world situation is only icing on the cake.

INTO THE WOODS Review

Director Rob Marshall (Chicago) returns to the musical with a film adaptation of Into the Woods, Stephen Sondheim's 1986 concoction that intertwines the plots of several Brothers Grimm fairy tales. Given this was produced by Disney though, many will surely think of it as another way for the mouse house to repackage their most classic of animated tales and turn them into a new holiday hit. Those same people will likely be somewhat surprised when some of the more violent twists of the Grimm tales come to light in the film. All of that said, Marshall's version of Into the Woods feels like a missed opportunity more than anything. I haven't seen the Sondheim play that serves as the source material, but I imagine there is much more to it than what has been put to the screen here. This film version never delves too deep into the familiar tales the main characters are taken from (which is fine) but it also doesn't have enough material in its original aspects to fill out the running time of a feature and so the last almost hour ends up feeling completely tacked on. This is a shame, really, because as far as musicals are concerned I was really digging what they were doing story-wise and Marshall has a keen eye for how to shoot people singing dialogue while making it exhilirating. What I don't understand is why they weren't able to somehow extend the story into one cohesive narrative rather than seeming to wrap up all the storylines nicely only to unravel them over the next fifty minutes so we end up with a less than satisfying conclusion that, more than anything, undermines all they'd worked so hard to set-up in the first place. And while this certainly takes a fair amount of enjoyment out of an experience you expect to be filled with familiar character tropes and choreographed numbers there is still plenty to feast your eyes and ears upon. Into the Woods may not be everyone's cup of tea and it may not even prove to be appealing to those who compare it to the stage show, but what it offers and what detracts just about even each other out to the point we care about what's happening while we're watching it, but won't remember a thing the next day.