SUPERMAN Review

Neither the character nor the symbol that is Superman (or Clark Kent, for that matter) has ever been considered cool, or edgy, or frankly all that interesting. Often referred to as the oldest living Boy Scout, Clark Kent and his alter ego have always meant to crystallize what was pure about humanity as imbued by those on the outside looking in. So, in a world where everyone is believed to have ulterior motives and no one’s intentions come purely from the goodness of their own heart where, and how, does Superman fit in? This seems to be the angle with which writer/director James Gunn - a man mostly known for telling saccharine stories about scumbags - has approached his Man of Steel movie for, while this is the first piece of Gunn’s larger, brand new DC cinematic universe, it is just as importantly a justification for why the character of Superman matters just as much as the Superman character does in today’s divided climate. Gunn didn’t seem a natural fit for a story anchored by a hero whose facets are limited if not a little one-dimensional but when viewed through the prism of questioning said character - and I mean Superman’s sincere mission of serving humanity in order to make the world a better place, just to be clear - when that character is called into question by those who once believed in him but have been turned mercilessly against him by the billionaires that control the narrative, the story automatically turns from one about fighting for truth, justice, and the American way to one asking and hopefully challenging audiences to investigate what those terms mean based on the source that is spouting them. 

It is no secret Gunn knows a thing or two about having ones past dug up in order to smear their name and reputation as Superman is subjected to very much the same treatment here. It is also no secret the current President and Lex Luthor would rather make detractors disappear than actually allow for said truth, justice, and the American way to be upheld, but it is somewhat surprising how overt this text is in the film and how it sustains itself throughout. A throughline involving Dinesh Thyagarajan’s Malik “Mali” Ali is the most visceral and brutal part of the film that now resonates in more ways than Gunn likely even intended when he initially wrote it. Is it a little funny for Gunn to equate his experiences to something on the scale Superman might experience? Sure, but in taking this approach to the character the writer/director finds his way to a hero who is both consistent with what the movies of the past have presented (I was just the right age to prefer Batman to Supes) while making the character, if not necessarily punk rock, at least a little more cool and edgy than we’re accustomed to. Further, Superman’s frustrations here fit the more modern aesthetic and world of the story as opposed to the retro ideals of Americana that seemed of the past even in the 1978 original. Superman, and Gunn’s version (and movie) specifically, still amounts to the belief that if we’re all a little kinder to one another the world will be a better place, but David Corenswet’s portrayal never for one moment makes us think we should mistake his kindness for softness; he is very much determined to do what it takes to keep basic human decency intact regardless of fabricated policies and political decorum.

THUNDERBOLTS* Review

Like many fans of the Marvel Cinematic Universe lately, the heroes of Thunderbolts* have felt unfulfilled. Yelena (Florence Pugh), Bucky (Sebastian Stan), Walker (Wyatt Russell), Ghost (Hannah John-Kamen), and Red Guardian (David Harbour) don't have much in common besides the loneliness that being assassins, science experiments, and super soldiers has led them to yet somehow (and somewhat ironically) this shared strand of abandonment is what brings them together. This film in particular finds itself at a crossroads of a moment where the MCU is both trying to redefine itself as well as figure out what direction it goes after being lost in the void of content inundation that has occurred since Endgame. Again, not unlike this band of "disposable delinquents" who are unclear where they fit into the grand scheme of things in a post-blip world where the Avengers are no more, Thunderbolts* seeks to carve a new path forward by essentially attacking the anxieties of the heroes, and by default - the fans, head on. The good news is that this is a strong step in the right direction. 

I’m sure there's a solid analogy to be drawn around how once and current Disney CEO Bob Iger, in the Valentina Allegra de Fontaine role, tried to lock these characters that debuted under Bob Chapek (sans Bucky) away in a Disney vault somewhere but ultimately decided to reverse psychologize by pushing them to the front of the next phase in a Guardians of the Galaxy/Suicide Squad-style team-up that he then sells as “the first and best example” of the studio’s new focus on quality over quantity, but I don’t know that I have the energy to investigate beyond those surface parallels. The point being, it feels pretty bold to make the biggest issue your biggest cash cow is facing not only the main theme of your Avengers re-brand, but the villain itself as Eric Pearson (a Marvel vet) and Joanna Calo (a frequent TV writer) more or less literalize the depression and loneliness these characters (and by extension, the audience members) are feeling through the existence of Lewis Pullman’s Robert Reynolds character. What Pearson and Calo’s screenplay does so deftly though, and I’m sure it is aided by director Jake Schreier’s execution, is how clearly and directly it addresses these subjects without ever making it feel heavy-handed.

THE GIFT Review

In 2008 I was really beginning to dig into all kinds of films, exploring more of the independent material that was coming to light than ever before. I remember 2008 mainly for the remarkable summer at the theater that it was, but I also find it easy to recall a small film from a pair of brothers that was making waves. It was a little film called The Square that was co-written by a guy named Joel Edgerton and directed by his brother Nash. As far as I'd heard, it was a solid contemporary example of film noir and concerned itself with betrayal, revenge and cheating couples. It was a film that I felt somewhat more interesting for checking out simply because I was willing to go out on a limb and see what this buzzed about Australian production had to offer and indeed it was a well-executed thriller. I came to recognize Joel for his work over the next few years in Animal Kingdom and what could be considered his break-out American film in Warrior that led the way to him starring in more major Hollywood productions. It seems after building some solid ground beneath him in the industry though, Edgerton has returned to the thriller genre to write and direct for the first time. With The Gift, Edgerton has delivered a tense and slow-boiling psychological drama that stems from a thesis of how an idea can take hold of a person and tear them down. From the moment we meet Edgerton's Gordon Mosley we can sense that there is something slightly off about the guy, but having Edgerton play his own creation lends the perfect tone to what could have otherwise been an over-the-top showing that would lessen the effect of the final act in the film. That is all to say this product feels like the result of a singular vision, a focused and finely tuned story with specific characters and even more labored over depictions that come to show the audience how both credibly and expertly such genre pieces can be pulled off with the right amount of skill and vision. Edgerton feels at the top of his game here and with this technically being his feature directorial debut, I can't wait to see what he does next.

SELMA Review

First things first: if you get your history from movies you get the history you deserve. Amid the controversy of historical inaccuracies that feel more like a play to dismantle Selma's award chances than anything else it must be remembered that director Ava DuVernay's is an interpretation of many historical narratives boiled down into a comprehensive two hours. Things must be compacted and slightly compromised, but never does it feel like any one character is given the shaft more than the others. The flurry of controversy here is dealing with the portrayal of the thirty-sixth President, Lyndon B. Johnson, who is historically regarded as completely behind not only Dr. King, but the civil rights movement in general and the passing of the voting-rights act in 1965. The movie doesn't portray a President resistant to the passing of this legislation, but more a man who has a set of priorities not in line with our protagonists. The extent to which this is true or not certainly matters, but more to the point of the films major goals is that this is not a movie about the relationship between Johnson and King (which a very interesting movie could be made from), but rather larger issues at hand to the point I'd say Selma isn't about Dr. King either. More, it is about a movement, a moment in time that is compelling and inspiring enough to make for a good story and serve as a nice reminder and a bit of perspective especially considering the relevancy of the message it's preaching. Despite all of this controversy swirling around it, the actual content of the film is what matters and that is where the dispute between telling history as accurately as possible and telling a good story comes into play. There is no one clearly defined version of history despite what we are taught to believe in grade school and so it is completely open and fair for DuVernay (working from a script by first-time screenwriter Paul Webb) to tell this story from her own perspective, influenced by her own ideologies. It may be slightly unfortunate that her interpretation isn't completely fair to Johnson, but I doubt this will tarnish his legacy in the grand scheme of things. The film itself and what is actually the subject of this review is a rousing, expertly paced film that truly has the ability to inspire despite its structural conventions. The film itself is a solid four-star historical drama that is elevated to perfection by David Oyelowo's exceptional performance.

First Trailer for SELMA

Is it me or does this awards season seem more packed than usual? It is late to the game releases such as Selma and American Sniper that make me wonder just how far some of these films will wait to really start their engines. It seems December is more ripe than usual with the likes of Wild, Inherent Vice, Into the Woods, Unbroken and Big Eyes all releasing within a few weeks of one another and all seeming to want to put in their bids for certain categories. Selma and the aforementioned Clint Eastwood film though will stagger there releases over the Christmas/New Year season in hopes of capitalizing on the January drag by escaping the overcrowded Christmas day schedule and boosting their box office by drawing on those unable to see some of the more prestigious pictures until after the new year.  I imagine director Ava DuVernay's prime focus will settle on that of the lead performance by David Oyelowo as Martin Luther King Jr., but there is a lot of potential here and if it turns out well first-time screenwriter Paul Webb is looking at good odds and the supporting cast is almost as massive as last years The Butler, which this immediately conjures up comparisons to. What feels better about Selma though is that it inherently seems to have the importance, rage and vitality to it that Lee Daniels film thrust upon itself. I am extremely intrigued by the film and really hope it delivers on what this great teaser promises. Selma also stars Carmen Ejogo, Tom Wilkinson, Andre Holland, Omar J. Dorsey, Tessa Thompson, Tim Roth, Common, Wendell Pierce, Giovanni Ribisi, Cuba Gooding Jr., Colman Domingo, Oprah Winfrey and opens in limited release on Christmas Day before expanding on January 9, 2015.

PARKER Review

As it goes every time Jason Statham puts out a film that isn't part of the Transporter or Expendable series we are prone to get a well executed action film that has the chrome domed star doing what he does best: kicking ass and taking names. This is only the first of four films the guy has slated to come out this year and though each of them has to deal with some type of thief, agent, soldier, or bodyguard they will likely each also have a very distinct style to them. You see, the thing about Statham is despite his ability to make total B-movies that have you munching on your popcorn and sipping on your Coke Zero with glee he also has an eye for who he works with and makes sure there is something of a twist with each character type he will undeniably be playing in their film. In his three other films one of them is directed by Gary Felder and co-stars James Franco, Wynona Rider, and Kate Bosworth and was a novel that was adapted into a screenplay by pal Sylvester Stallone. His others include a first time feature from writer Steven Knight (Eastern Promises) as well as one in very early pre-production that re-teams him with his The Mechanic and Expendables 2 director Simon West (Con Air,Tomb Raider). You see, the guy knows what he is doing as he doesn't simply sign up for any throw away piece of action trash that could just as easily go straight to DVD (though some of his less flashy ones have) but instead he keeps a nice flow of consistent work that gives the people what they want from him and does so in a fashion that shows he's reliable and that they can trust in him when they come back for more.