AQUAMAN AND THE LOST KINGDOM Review

The irony of Zack Snyder's latest sci-fi epic releasing on Netflix essentially the same day as what will be the final relic of his orchestration at Warner Bros. with regards to the DC Extended Universe (DCEU) is undoubtedly significant in some somber, unfortunate way yet I can't quite put my finger on why this congregation of Snyder's new and old universes feels sad on both accounts. It's paradoxical, sure, but I guess in the broader sense it simply seems like despite the DCEU not going his way that he has recovered by making a two-part, $166 million Star Wars rip-off for the biggest streaming service in the world and yet, it doesn't feel like a recovery at all; somehow it feels like a failure on two fronts which is what makes Aquaman and the Lost Kingdom all the more depressing. 

Remember when Willem Dafoe was in an Aquaman movie? Doesn't that feel like a lifetime ago and a universe away? Unfortunately, thanks to the pandemic and James Gunn both things are by and large true. Aquaman and the Lost Kingdom is the end of an era, the last of a dying breed, and though certainly not how Snyder saw things ending, the movie itself is not the worst note the current iteration of the DCEU could have gone out on (that would have been The Flash). It's not good, don't get me wrong, but there is a certain charm that director James Wan and, of course, star Jason Momoa bring to what are already absurd proceedings. Likely not the better movie of the two, but because I went into this much-delayed and much-maligned sequel five years after having been conditioned to certain expectations, this was a better overall experience because of the (much) lower anticipation level. All things considered, Wan is still very much a world-class filmmaker who knows how to mount a handsomely constructed action-adventure romp and when hung on the back of a comically over the top lead it couldn't be more perfect for feeding every Saturday morning desire of every nine-year-old out there.

THE TRIAL OF THE CHICAGO 7 Review

Going into a film so steeped in historical events, facts, and undoubtedly some speculation it’s difficult to not want to feel both completely educated and entertained on and by the subject come the conclusion of the film. With the second directorial effort from A Few Good Men and The Social Network scribe Aaron Sorkin being based on the violent clash between police and antiwar protestors at the 1968 Democratic National Convention it’s even more difficult-given the similar cultural landscape we presently find ourselves in-to not want to first and foremost pay attention to the precision of Sorkin’s pen so as to not be swayed one way or another by the dramatization of it all. That said, it’s also difficult to not want to abandon the real-life aspects altogether and instead simply escape to enjoy the piece for its expertly crafted dialogue exchanges and period-accurate set decorations with hopes that what is depicted on screen respects the institution of integrity enough that we trust what the film is telling us and what it’s trying to convince us of are both genuine and honest. That the film takes the position it does will be an easier pill to swallow for a viewer who stands firmly on one side than the other which raises questions about how those on the wrong side of history now can’t see themselves in those on the wrong side of history then, but while this idea might be an aside of Sorkin’s it would seem his primary objective is to illustrate the strong foundations of our institutions, but also the myriad of ways in which they can be taken advantage of and the vitality of intent if one cannot find a complete, impartial view of the bigger picture; in essence, Sorkin seeks to create something as close to primary material as possible and in large part-especially for the first hour-you want to believe he has. If The Trial of the Chicago 7 hopes to make you feel any certain way though, it’s that type of “hurrah” mentality that no matter how evil the bad guys are the good and the just will eventually overcome it. Unfortunately, this take couldn’t feel more in contrast with today’s world despite the similarities in the challenges our protagonists are up against and the current assault our democracy is facing. Despite the stride towards a more triumphant rather than the more accurately sobering tone in the third act though, Sorkin has pieced together an airtight screenplay with an overwhelmingly impressive cast that executes the material in a substantial fashion giving the project the feel of something genuinely valuable.

US Review

“Therefore thus saith the Lord, Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them.” And so goes the Bible verse Jeremiah 11:11 from the Old Testament which serves to add incredible weight to the context of Jordan Peele’s sophomore effort and follow-up to his Oscar-winning feature debut, Get Out. Specifically, this passage represents a key mind set for half of the characters in US, but given the countless interpretations each verse of the Bible inspires so does what this verse might mean to our cast of characters. Peele utilizes both a handful of horror movie tropes as well as some admittedly fantastic symbolism to reiterate the influence of this verse on his work time and time again throughout the film seemingly forcing the audience to determine just how much they might mean to take or receive from film, what these images and actions might mean, what they might be saying, what they're trying to say, or if they even intend to say anything at all. In the context of the Bible, this verse refers to God's punishment of the Jews after the fall of Babylon. God was punishing Jeremiah and his fellow Jews for worshiping false idols, but in US, the descending attackers who are also doppelgängers of the characters that make-up our main family seem to be mad at their counterparts for a handful of other reasons. Of course, there is no doubt the argument could be made that in some regard the family under attack in US are false versions of these invading doppelgängers thus the reason the red jumpsuit-laden clones are so intent on doing away with their counterparts, but it can't help but feel as if there should be more to Peele's second film than simply this tit for tat comparison between the verse he quotes and the story he is telling. Moreover, it doesn't just feel as if there should be, but it feels as if there is more at work here than just a metaphor for this kind of darkness that lurks inside us all; this ugliness we all have to come to terms with at some point in order to move on and either choose to better ourselves or succumb to our repressions. Of course, the seemingly numerous analogies and motifs littered throughout US could simply exist to suggest the inspiration of different ideas and considerations in individual viewers while the core of what Peele is doing is executing his love of horror on a much grander if not more stimulating scale.

Official Trailer for Jordan Peele's US

Get Out was my favorite film of 2017, so it goes without saying that I'm extremely excited to see what writer/director Jordan Peele has in store for us with his follow-up feature, Us. While I was somewhat hesitant initially upon hearing Peele would once again venture into the horror genre with what would undoubtedly be another layered social commentary piece that fear was immediately rectified with this first, official trailer. Peele has stated that the film will not be about race which, for as much as I found Get Out enlightening and interesting, I'm glad to hear the writer in Peele won't allow him to re-visit the same water hole again, but from a different angle-at least not in his second feature anyway (I could see him doing something that is more a companion piece to Get Out in fifteen to twenty years and it making more sense). With Us, the film will follow Adelaide and Gabe Wilson (Lupita Nyong’o and Black Panther's Winston Duke) as they take their kids to Adelaide’s old childhood beachside home in Northern California for the summer. After a day at the beach, Adelaide-who’s haunted by a lingering trauma from her past-becomes increasingly more paranoid that something bad will happen to her family. When night falls, the Wilsons see four figures silently at the bottom of their driveway with the twist being they look exactly like the Wilsons. While the trailer doesn't give away much more than this, including what themes Peele might even be considering exploring, this doesn't diminish the impact of what the trailer does deliver. Maybe the most striking thing about the trailer though? The use of Luniz's "Got 5 on it," a 1995 track by the West coast hip-hop group is at first utilized to establish a certain amount of coolness, nostalgia, as well as inform us of some character features, but the way in which the trailer ultimately manipulates the music to turn the iconic nineties jam into an anxiety-inducing horror score is pure genius. It's more than effective, it's downright chilling while being unbelievably hip. Hopefully, this is the first and only trailer we receive for the film as it will seem Us is best experienced knowing as little as possible going in with the endless possibilities of what the film might actually hold being the greatest suspense Peele can hold us in until all is revealed. Us also stars Elisabeth Moss, Tim Heidecker, Yahya Abdul-Mateen II, Anna Diop, Evan Alex, Shahadi Wright Joseph, Madison Curry, Cali Sheldon, Noelle Sheldon, and opens on March 15th, 2019.

AQUAMAN Review

Look, I get it, Aquaman was never going to be an easy movie to make-especially given the weight of the pressure on the film to make or break Warner Bros.' DC Extended Universe. The losses certainly outweigh the wins at this point, but there was a hope that after the triumph of Wonder Woman and the hurried process of simply getting through Justice League (a movie already in production when Batman v Superman received its backlash and essentially completed when WW turned things around) that James Wan's Aquaman might be able to finally allow this rival to the Marvel Studios cinematic universe to settle on and find its own distinct tone. Aquaman somewhat accomplishes this as the movie certainly settles on its own tone-one that is arguably appropriate for a movie about a man who can talk to fish-but Aquaman also never seems to find its rhythm. Wan, a master of suspense and horror, translated his skills into the bigger, action-oriented realm fairly well with Furious 7, but while Aquaman features some of the best choreographed and executed fight sequences of the year everything around them feels like an exercise in trying to figure out how best to configure an underwater world that the movie still hasn't figured out by the time it reaches its final, climactic battle. So listen, I understand there is only so much one can do with an Aquaman movie, I really do, but while the ambition is there and the movie offers some genuine fun in fits and starts the product as a whole never gels in the fashion that it feels like a complete, satisfactory work. Wan's Aquaman, as penned by David Leslie Johnson-McGoldrick and Will Beall, feels like if the Power Rangers series had decided to grow up with the generation Mighty Morphin premiered with, but never developed mentally past that of an eight-year-old's mindset. Meaning, the only thing growing with the audience was the budget while still retaining the mentality and most importantly, the sense of humor, of that core demographic of fourth and fifth graders. Aquaman is a Saturday morning live-action cartoon on steroids likely meaning a certain, large demographic of the audience will absolutely love and revel in what Wan has put together and to be frank, upon further re-watches I can see how it might become more endearing, but upon first impression Aquaman leaves much to be desired in terms of substance despite indulging its audience in eye candy and overwhelming them with silliness.

Final Trailer for AQUAMAN Starring Jason Momoa

Warner Bros. has dropped the final trailer for director James Wan's Aquaman. The film follows Arthur Curry who learns that he is the heir to the underwater kingdom of Atlantis, and must step forward to lead his people and to be a hero to the world. It feels rather odd we're finally upon the release of the character's solo outing given a year ago at this time we were just getting our first glimpse of the DC hero in the unequivocal failure that was Justice League. Never mind the fact we were only getting our first glimpse of Aquaman for the first time in what should have been an accumulation of individual films, but more that the result of this botched team-up would produce anything resembling hope seemed all but lost after this same weekend last year. And yet, as Warner Bros. announced with the release of this trailer today that fans, specifically Amazon Prime members, can see the film a week early in theaters which prompts one to think they certainly don't plan on hiding this one the way they did the Zack Snyder/Joss Whedon film. And there seems no reason to as this final trailer looks visually stunning. If this clip should suggest anything it is that Wan (Saw, Insidious, The Conjuring, and Furious 7) has delivered an action/adventure film in every sense of the word that looks to be about as fun as a film can be; here's to hoping that the pacing and energy of the trailer are notes that have been taken from the finished film. Aquaman stars Jason Momoa as the titular hero, Amber Heard as Mera, Willem Dafoe as Vulko, Temuera Morrison as Tom Curry, Dolph Lundgren as Nereus, Yahya Abdul-Mateen II as Black Manta, Patrick Wilson as Orm/Ocean Master, and Nicole Kidman as Atlanna. The movie opens December 21, 2018.

SDCC: Official Trailer for AQUAMAN Starring Jason Momoa

Warner Bros. has dropped the first trailer for director James Wan's Aquaman Starring Jason Momoa as Aquaman, Amber Heard as Mera, Willem Dafoe as Vulko, Temuera Morrison as Tom Curry, Dolph Lundgren as Nereus, Yahya Abdul-Mateen II as Black Manta, Patrick Wilson as Orm/Ocean Master, and Nicole Kidman as Atlanna. The movie opens December 21, 2018.

THE GREATEST SHOWMAN Review

The Greatest Showman, a wholly original musical from the mind of Jenny Bick (and ushered through the big studio system via Rob "Dreamgirls" Marshall) that tells the story of P.T. Barnum (Hugh Jackman), is a weirdly fascinating experience. There were instances throughout this brisk, but admittedly epic in ambition musical that at one point might feel alarmingly slight and free of any such substance while at other points-specifically during the musical numbers-it could feel akin to a religious experience. Crazy, right? Like most things, The Greatest Showman is a balancing act, but surprisingly-so is gauging one's reaction to the film. While the film, narratively, falls into refurbished clichés of countless other rags to riches stories it also doubles down on sweeping love stories, including large themes of inclusion and tolerance for those different than what society and humanity have deemed as normal and then, somehow matches all of this up with the terms of a musical that require dance numbers, songwriting, and lyrics that both explore these aforementioned themes and narratives as well as pushing as much forward. The viewer's balancing act comes from the then aforementioned disparate elements of those cliché story beats and the rather impressive soundtrack of songs as composed by La La Land composers Justin Paul and Benj Pasek. It's so strange, even now, twenty-four hours after having seen the film and I can admittedly understand every complaint I've since read about it; sharing many of them in regards to the boxing in of Barnum's story to that of a standard Hollywood storyline. And yet, there is this undeniable aspect of the film and all the joy and hope it provides in these moments that says something about the movie, the craft behind it, and the reaction they garner. First time feature director Michael Gracey (who has mostly worked in the visual effects departments on other projects) certainly seems overwhelmed by the scope of what he has taken on here as glimpsed in both how he captures and conveys the themes as well as a majority of the musical numbers, but seriously-by the end of nearly every number and, as a result, the film-what has just occurred on screen leaves you feeling so gleeful and allows the characters to be so endearing that it's impossible to deny the appeal of The Greatest Showman despite its many, many flaws. 

First Trailer for THE GREATEST SHOWMAN Starring Hugh Jackman

I'm convinced there isn't anything Hugh Jackman can't do and it seems he will only continue to prove that idea correct this fall as he once again stars in a musical, but this time it's an original musical and one based around the life and times of P.T. Barnum, who Jackman will be portraying. The founder of Barnum & Bailey Circus, P.T. Barnum has come to be regarded as a brilliant promoter and the man who transformed the nature of commercial entertainment in the 19th century. While it is always interesting to see biopics around historical figures the general public isn't overly familiar with The Greatest Showman boasts multiple reasons audiences should be eager to see it. Besides the fact it stars Jackman, one of our most endearing movie stars today, it will also feature original songs by Justin Paul and Benj Pasek who penned the lyrics for songs featured in last year's La La Land. Strangely enough, 20th Century Fox has also placed a rookie feature director at the helm of this rather expansive and impressive looking movie in Michael Gracey. Gracey has worked in the visual effects department on a few films you might have heard of, but what made Fox and friends think he was the prefect choice for a big, broad original musical with huge stars and what is no doubt a healthy budget I'm not sure. Written by Jenny Bicks (Sex and the City) and Bill Condon (Beauty & the Beast (2017)) the film is apparently, "inspired by the imagination of P.T. Barnum," which only seems to indicate that this won't be wholly faithful to history as it actually were. Of course, if you get your history from the movies then you probably get about as much as you deserve, but nonetheless I'm excited for a big, original, musical production set around a figure who was an inherently entertaining and "showbusiness"-minded personality. As for the trailer itself I'd be lying if I said it was exactly what I expected as I expected something more in line with a combination of The Prestige (as far as the mythological tone and mysterious sense of wonder it might possess) and Water for Elephants (grand cinematography of a forgotten heyday), but while the film still looks to be visually dazzling the tone of the trailer is more upbeat and more modern than those expectations led to me to hope it would be. The point is still that I'm enormously intrigued as to how this will turn out and can't wait to experience it on a big screen. The Greatest Showman also stars Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya, and opens on Christmas Day.