Official Trailer for SPIDER-MAN: NO WAY HOME

In what is possibly the most anticipated trailer of all time (sorry, Endgame), Sony and Marvel Studios finally released what the whole world was seemingly waiting on...we are going "into the spider-verse". Of course, anyone who has paid any attention to the MCU post-Infinity Saga fully expected this to be the case - especially given Sony's involvement - but whatever doubt hanging over the project that Tobey Maguire and Andrew Garfield might show-up seems to only be erased by the final seconds of this trailer. There is a lot to talk about here besides those speculations though. First, this is the third in what we can only assume is a trilogy of Holland-centered Spider-Man films which feels weird to say given it feels like the young actor is just getting started with the character, but it would seem his future in the franchise will solely be based on what Sony chooses to do with him and that would seem to be more team-up/crossover movies than continued stand-alone adventures. In essence, Holland's run will be more episodic from this point forward which, as someone who grew-up watching serialized cartoons of these heroes and always wished something akin to a live-action version of that might be created, I'm not mad about. Marvel Studios President Kevin Feige has of course done just this with his cinematic universe, but now we're truly venturing from character crossovers to studio crossover and Sony has always been intent on milking its Spider-Man property for all its worth and have somehow managed to make a hit out of solo Venom movies making this idea of Holland continuing to play Peter Parker and his alter ego in a series of movies a viable one. Who knows how everything will shake out or even what implications No Way Home will have on both the Sony-verse as well as the MCU (don't forget Doctor Strange is in this movie too!), but one thing is abundantly clear: there is more of a desire for this character and all the cinematic baggage he brings with him than ever and Sony isn't going to miss out on their third opportunity with him; let's just hope they've learned from their mistakes from the first two rounds and don't overly mandate what these movies need to be, don't attempt to overstuff each installment with too many characters just to crowd please, and actually allow the creative teams they hire to see the visions they pitched and were hired for through to the end. Much of this is already a concern with No Way Home, but while this may be the end of a trilogy it is very clearly the start of something new and hopefully...grand. Spider-Man: No Way Home will feature Holland's web slinger reeling from the reveal of his identity at the end of Far From Home while looking to Benedict Cumberbatch's Doctor Strange for help. Jacob Batalon's Ned and Zendaya's MJ return along with confirmed supporting cast members Marisa Tomei, Angourie Rice, Tony Revolori, Jon Favreau, Hannibal Buress, and will open exclusively in theaters on December 17th. 

CHAOS WALKING Review

A fascinating miscalculation if nothing else, Chaos Walking is a string of ideas in search of meaning. Having never heard of The Knife of Letting Go by Patrick Ness, the first in a trilogy of books that is known overall as Chaos Walking the most notable first reaction to this adaptation was that despite having a reliable captain in Doug Liman (The Bourne Identity, Mr. and Mrs. Smith, and Edge of Tomorrow) the film itself largely lacks a sense of direction. Of course, this might have something to do with the troubled production given the film was originally shot in 2017, but after what were reported to be poor test screenings of the initial cut, Lionsgate brought in a different director, Fede Alvarez (Don’t Breathe), for extensive and costly reshoots in 2019 before the pandemic delayed the release further. Though the film doesn't inspire enough curiosity for me to rally film twitter to initiate the #ReleaseTheLimanCut movement it does stand as a curious case of what might have been given Ness' material (he authored the series as well as co-wrote the screenplay with Christopher Ford) offers a number of possible interpretations, opportunities, and ideas that no one can blame neither Lionsgate (who acquired the rights to the book in 2011) nor Liman for wanting to pursue. That said, for a visual medium such as film to realize a concept that includes what is referred to as "the Noise" where every character on screen can hear every male character's thoughts there needs to be a certain level of credibility and innovation to its execution, but unfortunately this balance is never struck...or maybe it was never found in the first place. It's difficult to imagine what it must have been like to work in the sound department on a project such as this where there seems no good option in matching what is essentially Tom Holland doing Dustin Hoffman a la Rain Man in an attempt to verbalize streams of consciousness to different colored clouds of smoke that pulse like heartbeats around the men's heads. Manifesting this concept was undoubtedly a challenge, but it doesn't help that this concept is largely the key to making the film work as a whole and when it doesn't land - when we're not convinced of said manifestation in the first five minutes - then it's a problem. It also doesn't help that this key element was to be largely finalized in post-production allowing for little wiggle room in the experimentation of bringing the concept to life. Stream of consciousness thinking is confusing, often contradictory, and always messy, so how was anyone expected to organize this into something coherent much less consistently compelling in such a fashion that it could support an entire narrative based around a dystopian world where the women are gone and the men are literally left with only their thoughts? I have no idea either, but if anyone does, they should contact Chaos Walking.

CHERRY Review

In April of 2019, Joe and Anthony Russo had just come off of making the biggest movie of all time, but instead of taking the summer off to relax and enjoy the receipts (as well as the relief of somehow managing to meet and/or exceed all expectations with that MCU season finale) they decided to roll right into making another film. A completely different kind of film. Whether this had to do with needing a change of pace, tone, or a release from that much surveyed environment where every facet was picked apart by fans the one thing that seems abundantly evident is the fact the Russo's felt an urgency to bring the story of Nico Walker to the screen and address the opioid epidemic. While said tone and subject matter are vastly different when it comes to Avengers movies and something like Cherry it seems safe to assume no matter the material that the Russo's have now reached a level at which they operate that will be hard to come back from. That is to say that despite its humbler ambitions and price tag, Cherry still feels like an epic. This is one hundred percent an event film of sorts where, despite there being no Gods or heroes challenging mad titans for the survival of humanity, the characters are still addressed and treated with the same reverence of a Tony Stark; the shots just as elaborate, the scope larger than anticipated, and the score just as sweeping. It's almost as if the directing duo are keen to point out how these people and their problems are part of that humanity that is worth saving as well - or at least remind those that can empathize with Tom Holland's character that they are. In that, the Russo's have concocted a searing, but scattered takedown of the Iraq war through one man’s experience that essentially delivers him from one hell to another as set to Van the Man’s soulful yet oftentimes heartbreaking voice that moves beyond the words of Walker’s book of the same name on which this is based and into the raw emotions of his journey. 

At two hours and twenty minutes the Russo's, working from a screenplay by Jessica Goldberg and Angela Russo-Otstot, throw a lot at the wall much of which tends to work given the drastic tonal shifts of each act, but as a whole leaves the viewer in a state of both surprise and confusion. Surprise largely at how entertaining this mess remains despite those major changes in tone but confused simply by everything Walker’s story encompasses and what the focus of this story is by way of meaning. Not every movie necessarily needs a main idea or central theme and Cherry certainly has a thesis statement in that the memories of war are battles those in the armed forces have to fight long after they’ve left the actual battlefield, but what it says or means to say about these experiences feels as if it gets lost in the shuffle. That said, how it says what it wants to say is a different conversation entirely as the Russo's execution is never not grandiose or energetic. There is an indisputable amount of bold choices if not necessarily innovative ones that lend the project both an impressive sense of style and Holland’s protagonist a sense of self on top of all the work Holland is doing (and trust me, he's putting in some work). Every choice the directors make is seemingly in support of building the character that embodies Walker’s perspective here and not only his point of view but getting inside his head and taking us through his experiences in the most visceral ways possible. As is true of the novel, the sections covering Iraq feel the most honest and brash and are where the Russo's big swings work best. Choices that involve text flashing across the screen in unison with drill sergeants yelling them, brutally honest policy descriptions serving as bank names, or shot selections that literally put us inside Holland’s character show the fire in the Russo's bellies and an admirable determination to make this as raw and powerful a portrait as they can even if the movie itself ends up feeling like it's trying a bit too hard. 

ONWARD Review

It's difficult to say what one would do if they were granted the chance to see a lost loved one again, but only for a limited amount of time. It would arguably be even more difficult if that lost loved one was a parent and not just a parent, but a parent you'd never met before; someone who has always been a creation of your own mind via the memories of others. Of course, while some might argue the possibility of such a meeting, the actual chances of this happening are slim to none and writer/director Dan Scanlon (Monsters University) obviously knows this and that is, I suspect, one of the reasons he penned Onward in the first place. It's not necessarily wish fulfillment per se, but it is a fantasy of sorts in that Scanlon has no doubt imagined many times throughout his life who his father might have been or what it might have been like to share in a conversation with his old man. I'm probably jumping ahead there, but if you don't know already, Onward is inspired by the fact Scanlon and his older brother lost their father when Scanlon was one and his brother, Bill, was three. In Onward, Scanlon has taken the idea of this fantasy about meeting his father and literally placed it into a world of fantasy where we meet elves Ian (voice of Tom Holland) and Barley (voice of Chris Pratt) who, on Ian's 16th birthday, are afforded the opportunity to spend the day with their father. Scanlon constructs a fantasy world that has long passed its expiration date on the "magic" and "fun" that one would inherently believe comes along in a world filled with fantastical things as pixies no longer fly, centaurs no longer run, and the once mighty Manticore (voice of Octavia Spencer) has been reduced to parodying herself in what is essentially a mythical-themed Applebee's. It is in this fantasy-less fantasy land that there seemingly resides some kind of metaphor about failing to see the magic all around you due to focusing on what's been lost, but Scanlon and co-writers Jason Headley and Keith Bunin don't so much hammer home the symbolic nature of Ian and Barley's world, but instead choose to let the natural emotions of Scanlon's cathartic exercise breathe via the character development and creativity channeled through the heartwarming story. Does Onward reach the emotional heights of Up or Inside Out? Maybe not. Does it surpass the creativity enlisted in Toy Story or Coco? Not necessarily. What Onward does do though is serve as this largely ambitious endeavor that's presented through the guise of this quaint, familiar package. It's a familiarity that, even in a film with genuinely heavy moments and poignant themes, resonates comfort and charm. Like any good product of the Pixar brand, it will have you beaming through the tears.

SPIDER-MAN: FAR FROM HOME Review

Jon Watts' second Spider-Man film, Spider-Man: Far From Home, has a lot of things going on, but just as Thanos preached in Avengers: Infinity War, what keeps everything intact and moving at a sustainable pace in the Marvel Cinematic Universe in a post-Mad Titan world is, somewhat ironically I guess, the fact Watts and the screenwriters are able to keep everything "perfectly balanced". What is most interesting in slating the sequel to Watts' 2017 film as the immediate successor to Avengers: Endgame though, is that it immediately signaled the type of tone Marvel Studios and "showrunner" Kevin Feige would be addressing the fallout of the monumental events that any average viewer of the MCU knew were coming. The fact remaining that while Endgame concludes on something of an uplifting note for Steve Rogers the ramifications for many other characters were nowhere near as...complete. There were countless questions that required the attention of the creators behind the curtain: what is the state of organized religion in a post-snap world? How did those who'd gotten re-married in the five years since the snap and weren't polygamists deal with the fact their husband and/or wife just showed back up one day? If kids not snapped away aged five years and presumably continued their schooling, why would they still be in the same grade as their counterparts that did "blip" away? As Betty Brant (Angourie Rice) puts it at the beginning of Far From Home, "it's been a long, dramatic, somewhat confusing road," and while the subject of our review today might be intended to bridge the gap and help audiences, "move on...to a new phase in our lives," the fact remains that this "bridging of the gap" could have been handled in a multitude of ways, but for one reason or another Feige and co. decided to place this responsibility on the back of their friendly neighborhood Spider-Man and thus the question remains the same: why? Why is Tom Holland's sixteen year-old Peter Parker, the youngest avenger, the one to bear this responsibility? It all comes back to that aspect of tone and knowing what consequences to take seriously and place weight in while knowing which to laugh off; Watts' high school comedies dressed up as super hero flicks make an ideal vehicle to blend the heart and the humor and it doesn't hurt that the film becomes a pretty good "Spider-Man" movie along the way as well.

First Look at Disney & Pixar's ONWARD

Disney and Pixar’s Onward will mark the studio’s first non-sequel release in nearly three years and is one of the reasons this may have just shot to the top of my most anticipated list for 2020. I know, I know-I won’t get too excited given the spring release date immediately marking this as something of a second-tier release, but Zootopia had the same vibe and that film turned out, well...fantastic. Directed and written by Monsters University’s Dan Scanlon, the film is set in a suburban fantasy world where two teenage elf brothers embark on a quest to discover if there is still magic in their world. And “their world” is the emphasis here as the this first look teaser, more than anything else, sets up what could be an immersive new environment as Scanlon has combined the tropes of the fantasy genre with that of the pure, yet completely cloaked truth that sits within suburbia. The creativity we tend to take for granted now or at least have come to expect nothing less than with Pixar is on full display here whether it be in the mer-people lounging in their Dollar General pools, garden gnomes actually doing some gardening, or those beautiful, mythical creatures we refer to as unicorns scavenging through trash the acclimation of this fantasy world into something more resembling our own is pretty fantastic. It's also inspiring that Scanlon seems to essentially have been given full creative control from top to bottom on this as he is the sole screenwriter credited as well. This may not seem like a big deal, but animated films and especially ones with Disney involved often have a team of writers weaving together the narrative as the film enters different stages of production. While Disney and Pixar know how to make an animated film that works, there is no disputing that, it will be somewhat refreshing to have an experience that seemingly comes from a single, hopefully clear perspective. Scanlon, who has said this story was inspired by his relationship with his own brother, has enlisted the help of current MCU stars Tom Holland (Spider-Man) and Chris Pratt (Star Lord in the Guardians of the Galaxy franchise) to voice the two brothers, while Julia Louis-Dreyfus will provide the voice of their mother. Octavia Spencer also stars with Onward set to open on March 6th, 2020.

Official Trailer for SPIDER-MAN: FAR FROM HOME

It's been quite the last couple of weeks for Marvel Studios with Avengers: Endgame opening to shatter every kind of box office record imaginable and becoming a cultural phenomenon in the process only to now, two weekends into that film's release, deliver a new, full trailer for what was previously thought to be a nice little palette cleanser after Endgame, but looks to be much more than originally anticipated: Spider-Man: Far From Home. Far From Home was carrying this facade of being only what Ant-Man and the Wasp was last summer post-Infinity War, meaning it was more a stand-alone adventure than anything that necessarily integrated the character into the bigger world, but given this spoilerific Endgame trailer Sony just spilled all over Marvel, it looks like Tom Holland's Peter Parker is about to step-up to become the next Tony Stark. Not only this though, but the fact the trailer explicitly states there will still be repercussions from "the decimation" and that all wasn't tied up with a pretty bow given the events of Endgame thus giving birth to the idea of a "multiverse" is truly insane and opens up all kinds of possibilities about what could happen in the future and how the MCU will be changing as it moves into this new era. Given the events of Endgame and the fact we haven't known until this trailer whether or not Far From Home would take place after or before the events of Infinity War, this is all a pretty big shock to the system. It was always going to be a tricky task to market a film featuring a character that supposedly "died" three movies prior, but we are now living in a post-Endgame world where the rules have changed, but more importantly-the characters are changing with it and while we knew Samuel L. Jackson would be back as Nick Fury it's good to see him still thriving and with just as much gusto as he had when he showed up in the post-credits of that first Iron Man movie eleven years ago. Jon Watts returns to direct this sequel that will see Peter Parker and his friends, including Zendaya's MJ and Jacob Batalon's Ned, going on a summer vacation to Europe where Peter and co. find themselves in a plot with Jake Gyllenhaal's Mysterio. Spider-Man: Far From Home also stars Cobie Smulders, Marisa Tomei, Jon Favreau, Michael Keaton, Angourie Rice, Martin Starr, Tony Revolori, J.B. Smoove, and opens on July 2nd, 2019.

Teaser Trailer for SPIDER-MAN: FAR FROM HOME

It's been quite the a month or so for Marvel Studios-kicking things off with what feels like the ramp-up for their first film of 2019 with the much anticipated, first female-led Captain Marvel and of course following that up with the glorious teaser that finally revealed the title and our first real look at what we now know is Avengers: Endgame. And now, today brings us the first look at what will be Marvel's (in association with Sony, of course) third film of 2019 in the official sequel to 2017's Spider-Man: Homecoming, Spider-Man: Far From Home. Far From Home only just wrapped shooting in October, but while filmmakers and digital effects artists are now able to work almost simultaneously with one another, building sequences that require large amounts of CGI as dailies are being sent to them from set, this did leave one curious as to just how much has been accomplished in the three months of post-production as rumors began to swirl as early as the same week the Endgame trailer dropped that we'd be getting a Far From Home trailer. Sony no doubt wanted to give their animated Spider-Man: Into the Spider-Verse movie time to breathe before reminding people there would be another movie featuring the web-slinger hitting theaters in less than a year and good on them for it as Spider-Verse certainly deserves all the acclaim and accolades it is receiving, but no lie-this looks great and the effects look better than expected meaning we get more money shots here than I thought we might. Given the events of Infinity War and the fact we don't yet know what happens in Endgame it was always going to be a tricky task to market a film featuring a character that supposedly "died" in that movie, but this teaser makes no reference to that seminal work in regards to superhero films, but instead goes one further and confirms Samuel L. Jackson's Nick Fury is also back from being dusted. Jon Watts returns to direct this sequel that will see Peter Parker and his friends, including Zendaya's MJ and Jacob Batalon's Ned, going on a summer vacation to Europe where Peter and co. find themselves in a plot with Jake Gyllenhaal's Mysterio. Spider-Man: Far From Home also stars Cobie Smulders, Marisa Tomei, Jon Favreau, Michael Keaton, Angourie Rice, Martin Starr, Tony Revolori, J.B. Smoove, and opens on July 5th, 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.

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.

SPIDER-MAN: HOMECOMING Review

The thing that will forever allow Spider-Man: Homecoming to stand apart from the previous five iterations of the webslinger is that it is very much its own movie. Homecoming stands on its own and doesn't feel the need to repeat any of the beats from either Tobey Maguire or Andrew Garfield's stints as your friendly neighborhood Spider-Man. Rather, Homecoming picks up after the first Avengers film, carries us behind the scenes of Civil War, and onto Peter Parker's first solo adventure where, as a sophomore in high school, he's already been bit by the radioactive spider and learned of the abilities he's adapted since that fateful encounter. Homecoming is a movie that embraces Parker's youthfulness in its character dynamics and his eagerness to become a hero in its action scenes. Most vital though is that Homecoming isn't the origin story we've all come to know, but it is still a movie about how Peter Parker truly becomes Spider-Man. Somehow, with six credited screenwriters, it is the screenplay that stands to be one of the strongest factors in Homecoming's corner when it comes to setting itself apart from a character that has had two previous actors portray them and five previous incarnations on the big screen over the last fifteen years. Most startlingly is the fact this isn't a film based around a bad guy who is trying to take over the world or a villain who is trying to obtain a large sum of money in order to take over the world or even an antagonist who wants to steal a device that will help them take over the world, but rather this is, funnily enough, a movie that is born from the repercussions of Tony Stark's actions and one of the many enemies he's made in the process. As much as Sony and Marvel Studios have pushed the presence of Robert Downey Jr.'s Stark in the marketing for Spider-Man: Homecoming Downey Jr. is rarely on screen, but his influence is everywhere. From the opening frame of the film we are aware of the fact that this is a Spider-Man who exists well within the same world as Thor and Hulk. From what motivates our villain to act in the first place, what is born out of those motivations, and how it has come around time and time again for Stark and his peers to have to dispel them Spider-Man: Homecoming is a result of the Marvel Cinematic Universe in more ways than one which is, thankfully, very much to its benefit. Thus, what we have is a movie that is very fun, yet another enjoyable entry in what is more or less a TV series on the largest scale possible, and while Homecoming is as fun as one could hope and entertaining as all get out it never reaches a point of greatness that pushes it into the realm of exceptional.        

Official Trailers for SPIDER-MAN: HOMECOMING

As we close in on a month until a brand new Spider-Man movie opens it is still strange this will actually be the third time in fifteen years that we've had a new Spider-Man. Of course, the difference with Spider-Man: Homecoming is the fact this latest version of the webslinger will be co-existing with the heroes that have come to define the Marvel Cinematic Universe and fighting alongside them. If anything has become clear through its marketing strategy thus far it's that Homecoming very much wants to take on this John Hughes-like approach to Spidey given Peter Parker's young age and prime high school status. This is taken as a point of pride here as opposed to twenty-somethings playing high school seniors as has been done in the past. This certainly makes the fact we're getting a new Spider-Man flick a win, but it also doesn't hurt that these newest trailers are the best Sony and Marvel have released and make this movie look like a ton of fun. Directed by John Watts (Cop Car) who, along with his writers room, have taken their opportunity to make as retro a movie as we've indeed heard have also made the smart move in not again telling an origin story. From the design of the logo to the very outspoken intent of making this an inexperienced Peter Parker who enlists Robert Downey Jr.'s Tony Stark as something of a mentor (who designed Spidey's suit as we saw in Civil War) this is a fresh approach given this is now the story of a normal kid with super powers in a world where superheroes are more or less the norm. This is timely considering this too is what Spider-Man movies have become in an era where the Guardians of the Galaxy are as widely known as Captain America. All of that said, these latest official and international trailers have made me more excited for this latest Spider-Man movie than anything else we've seen. Still, I sincerely hope Watts has a lot more up his sleeve that will make this latest Spidey iteration stand apart from his protagonist's new pack. Spider-Man: Homecoming also stars Tom Holland, Jon Favreau, Michael Keaton, Zendaya, Donald Glover, Jacob Batalon, Laura Harrier, Tony Revolori, Tyne Daly, Bokeem Woodbine, Marisa Tomei, and opens on July 7th, 2017.

THE LOST CITY OF Z Review

The Lost City of Z is a twenty year epic that essentially chronicles the fine line between ambition and irresponsibility. It's an illustration of how one must gauge the ramifications of their actions in the long run to better determine that present decision. In The Lost City of Z we are told the story of Percy Fawcett (Charlie Hunnam) a man who became obsessed with finding what no one around him believed could be true. It wasn't always the driving force in his life, when we meet Fawcett he is simply looking to restore the respect of his name, but as his life evolves and opportunities arise he develops a need or more, the ambition, to discover the unknown that he knows is out there. Even as his wife (a wonderful Sienna Miller) waits at home for him raising what amounts to be their three children. Fawcett is gone for years at a time when on his expeditions and given those twenty years take place between 1905 and 1925 his younger children often forget who he is by the time he returns. The questions Fawcett eventually has to come to terms with are those of if the lost years with his children and wife were worth what was on the other side of the world? It would seem, as the movie tells it, that they were. That there was no letting go of this need to know the unknown and that even if he had done so in favor of remaining with his family for the rest of his days that those final days would have undoubtedly been tinged with regret. It's a difficult position to be in emotionally; knowing you should likely do one thing in favor of the other, but realizing that itch is never going to go way until you scratch it. As a film, this is the angle director James Gray takes in choosing to convey the story of Percy Fawcett. A true story of a man who displays fearlessness from the beginning, a selfishness necessary to leave a certain type of legacy, and a mentality that fully surrenders to the idea that death is the best sauce for life. This may all sound beyond enticing and rather mysterious, but The Lost City of Z is a rather straight-forward and old fashioned adventure movie that delivers its ruminations in subtle enough fashion that an impression is left even if the adventures themselves aren't as grand as one might imagine if they know Fawcett's story before going into the film.

New Trailer for SPIDER-MAN: HOMECOMING

It's still strange that we have a new Spider-Man movie coming that is again re-booting the series for the third time in fifteen years, but here we are. Of course, the difference with Spider-Man: Homecoming is the fact this latest version of the webslinger will be co-existing with the heroes that have come to define the Marvel Cinematic Universe and fighting alongside them. In the same way Power Rangers did this past weekend Homecoming seems to want to take on this John Hughes-like approach to Spidey as the major differentiators have always been Peter Parker's young age and prime high school status. This is taken as a point of pride here as opposed to twenty-somethings playing high school seniors as they've done in the movies before. This certainly makes the fact we're getting a new Spider-Man flick a win, but if this new trailer shows anything else it's that this won't simply be an origin story, but a full on action adventure picture. Directed by John Watts (Cop Car) it seems he and his writers room are taking their film as retro as we've indeed heard throughout most of the production. From the design of the logo to the very outspoken intent of making this an inexperienced Peter Parker who enlists Robert Downey Jr.'s Tony Stark as something of a mentor (who designed Spidey's suit as we saw in Civil War), but who really just exists as a normal kid with super powers in a world where superheroes are more or less the norm. This is timely considering this too is what Spider-Man movies have become in an era where the Guardians of the Galaxy are as widely known as Captain America, but while this newest trailer delivers what we all expect from a Spider-Man movie I'm excited to see what else Watts has up his sleeve to make this latest iteration stand apart from his protagonist's new pack. Spider-Man: Homecoming also stars Tom Holland, Jon Favreau, Michael Keaton, Zendaya, Donald Glover, Jacob Batalon, Laura Harrier, Tony Revolori, Tyne Daly, Bokeem Woodbine, Marisa Tomei, and opens on July 7th, 2017.

Teaser Trailer for THE LOST CITY OF Z

I can understand why Mark Wahlberg may not be in writer/director James Gray's latest given he's been a little pre-occuppied with the likes of Peter Berg and Michael Bay, but it seems curious Joaquin Phoenix isn't anywhere to be seen in this first look at the filmmakers latest effort. I wondered if he may have just had time for a smaller role and so I checked the cast list in iMDB, but nothing. It seems Gray has traded in his usual collaborators for younger, more "of the moment" talent as The Lost City of Z not only stars Charlie Hunnam (Sons of Anarchy, King Arthur), but also Robert Pattinson (The Twilight Series, Rover) as well as our latest Spider-Man actor in Tom Holland. So, what is it that attracted such talent one might ask? Well, apparently the story is based on a true tale of a British military man, Percy Fawcett, (Hunnam) who becomes an explorer in search of a lost city in the Amazon. The facts of the case are that Fawcett, along with his eldest son, disappeared under unknown circumstances in 1925 during an expedition to find "Z" – the name he gave to an ancient lost city, which he and others believed to be El Dorado. The story is certainly engaging and the more interesting facet is that Gray, as a writer, could essentially invent his preferred ending as there is no concrete evidence supporting any one theory about what actually happened to Fawcett and the two men traveling with him. What direction Gray will choose to go will be one of great interest leading up to the films Spring release date, but if the story of Fawcett isn't exactly stated in this "first-look" teaser it at least sets a very specific tone and mood for what we'll be getting. Regardless of whether Gray decides to take a more realistic approach or indulge the mythos of Fawcett with what we might all hope he actually encountered should ultimately be besides the point as what will be more fascinating to see is how Hunnam handles a descent into madness. The Lost City of Z also stars Sienna Miller, Angus Macfadyen, Daniel Huttlestone, Aleksandar Jovanovic, Edward Ashleym, and opens on April 21st 2017.   

Teaser Trailer for SPIDER-MAN: HOMECOMING

As happened last year with the release of The Force Awakens every studio and their mothers are releasing trailers for their biggest films of 2017 in hopes of getting them attached to prints of Rogue One which will undoubtedly be seen by more eyeballs than any other movie in theaters this year. One that is something of a given though is that of the first glimpse of our new Spider-Man (Tom Holland) in action as the Sony Pictures/Marvel co-production exists at least partially under the Disney banner. One can bet that Disney will pair their new iteration of the webslinger with as many prints of Rogue One as possible so as to both let those who are unaware we're getting a new Spider-Man movie in 2017 aware of that fact while also giving those who anxiously await that film something to look forward to once the anticipation for Rogue One has passed. It's a win/win all around and this first look at the footage from director John Watts (Cop Car) John Hughes-inspired take on Spidey certainly makes the fact we're getting a new Spider-Man flick just that: a win. In the short tease that was dropped yesterday the fact Holland's Spider-Man would sport the webbed wings that allow him to fly through the air only signaled that Watts and his writers room would be taking their film as retro as we've indeed heard throughout most of the production. From the design of the logo to the very outspoken intent of making this a very young, very inexperienced Peter Parker who enlists Robert Downey Jr.'s Tony Stark as something of a mentor (who designed Spidey's suit as we saw in Civil War and are told in this trailer), but who really just exists as a normal kid with super powers in a world where superheroes are more or less the norm. It will be interesting to see how Homecoming brings the newly minted Spider-Man into the Marvel Cinematic Universe, but if this first footage is any indication it seems it will pose no issue at all. Spider-Man: Homecoming also stars Jon Favreau, Michael Keaton, Zendaya, Donald Glover, Jacob Batalon, Laura Harrier, Tony Revolori, Tyne Daly, Bokeem Woodbine, Marisa Tomei, and opens on July 7th, 2017.

IN THE HEART OF THE SEA Review

Looking at director Ron Howard's latest, In the Heart of the Sea, from a broad perspective there is nothing seemingly wrong with it. It is a handsomely mounted film with charismatic actors playing dress up and tells an adventure story that, while it is said to be the inspiration for the tale that's come to be known as Moby-Dick, takes many of the same beats from this familiar story and applies them here. Unfortunately, if one is looking for anything more than a standard adventure/survival tale this is not the place to go. A director who has become more hit or miss as of late Howard only skims the surface of the conflicts and dynamics that could have been explored here. While I've never completed Herman Melville's crowning achievement and I'd not even heard of Nathaniel Philbrick's novel on which this is based prior to the film's first trailer, it is pretty easy to see where things are going the moment our two heroes step onto their boat. While this isn't always an issue given things have become more about the journey than the destination in this saturated movie market, Howard and his team simply don't bring enough insight or a fresh enough perspective to make this endeavor feel like it's worth joining. One wouldn't necessarily know or realize this as they watch the film unfold given it's just captivating enough, and just big enough to keep us entertained and wondering what choices certain characters will make, but as the film comes slogging to its conclusion it becomes more clear that's all the film is-just enough. Just enough isn't enough to warrant an emotional reaction though, and it's not enough to constitute a real investment in the characters or even their quest that seems so foreign at this point that it could have proved fascinating, but is more or less rendered irrelevant due to the fact the films only interest lies in the massive sea monsters rather than the men who come up against them. Seeing massive sea creatures on the big screen is never a bad thing-in fact, it's almost as inherently epic as one can get, but for it to mean anything more than just a moment of wonder there must be some depth to the waters surrounding them and In the Heart of the Sea is simply too shallow to come up with anything interesting to say.

Teaser Trailer for IN THE HEART OF THE SEA

There was somewhat of a renewed sense of optimism in Ron Howard after last years Rush. After teaming with Tom Hanks on two Dan Brown adaptations with only the convienent Frost/Nixon separating them it felt as if the once ambitious director had become, well, comfortable. While another Brown adaptation is on the way, it will hopefully stand to be noted that his back to back Chris Hemsworth efforts were a return to the diversity that always made Howard an interesting if not consistently reliable filmmaker. That is, of course, all based on the assumption that his latest, In the Heart of the Sea, is as good as it promises to be based on this first teaser trailer. Based on the book by Nathaniel Philbrick that recounts the story that inspired Moby Dick, In the Heart of the Sea tells of an expedition that led one whaling ship to encounter a beast so mythical in size it destroyed everything around them and put the 25-man crew in the most dire of situations while pushing their humanity to its breaking point. Long-time Danny Boyle collaborator and Rush cinematographer Anthony Dod Mantle returns to assist Howard on this outing as well and if there will be anything people take away from this first look it is just how beautiful the film is. While it is upended slightly by the CGI-reliable shots near the end, there is a presence to the color palette and composition that better elicits the mood and action that is being captured here. I typically enjoy Howard's films no matter what genre he's operating in and he looks as if he's put together a strong team both in front of and behind the camera that will hopefully deliver a truly compelling piece. In The Heart of the Sea stars Chris Hemsworth, Benjamin Walker, Tom Holland, Brendan Gleeson, Cillian Murphy, Ben Whishaw, Jordi Molla and opens on March 13, 2015.

LOCKE Review

Much is required not only of Tom Hardy in director Steven Knight's Locke, but from the audience as well in which I mean it isn't for the the likes of everyone. As someone who is deeply entrenched in the world of movies, where they've been, are currently at and where the trends point them towards going it is always nice to see a film take a certain amount of risk and to see it pay off is even more rewarding. I realize that not everyone will see the merit not only in Hardy's highly nuanced performance, but in what it actually takes to maintain interesting, compelling drama for nearly an hour and a half without resorting to anything more than a man in his car and the world he once knew falling down around him, but Locke illustrates brilliantly how it can take very little to create something of significant impact. There is hardly a minute of this film where Hardy is not on screen and when he's not we are only given brief moments to take in the dimly lit highways of England as Hardy's Ivan Locke makes his way towards London. Even Locke himself is barely able to focus on the road and the world around him because his mind only has the bandwidth to deal with a certain amount of things, granted they are highly emotional items, and in the case of this particular night where we meet him and stay with him in real time he is performing a balancing act of personal and professional tasks that see both of them going nowhere but a place he least expected to end up. It is a bleak film, with a dim color palette and ambiguous atmosphere where all of the information we are able to gather is from our titular character and those he speaks with on the phone. It is not so much what an accomplishment Locke is in terms of pulling off what it did with its restraints, but more that it was able to do so much with them. Within these confinements Knight and Hardy were able to pull off what doesn't feel like a stunt for the sake of attempting something daring but instead have crafted a film that feels as if it is all the better for using the elements it has to build the suspense and create the right kind of mood for which to most honestly convey this story to the audience. It is actually a thing of wonder as I remember being so doubtful of a similar premise four years ago with Buried, but was as almost impressed with how well it was pulled off as I am here, almost.

HOW I LIVE NOW Review

If Twilight is the bubblegum pop of young adult literary adaptations and Hunger Games is the more alternative rock that still gets played on Top 40 radio, then How I Live Now must be labeled as the punk rock version of these popular archetypes that continue to be re-imagined and place young, female heroine's at the center of their conflict. I had not heard of Meg Rosoff's novel that was first published in 2004 (a full year before Twilight and four before The Hunger Games) prior to discussions of director Kevin Macdonald's adaptation out of the Toronto International film Festival. I was intrigued not only because Macdonald has directed a slew of acclaimed documentaries and feature films, but because it starred an aggressive-looking Saoirse Ronan and the last time she looked to be in this form was 2011's Hanna in which she turned contributed a great performance to one of my favorite films of the year. Though Ronan attempted to headline her own young-adult female-centric fantasy adaptation earlier this year with The Host, that effort bombed both with critics and general movie-goers, but How I Live Now is a different beast entirely. The mega-hits like Harry Potter, Twilight and The Hunger Games fall into that category because they are the first out of the gate in concept and execution, while the ones that trail behind will not find near the success for that same reason. The good news concerning How I Live Now is that it doesn't strive to be anything it's not and while it will seem all too familiar with today's Hunger Games-fueled audiences this is not a likable protagonist at the center of the story, it doesn't offer the typical love triangle nor does it strive to extend its saga over multiple chapters, but instead Rosoff created an isolated incident of how the greater affects of war and isolation effect a single soul as we see a large event through a small window. Much like Steven Spielberg's version of War of the Worlds, Macdonald uses the personal perspective to differentiate his film from those that we have seen before where a more global look is taken as society comes to an end. Here, we are as confused and lost as the characters we are following. This doesn't always work in terms of successful storytelling, but it certainly keeps us intrigued and ready to stick with wherever that story decides to go.