ASTEROID CITY Review

It seems with each new Wes Anderson project the distinction between the two halves of his films that are style and story, art and heart, aesthetic and dramatic become sharper. While I wouldn't say that throughout his nearly thirty-year career the auteur has ever been "great and terrible" as in one facet succeeds while the other fails miserably, I would say he's exercised a fair amount of "great and powerful" moments while also being unanimously "wonderful" in some fashion in most if not all his films. These phrases are obviously meant to allude to the character of the Wizard of Oz due to the fact Anderson has never felt more like the man behind the curtain than he does in Asteroid City. Opening with a live taping of a narrator discussing the writing of the story we're about to see unfold the framing and structuring of this venture will undoubtedly be too sophisticated for some viewers to grasp or too complicated for others to care about. While the story of the writing of the play the narrator is telling us about begins in September of 1955 the play itself takes place a thousand or so years in the future despite the traditional Anderson aesthetic that inherently implies the past. It's confusing, but not really a detriment to the experience as the battle, but more the integration between veneer versus reality is what fans of Andersons come to his films for. 

What hurts Anderson the most in the case of Asteroid City has more to do with the cavern between these aforementioned halves; the lack of said integration. The craft on display is top-tier Anderson, naturally, yet the emotional resonance fails to make an impact (pun intended) as the juxtaposition between the perfectly crafted world and the characters on the brink rings false this time. The key factor in this being that audiences are aware the people here are little more than characters; that what we're seeing is a performance rather than weighted experiences where a genuine insight or epiphany is taking place. That is what makes the less than handful of moments when the actors break while performing the play inside the movie because they recognize something in the context of the production that echoes a conflict in their personal life so exciting and enticing. Because there isn't enough real estate for Anderson to fully explore his nesting doll structure though, these cracks in the otherwise neat facade fail to leave much of a mark. There is no doubt the distance between the emotions the people and the characters are experiencing and the levity the visual stylings bring isn't intentional, but it almost feels intentionally broad so as to allow viewers to assign whatever meaning resonates most rather than Anderson and co-writer Roman Coppola having a certain theme, truth, or thought they are explicitly exploring.

Teaser Trailer for BLACK WIDOW Starring Scarlett Johansson

Though it still feels somewhat odd still that Phase IV of the Marvel Cinematic Universe will kick-off with what is-as far as we know-a prequel one has to imagine that in a decade or so the current generation too young to see these early phases in theaters will pay little mind to the actual order in which these films were released and simply watch them chronologically instead. And so, while the MCU might be making good on some things it probably should have done much sooner with the release of Black Widow next summer it would seem this little facet of the films existence will soon be forgotten in favor of either how good or bad the film is. In this first teaser, Scarlett Johansson's Natasha Romanoff is heading back to "where it all started" in an adventure that would seem to take place after Civil War, but before the events of Infinity War. Maybe we'll find out how she came into that blonde hair? Either way, Agent Romanoff is on the run and returns to Russia where she is reunited with "family" such as Florence Pugh's Yelena Belova, a character who eventually adopts the Black Widow title, David Harbour as AKA The Red Guardian and Rachel Weisz who is said to be playing another Black Widow, but one who has been through the training and active duty cycle numerous times. Cate Shortland (Berlin Syndrome) directs with the screenplay written by Ned Benson (The Disappearance of Eleanor Rigby) and Jac Schaefer (The Hustle). If one is to take away anything from this first look at the film it's that the ensemble seems like a lot of fun and hopefully the more grounded, hand-to-hand combat style of the action outweighs that of what Marvel is clearly baking on for their third act which features a multitude of characters falling through the sky while fighting which looks to be...a little silly, honestly. All of that said, it's hard not to be intrigued simply by the nature of the beast, but it will be interesting to see how much the studio, Shortland and Johansson can convince people to still invest in a character they already know is gone. Black Widow also stars O-T Fagbenle, William Hurt, Ray Winstone and opens on May 1, 2020.

MARRIAGE STORY Review

"She's a mother who plays. Really plays."

"I listen. I play. I put in the time."

The first line occurs very early in Noah Baumbach's Marriage Story while the second comes later-after much change has occurred in the lives of the characters speaking these lines. These lines come from two different characters, but they represent equal recognition of this intangible, but truly difficult quality to possess. It is in this simple connection-this acknowledgement in an admirable sense-that we know from the beginning no matter how ugly things get between Charlie (Adam Driver) and Nicole (Scarlett Johansson) that they will somehow be mature enough to find those lasting connections, those things that transcend their own relationship, that will allow them to find a common ground not only for the sake of their child, Henry (Azhy Robertson), but for the sake of their continued love story-even if the romance of that love lapsed long ago.

Marriage Story is in fact a love story, but a love story told through the lens of divorce that takes these two people we come to know on a very precise and personal level that we then watch fall further and further away from one another. The rigmarole of divorce turns things into a very impersonal process overrun by other people's opinions and agendas leaving Charlie and Nicole to ultimately find a way to figure things out on their own...doing so through that kernel of a connection the viewer trusts remains between them. Of course, said connections are more apparent to the viewer as some of Baumbach's best writing and directing moments here come when we see either of the two leads true emotions come to the surface outside of the presence of their former partner; each of them becoming what they needed to be for themselves and for one another while they were married after the fact.

AVENGERS: ENDGAME Review

The culmination of eleven years and twenty-two films worth of story, Avengers: Endgame brings to a conclusion one of the greatest experiments in cinematic history and does so with as much grace and satisfaction as one might hope or expect a single moment to capture. That isn't to say there aren't a few hiccups along the way, but what is here to complain about feels so quaint in comparison to what the film gets right that they hardly seem worth mentioning. Directors Joe and Anthony Russo have achieved what felt damn near impossible leading up to the release of the film and that is to have met the loftiest of expectations. Having been invested in these films for over a decade now and experienced the highest of highs and lowest of lows with each of the key players, Endgame takes it upon itself to find both closure in and resolution to many of the biggest arcs that have-knowingly or unknowingly-been playing themselves out for much of this same time period. That is to say, while Endgame more than compensates the eager opening night audiences with its pure "fan service" finale, the casual viewer or even the small remainder of the rest of the general population that hasn’t seen a single Marvel movie-should they decide to invest themselves this late in the game-might find themselves rendered surprisingly affected in these times of great trial and potentially even greater consequence. Endgame is certainly something of its own beast in that it thrives on its own, very distinct, structure and strong individual character arcs (especially for the core group of original Avengers) and more or less functions as a stand alone piece if not a direct sequel to Infinity War; yet it is the kind of sequel audiences always complain they don't get enough of. Meaning, Endgame compliments its predecessor without replicating it in hopes of delivering the same type of fulfillment. In every sense, Endgame couldn't feel more different than the largely space-based Infinity War as that film was non-stop from the word go to the moment of the decimation. In Endgame, our titular heroes are dealing with the repercussions of this event, the fallout of certain relationships and the idea that maybe, for once, they won't actually be able to save the day.   

Official Trailer for AVENGERS: ENDGAME

Since the credits rolled on Infinity War nearly a year ago now and with Captain Marvel's opening weekend now behind us, the countdown to Endgame has officially begun and Marvel just ratcheted up all the feels with this official trailer release. Still holding back a considerable amount and being very picky with what new footage we are allowed to see before any of the general public actually sees the complete film, this official trailer plays more as an homage of sorts to the core original Avengers than it does a glimpse into the future of the MCU. This is a nice touch given this truly does feel like a culmination of ten-plus years of movie-watching while the tag on the trailer includes Brie Larson's Carol Danvers in an effort to move into the future as well. It's kind of surreal in a way that this was always going to be unavoidable, but somehow seemed as if it might be so big so as to forever elude us. Here we are though, less than two months out, we barely know anything about the plot of the film except for the countless theories that are floating around the internet, with this latest trailer not mentioning Thanos at all, and I can't help but know we'll all be all the better for it come Thursday, April 25th when the collective MCU fans sit down to experience the true end of an era. Avengers: Endgame also stars Scarlett Johansson, Robert Downey Jr., Elizabeth Olsen, Chris Pratt, Chris Evans, Benedict Cumberbatch, Paul Rudd, Chris Hemsworth, Chadwick Boseman, Anthony Mackie, Brie Larson, Karen Gillan, Jeremy Renner, Evangeline Lily, Vin Diesel, Michelle Pfeiffer, Sebastian Stan, Samuel L. Jackson, Bradley Cooper, Pom Klementieff, Dae Bautista, Josh Brolin, Paul Bettany, Mark Ruffalo, Benedict Wong, Don Cheadle, and opens April 26th, 2019.

First Official Trailer for AVENGERS: ENDGAME

Avengers: Infinity War is currently and is likely to remain my number one film of 2018. What that film accomplished and the amount of expectation it lived up to is as close to immeasurable as I can imagine and so, to say that anticipation for the follow-up and conclusion of what has been a decades worth of films is high is an understatement. Since the credits rolled on Infinity War in late April of this year leaving room for only a minor Captain Marvel tease afterward there has been little discussion about what was to come in the direct sequel to the film despite coming to know how absent players like Ant-Man and the Wasp played into the events of the film. Marvel Studios will of course be rolling out Captain Marvel in March of next year and delivered a second, full trailer for the Brie Larson-fronted film on Monday night as rumors are also swirling that our first look at Spider-Man: Far From Home will be arriving tomorrow via the Sony Panel at the Comic-Con Experience in San Paulo, Brazil. Sony no doubt wanted whatever kind of teaser has been put together for Far From Home to play before the upcoming Into the Spiderverse that opens next weekend and given at the end of Infinity War that character was a pile of dust there would need to be some kind of statement from Marvel or glimpse at the second half of Infinity War so as the more casual viewers might possibly understand how Tom Holland's webslinger was back. Up until this point though, not even a title was know for the fourth Avengers film and now, as we have the title and have seen images from the film confirming it will in fact be ready to go by this summer movie season it's kind of surreal in a way that this was always going to be unavoidable, but somehow it seemed as if it might be so big as to forever elude us. Avengers: Endgame also stars Scarlett Johansson, Robert Downey Jr., Elizabeth Olsen, Chris Pratt, Chris Evans, Benedict Cumberbatch, Paul Rudd, Chris Hemsworth, Chadwick Boseman, Anthony Mackie, Brie Larson, Karen Gillan, Jeremy Renner, Evangeline Lily, Vin Diesel, Michelle Pfeiffer, Sebastian Stan, Samuel L. Jackson, Bradley Cooper, Pom Klementieff, Dae Bautista, Josh Brolin, Paul Bettany, Mark Ruffalo, Benedict Wong, Don Cheadle, and opens April 26th, 2019.

AVENGERS: INFINITY WAR Review

Where does one even begin? That is the question the screenwriters of Avengers: Infinity War must have been asking themselves when they sat down to pen what will ultimately come to be a five-plus hour finale to what the world has been witness to the construction of for a decade. There is so much happening and so much seemingly left to happen with Infinity War and whatever the as of yet untitled sequel is sure to include that it's almost incomprehensible anyone in their right mind took this on as a challenging endeavor they'd be willing to try their hand at. And say what you will about Joe and Anthony Russo, the directors of Winter Soldier, Civil War, and now both the third and what will be the fourth Avengers movies, and how they might feel like Marvel's "directors for hire" that bend at any whim studio head Kevin Feige commands, but these guys get the work done and do so in a way that is both dramatically satisfying as well as colossally entertaining. With Infinity War, the Russo brothers along with series screenwriters Christopher Markus and Stephen McFeely (all three Captain America films, Thor: The Dark World, as well as Agent Carter) have somehow managed to tackle the unenviable for them, but extremely exciting for audiences in the vein of making eighteen previous movies come together and intertwine in a way that is as natural as possible with clear motivation as to why as much is necessary at this point in time all while keeping it all, as Thanos would put it, "well-balanced." Where to begin in such an endeavor is certainly not a question with an obvious answer, but Markus and McFeely begin in what feels like the most natural of places given the hints that have been being dropped since that post-credits scene in 2012's The Avengers and where we last saw Thor (Chris Hemsworth) and his brother Loki (Tom Hiddleston) after the destruction of their home world, Asgard. If you haven't been paying attention, the aforementioned post-credits scene delivered a slight smirk by a guy named Thanos (Josh Brolin) AKA a titan who sees fit to invade planets and wipe out half of their population in order to keep balance among the galaxies. This is who Infinity War centers around and in more ways than one this is Thanos' movie. This is a smart decision as this was never going to be able to be one heroes movie more than another's, but by giving this villain who we've been hearing whisperings about for almost six years now the credit he is due the movie allows this antagonist to live up to the mythos those past movies have built around him.

ISLE OF DOGS Review

Isle of Dogs is the ninth feature film from director Wes Anderson and by this point, one knows prior to going into an Anderson film both what they will be getting and whether they're already in the bag for Anderson's style and how he will undoubtedly expand upon it. Needless to say, I was very much in the bag for the auteur's return to stop-motion animation after the delightful excursion that was 2009's Fantastic Mr. Fox. And so, the question then surpasses that of expectation dictating the perceived outcome of a certain film, but rather to be that of if there is already this acceptance of quality due to the understanding of the passion, time, and care committed to a project then just how good is it exactly? Where does it rank among the director's already impressive catalogue? As the credits rolled on the brief feeling, but wholly satisfying Isle of Dogs it became infinitely more clear than it had a moment earlier when still in the midst of the film that while this may be Anderson's most outright imaginative take on a motion picture it is also the one that is most vague in regards to its intentions. Maybe memories of Fantastic Mr. Fox escape me or maybe I missed a thesis that Isle of Dogs states throughout its rather straightforward narrative, but what seems most likely is the fact Anderson intended this to be as simple as it could possibly be so that individual movie-goers might make of it as they please with the filmmaker himself only taking credit to the extent the experience of watching his film brought excesses of escapism and joy. There isn't a single aspect of that previous sentence I would disagree with in terms of how easy it is to be swept up in the world of Isle of Dogs and how effortlessly enjoyable the movie is, but there is no sense of real emotional investment to be conjured either. It's not a mandate that Anderson's films be emotionally involving which is to say the meaning of his movies rarely take center stage, but often times it's hard to avoid such because of the natural investment made in the compelling characters. In Isle of Dogs we have a pack of abandoned canines and a twelve year-old boy who doesn't speak English whom Anderson gives no subtitles and thus there is something of a disconnect, but despite these small quibbles (and trust me, that's all they really are) Isle of Dogs is a meticulously crafted, beautifully rendered, and pitch perfect Wes Anderson movie that positions the water cooler conversations to not be about what the film is discussing, but what the film is; not what it says, but how it makes you feel.

Official Trailer for AVENGERS: INFINITY WAR

In what will be ten years to the weekend after Iron Man arrived in theaters in May of 2008 we will see the (first part of the) culmination of the first three phases of the Marvel Cinematic Universe. It's hard to believe we've been living in this world for a decade now when, looking back, those beginnings were so humble. I clearly remember sitting in the theater not knowing what to expect from Iron Man, but mainly being excited that a new The Dark Knight trailer was playing before it. Oh, how the tables have turned as we come off the lukewarm reaction and success of the rushed Justice League and see what time, patience, and care have done for the MCU with our first glimpse at Joe and Anthony Russo's Infinity War. Bringing together all of Marvel's heroes has always been ambitious, but as the MCU-train has rolled on and the roster only continued to expand it has become more and more curious as to how Kevin Feige and the Russo's might bring this all together in a cohesive manner. If this first trailer is any indication it seems they have done so with real charm and scale. There isn't a lot of details plot-wise, but there are enough shots to suggest that, if you've been following along with the previous MCU films, many of the strands from previous films will be, if not resolved, at least touched upon in this first part of what will ultimately be a two-part finale. I honestly can't get over how this trailer has made me feel. It made more hairs on my arm stand up than do in that shot of Peter Parker experiencing his Spider sense. Spider-Man's suit looks amazing, Black Panther's line in regards to Captain America is fantastic, and that music...that music is really paying off for Marvel. Good for you, Alan Silvestri. The visual scope also looks to fit the number of characters which has been something of a shortcoming for Marvel in the past with many of their films feeling great, but looking flat. The location shots among the sprawling green planes of Wakanda lend a sense of true epicness and that final tag, that final tag is just perfect. I seriously can't wait. Avengers: Infinity War stars Tom Holland, Scarlett Johansson, Robert Downey Jr., Elizabeth Olsen, Chris Pratt, Chris Evans, Benedict Cumberbatch, Tom Hiddleston, Zoe Saldana, Chris Hemsworth, Chadwick Boseman, Anthony Mackie, Paul Rudd, Brie Larson, Karen Gillan, Jeremy Renner, Cobie Smulders, Vin Diesel, Peter Dinklage, Sebastian Stan, Samuel L. Jackson, Bradley Cooper, Pom Klementieff, Dae Bautista, Josh Brolin, Paul Bettany, Tessa Thompson, Mark Ruffalo, Benicio Del Toro, Benedict Wong, Don Cheadle, and opens May 4th, 2018.

First Trailer for Wes Anderson's ISLE OF DOGS

As someone who isn't necessarily a fan of the stop-motion aesthetic it is still hard to deny a Wes Anderson movie, whatever the medium he chooses to tell his typically delightful stories in. This is what might be so intriguing about this first trailer for the latest from Anderson though in that, while this is technically an animated film, Anderson is telling a story that is so seemingly odd and unique that it wouldn't be one you would inherently assume might benefit from being an animated feature though, as the clip plays on, is easy to see why Anderson chose to return to stop-motion for the first time since his twice Oscar-nominated 2009 effort Fantastic Mr. Fox. Since Fox, Anderson has made the equally fantastic Moonrise Kingdom and The Grand Budapest Hotel, each of which I've watched more times than I can count with the latter being a required viewing at least once a year. So, while I may not be one to typically flock to stop-motion animated films (with the exception of Laika, I'll give anything they do a shot) I am anxiously awaiting the latest from Wes Anderson simply because it is the latest from Wes Anderson. Speaking of the film itself, it is titled Isle of Dogs, and follows a young boy who ventures to an island in search of his own dog after an outbreak of dog attacks in a near-future Japan forcing all canines to be banished to live on a garbage-filled island hence, the title, the Isle of Dogs. Once on the island, the young boy comes across a pack of Alphas lead by Edward Norton‘s Rex. This will mark Norton's third collaboration with the director, but he isn't the only cast member who is returning to work with Anderson as the rest of the voice cast is made up of frequent collaborators such as Bill Murray, Jeff Goldblum, F. Murray Abraham, Tilda Swinton, and Bob Balaban while also featuring the talents of Bryan Cranston, Scarlett Johansson, Kunichi Nomura, Harvey Keitel, Akira Ito, Akira Takayama, Koyu Rankin, Yoko Ono, Courtney B. Vance, Greta Gerwig, Frances McDormand, and Liev Schrieber. Isle of Dogs is set to open on March 23, 2018.

GHOST IN THE SHELL Review

For all the hoopla surrounding the whitewashing of what were originally Japanese characters and the hype that surrounded the source material from which Ghost in the Shell is based one might imagine it being easy to go into this movie with some sort of expectation. Given I have no connection to Masamune Shirow's original 1989 manga or the 1995 anime and understood that in order for such a property to get the big budget Hollywood treatment that it would require someone like a Scarlett Johansson in the lead role I went into Ghost in the Shell with no qualms and more or less an open mind in the hopes that ScarJo was only continuing to make interesting action movies concerning A.I. as she'd done not three years ago with Lucy. While Ghost in the Shell doesn't feel like a breakout in the same way that Luc Besson film was it is still very much an entertaining if not more dour experience than I half expected it to be given the color scheme of the marketing. Speaking to color scheme, it is in the futuristic environment that Ghost in the Shell finds its greatest strengths. Rather than simply offering a few neat visual cues here and there director Rupert Sanders (Snow White and the Huntsmen) owes his production designer, Jan Roelfs (Gattaca, 47 Ronin), and art department a huge thank you as it is this fully realized if not somewhat familiar future world that gives the film a sense of uniqueness despite its overall derivative nature. Of course, the deal with Ghost in the Shell is very much the same as the case was with 2012's John Carter in that much of what the source material inspired in popular culture (namely The Matrix) this big screen feature will now be accused of resembling. It's a sad state of truth, but the order of exposure appropriates how properties are perceived in the larger scope of the public eye and in some cases can tarnish the brand name. Ghost in the Shell isn't bad enough to offend or truly tarnish the name of the material it has re-imagined, but more it isn't noteworthy enough to seemingly live up to the past incarnations that share its namesake. Given I have no connections to those earlier versions of these ideas I actually came away thinking Sanders film was well constructed, that it held more emotional heft than expected, and executed its main ideas clearly if not as effectively as it could/should have.

Full Trailer for GHOST IN THE SHELL Starring Scarlett Johansson

I have no idea what Ghost in the Shell is about or why it has become such a talking point besides the decision to cast an American movie star like Scarlett Johansson instead of an Asian actor despite the character coming from a Japanese media franchise originally published as a seinen manga series. The source material has been around since 1989 and a film adaptation has apparently been in the works for over a decade, but given the brand has little impact outside its country of origin it makes sense why a major studio like Paramount would cast a name like Johansson in a pricey sci-fi flick that has franchise potential: she's a reliable performer and a box office draw. I can understand the accusations of whitewashing from those who have been long-time fans of the material, but this is simply how things work-just be thankful you're getting a big-budget movie adaptation with a credible talent in the lead as things could have no doubt gone much worse. If you've seen any of the Marvel Studios movies featuring her Black Widow or even Lucy one should feel comfortable with Paramount and director Rupert Sanders (Snow White and the Huntsmen) choice. Speaking of Sanders, while I wasn't a huge fan of his previous film, Huntsmen certainly had an undeniably appealing visual style and it seems the filmmaker has again brought an interesting aesthetic to his adaptation. Having no prior knowledge concerning the story or plot the manga series covered I would see this movie based on the visuals in the trailer alone, but all of that said I'm intrigued by what Ghost in the Shell might have on its mind. The film will apparently follow Johansson as The Major, a special ops, one-of-a-kind human-cyborg who leads an elite task force known as Section 9. Devoted to stopping the most dangerous criminals and extremists, Section 9 is faced with an enemy whose singular goal is to wipe out advancements in cyber technology. Ghost in the Shell also stars Pilou Asbæk, Michael Pitt, Juliette Binoche, Kaori Momoi, Rila Fukushima, Chin Han, Danusia Samal, Lasarus Ratuere, Yutaka Izumihara, Tuwanda Manyimo, and opens on March 31st, 2017.

CAPTAIN AMERICA: CIVIL WAR Review

Super hero movies, as we know them today, must walk the difficult line of being somewhat grounded in a reality audiences can relate to while at the same time embracing (not just accepting, but embracing) the inherent goofiness of the facts of the matter. In a broad scope, this is about guys and girls in colorful suits with silly nicknames duking it out with what tends to be (at least in the Marvel Cinematic Universe) a flavor of the week villain that does just enough to further the arc of what remains to be built in this ongoing series. What grounds these colorful characters sporting strange labels is the repercussions of their actions. The Avengers can shut down an entire alien race while destroying New York in the process and widely be regarded as the heroes of the scenario, but the fact of the matter is that if this were to happen in our reality there would be thousands upon thousands dead and even more injured. With the third Captain America film, Civil War, Marvel has found it the necessary time to begin giving their heroes more heady spaces to wander. Sure, there is still a bigger antagonist than either Steve Rogers (Chris Evans) or Tony Stark (Robert Downey Jr.) in Civil War that leads to the plot being more run of the mill than I was hoping things might go, but there is enough justification and perspective to this villains plan that we go with what we're being offered. Perspective is a key word here. Not only in the driving force that puts the team at odds over the still brewing conflict concerning The Winter Soldier (Sebastian Stan), but for these superior beings to take into account the consequences of their actions and come face to face with their shortcomings-the film more or less exploring how they deal with such realizations when they're brought up as potential charges. Captain America is a firm believer in consequentialism in that his goals are morally important enough that any method of achieving them are acceptable with the understanding of the unfortunate caveat that he will never be able to save everyone. It is in exploring such territory and being bold enough to bring their heroes face to face with such a reality that Marvel exceeds in walking that difficult line. Captain America: Civil War is very much a Marvel movie in that it is full of bright colors, genuinely funny quips, and some solid action set pieces, but bringing these characters (and these performers) into more interesting dynamics with one another notches up the reality factor with the result being an admirable balancing act that deserves to be applauded.

THE JUNGLE BOOK Review

What's the point? That's the question director Jon Favreau and the brass at Disney had to answer if they were going to justify the money and man hours required to bring the visually stunning "live action" version of Rudyard Kipling's The Jungle Book to the big screen some fifty years after the Disney animated version taught generations upon generations of children the bare necessities of life. What would be the point of retelling this story to the current generation in an updated form? What more could they bring to it that children might not elicit from that 1967 original? In short, would there be more of a point to it than simply showing off the technical wizardry of Weta Digital and their visual effects work? The funny thing is, we more than likely remember the 1967 version through nostalgia-filled eyes that cloud our judgment of the actual film. In going back and watching that film-the one I very much enjoyed as a child despite being born in the late eighties-it quickly became apparent there wasn't much substance to the story and that the film was more a collection of little scenes filled with different, but interesting animal personalities that featured catchy songs written by the Sherman brothers and very little more until Shere Khan showed up at the end to create some type of tension. And so, going into this latest version of Kipling's story that would pull from both that source material while being heavily inspired by the '67 film the biggest improvement they could make would be in the story department by crafting a narrative that held a driving force with serious forward momentum and a throughline plot that, at the very least, would add a little more significance and reason to seeing the film in the first place. With screenwriter Justin Marks (whose only prior feature credits include a Street Fighter film and a TV movie) though, we are brought the one thing I couldn't even have imagined to add and that was a cohesion to the thinly connected events of the original animated movie. Giving purpose and connection that take Mowgli (Neel Sethi) from point A to point B lends the film a real ambition making the stunning visuals only more of an achievement.

New Trailer for CAPTAIN AMERICA: CIVIL WAR

The new trailer for the highly anticipated Captain America: Civil War comes two weeks before the release of the other big super hero smackdown this year. While I'm sure Disney is keen to keep as much focus on their follow-up to Age of Ultron as possible it is likely smart they've chosen to go ahead and release this trailer for the masses to chew up, dissect, and discuss over the next week before becoming engulfed in the unavoidable frenzy that will surround Batman V Superman. Of course, the second season of Daredevil premieres on Netflix a week from Friday on the 18th, only a week prior to BvS, so maybe they don't actually care. Whichever way you cut it, Marvel looks to keep their name in the conversation no matter how many heroes Warner Bros. have stuffed into Dawn of Justice. With a month and a half or so to go before Civil War kicks off the 2016 summer movie season though, we knew this second trailer could drop at any time and the barrage of "team posters" over the last week as well as the short teasers posted on the films official Facebook page yesterday made it clear that day would be today. Working from a script by Winter Soldier scribes Christopher Markus and Stephen McFeely directors Joe and Anthony Russo return as well and look to have crafted something just as epic as fans of both the comics and the MCU could hope for. My biggest hope going into this second trailer was that Disney and Marvel would be smart enough to keep Spider-Man hidden throughout all of the marketing material as they clearly have plenty of other things to sell this property on, but unfortunately they couldn't help themselves. Captain America: Civil War stars Chris Evans, Robert Downey Jr, Sebastian Stan, Chadwick Boseman, Scarlett Johansson, Anthony Mackie, Paul Bettany, Jeremy Renner, Don Cheadle, Elizabeth Olsen, Paul Rudd, Emily VanCamp, Frank Grillo, William Hurt, Daniel Brühl, Martin Freeman, Tom Holland and opens on May 6, 2016.

HAIL, CAESAR! Review

The latest from storied writers and directors the Coen Brothers, Hail, Caesar!, is what some would label a zany comedy. It is a lark in many regards, a film where there seems no other intention by the filmmakers other than to create an amusing escapade and in this regard the film genuinely succeeds. The most outward thing one could say about the film in fact is that it is exceedingly charming and fun, that the Coen's have given themselves a set-up that allows them to explore all of their favorite genres of movies in Hollywood's golden age and that they take this opportunity and run with it. Casting the likes of current movie stars such as George Clooney, Scarlett Johansson, and Channing Tatum and placing them within the context of what types of movie stars they might have been in the 1950's is an incredibly appealing idea and the opportunity to see Clooney channel bits of Clark Gable, Johansson essentially play Esther Williams, and Tatum do his version of a Gene Kelly number is what sells the film. These movies within the movie are what make the film worth recommending in a sense despite the fact Josh Brolin is doing a good job carrying the connective tissue between each even if, somewhat ironically, he doesn't have enough to do. If you've seen the trailers for the film then you know the overarching plot concerns Clooney's Baird Whitlock, the biggest star in Hollywood, being kidnapped and held for ransom by a group who refer to themselves as "the future", but this turns out to be not so much what the movie is about rather just a small piece. Instead, as most Coen pictures do, Hail, Caesar! wants to be about something more and this time the Coen's are exploring that very thing-the worth of the movies, of stories even. Words like frivolous, flippant, lighthearted, silly, and any other synonyms of sort are used consistently throughout forcing our protagonist, Brolin's Eddie Mannix, to search his soul to find a reasonable rebuttal to validate not only the movies he and his studio are making, but his livelihood. It's true that the movies have a platform like no other and that they have the power to influence certain demographics, but beyond the Coen's attempting to convince themselves of these same things as they grow older in age, there isn't much to grasp onto here or there is too much and none of it ends up making the impact it should. Either way, Hail, Caesar! is still a rollicking good way to spend an hour and forty five minutes even if it is a minor work in the Coen pantheon.

First Trailer for CAPTAIN AMERICA: CIVIL WAR

The first trailer for the highly anticipated first film in Marvel's phase three has debuted and for all those (and there are a lot, including me) fans of Winter Soldier it looks like we have something very much in line with that previous Cap film. The question of whether or not this was still going to be a Captain America film after the expansive cast was announced is answered in the form of the Captain clearly being at the forefront of this trailer and presumably the film. The likeness to Winter Soldier isn't necessarily a negative comment either as I loved the look of that film and it looks to suit the very military/Avengers world in as suitable a manner as it did when S.H.I.E.L.D. was the main focus. That directors Joe and Anthony Russo are returning certainly explains a lot of the same aesthetic choices, but it also makes me excited to see what they'll be able to do with Infinity War Parts I and II. While, in the grand scheme of things, this may just prove to be a trial run compared to what they'll do in those films it looks as if the brothers, working from a script by Winter Soldier scribes Christopher Markus and Stephen McFeely, have crafted something just as epic as fans of both the comics and the MCU could hope. The portions that give us our first glimpse at Chadwick Boseman's Black Panther are some of the most exciting among the nearly two and half minute clip while the capper of Chris Evans' Steve Rogers and Sebastian Stan's Bucky Barns wailing on Robert Downey Jr.'s Iron Man only serves to escalate the anticipation. Also, it looks like Disney will again be pulling a Luke Skywalker and (hopefully) hiding Spider-Man from any marketing materials. Captain America: Civil War also stars Scarlett Johansson, Anthony Mackie, Paul Bettany, Jeremy Renner, Don Cheadle, Elizabeth Olsen, Paul Rudd, Emily VanCamp, Frank Grillo, William Hurt, Daniel Brühl, Tom Holland and opens on May 6, 2016.

First Trailer for The Coen Brothers HAIL, CAESAR!

Just as the Oscars will be readying their 2016 broadcast, a place where the Coen Brothers have accepted their fair share of statues, the writer/directors will be releasing their latest upon the world with little to no interest in what the Academy seems to think of their film. In fact, given the films subject it might just be the Coen's are making something of a larger statement about the industry in general, but we'll have to wait for the final product to see what's really going on. As for now, we're left with a rather incredible looking trailer for the Brothers latest musings on the old Hollywood system. Per usual, the directors have lined up quite a roster of talent and per usual they look to have used them to great effect by zeroing in on what type of movie stars today's movie stars would be if they were movie stars of another era. Distributed by Universal and led by Josh Brolin (who is really picking up steam lately after a few lackluster years) the story tells of a Hollywood fixer in the 1950's who works to keep the studio's stars in line. The film is said to take place all within the span of a single day, a day where the fixer's biggest problem to solve is that of locating the missing star (George Clooney) of the studio's latest epic. The distinct comic touch of the Coen's seems to be in full force here as the film overall looks to be something of a combination of Barton Fink and The Big Lebowski. Again, we'll have to wait a few months to see what we've really got here, but consider me super excited. Hail, Caesar! also stars Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton, Channing Tatum and opens on February 5th, 2016.

Teaser Trailer for Disney's Live-Action THE JUNGLE BOOK

In catching up on news I missed while I was away at the Toronto International Film Festival I realized I hadn't yet posted about the first look at director Jon Favreau's live action remake of Disney's The Jungle Book. Despite this, I've now watched the trailer several times and *think* I'm more on board now than I was with my initial reaction. My initial reaction was that the CGI was overwhelming with thoughts longing for the "dark and gritty" take I remember Stephen Sommers film being for me at the age of seven in 1994. Of course, even though that was still a Disney produced film it fell more in line with Rudyard Kipling's original version whereas Favreau's iteration seems to be a straight-up adaptation of the the 1967 cartoon with the animals looking more real than cartoony despite still technically being cartoons. That said, the film looks beautiful as the CGI has clearly allowed the creative team to do things they would never be able to accomplish with real, trained animals and I'm interested to see what tone Favreau ultimately goes with tone-wise as much of this is fairly somber until the last clip makes sure to remind us this is still very much a Disney product. Favreau has also rounded up an impressive voice cast that includes Bill Murray as Baloo, Scarlett Johansson as Kaa, Idris Elba as Shere Khan, Ben Kingsley as Bagheera, Lupita Nyon’o as Raksha, Giancarlo Esposito as Akela, Christopher Walken as King Louie and introducing Neel Sethi as Mowgli. The Jungle Book opens in 3D on April 15, 2016.

AVENGERS: AGE OF ULTRON Review

Organized chaos. Organized chaos is what best describes the sequel to the third biggest movie of all time. How does one top the first culmination of the first cinematic universe? Sure, bigger is always better (and Age of Ultron certainly feels bigger), but more it is the combination of broadening the scale with that of keeping the characters compelling and their story moving forward. As always, whether it be trying to manage the multiple characters or the overarching storyline that the Marvel Cinematic Universe intends to execute some things get lost in the shuffle. This is to be expected, moreso with the characters than the storyline as Marvel and head honcho Kevin Feige seem to have a pretty clear picture of where things are ultimately going if not allowing each director their own wiggle room to implement their own ideas and ambitions. Within this wiggle room we are given the titular baddie of this second Avengers film in Ultron. While Thanos has been making minuscule appearances since he first showed up in that mid-credits stinger on The Avengers and would seemingly be Marvel's biggest bad of them all, Ultron seems to be the deviation that Whedon wanted to explore and thus proved a solid enough distraction to carry the Avengers through this soggy middle ground and onto the third act of this cinematic universe they've been constructing. While Ultron is a compelling piece of artificial intelligence as far as characters go with James Spader providing a maniacally dark humored mentality to the intimidating "murder bot" the evil robots motivations are always a bit muddled. Covered up by flowery speeches and philosophical mumbo jumbo about the only way to peace being true extinction Ultron is given no motivation for his actions beyond being programmed in such a way. A program that is too smart for its own good who hijacks any physical form he can in order to execute his plan. This is all well enough reason to give earths mightiest heroes someone to fight, but it's the weakest link in an otherwise sprawling production that is everything we want it to be. Everything we've been waiting for.