Eternally youthful Paul Rudd returns for an adventure in the tinyverse inAnt-Man and the Wasp: Quantumania.
Scott Lang/Ant-Man (Rudd) has a pretty good post-Thanos life. He’s written a book, he’s publicly beloved and his girlfriend Hope Van Dyne/the Wasp (Evangeline Lilly) is using science to make the world a better place. But then he gets a call from the police department where his daughter Cassie (Kathryn Newton) is being held after getting arrested at a protest where she may have shrunk a police car (Hope slipped her an Ant-Man-like suit). When Scott brings her home to the Pym/Van Dyne house, he learns Cassie has been working with Hank Pym (Michael Douglas) and Hope on tech to map the quantum realm. Everyone’s proud of young Cassie’s invention but Hank’s wife/Hope’s mom Janet van Dyne (Michelle Pfeiffer) gets panicked when she realizes the device sends a signal into the quantum realm. She tries to shut it off but the device malfunctions and sucks them all in — or down, I guess, as the quantum realm is the submicroscopic world below or inside or whatever our world.
Janet, you’ll remember, was once stuck in the quantum realm for decades and when the gang — separated into two groups: the Pym/Van Dyne family and Scott and Cassie — arrives they realize she knows more than she’s ever explained about this world. For one, it’s populated by an assortment of beings, some more humanoid than others. And one of those beings is apparently the big noise of the quantum realm with some kind of old score to settle with Janet.
Eventually we meet this guy and he is Kang (Jonathan Majors), a name to remember for Phase Five of the Marvel Cinematic Universe. If you watched Loki and didn’t give up after one episode like I did, apparently he is familiar (and also there’s some Loki content in the post-credits, according to the internet; I only stayed for one mid-credits scene, which was wearying). He is the villain — I guess? Mostly, he just feels like the start to a Whole Thing.
This movie is primarily made of goofiness, some of which I enjoyed (a cute if not well-used cameo, some business with Hank Pym’s ants) and some of which I just found to be tiresome. Everything to do with the fraying of the multiverse or whatever, the half-baked “secrets Janet never divulged” stuff, and Kang’s whole deal all just feel like a drag on whatever fun the movie could have had.
This movie feels so invested in being the first chapter of a new thing that it seems like it forgot to put together a compelling stand-alone story. And while I have affection for both Paul Rudd and Scott Lang, that affection isn’t enough for the movie to skate by with so few redeeming elements of its own. C
Rated PG-13 because that is the most profitable rating — I mean, for violence/action and language, according to the MPA on filmratings.com. Directed by Peyton Reed with a screenplay by Jeff Loveness, Ant-Man and the Wasp: Quantumania is two hours and five minutes long and distributed in theaters by Walt Disney Studios.
Channing Tatum’s Mike takes his skills to London in Magic Mike’s Last Dance, a movie about abs.
Sure, there’s other stuff: A romance between Tatum’s character and Salma Hayek Pinault’s character that never has quite as much charm and chemistry as their little pre-movie “thank you for watching this movie” message. A plot that feels like somebody watched part of an early Ted Lasso episode and said how about we do a little of that, sorta. A show within a show, to give us the big dance finale we bought our tickets to go see. Some impressive biceps, some (clothed) butts. But, like, if I had to sum it all up: abs, this movie is about really chiseled abs.
Narration — delivered by Zadie (Jemelia George), the bored teenage daughter of Maxandra (Hayek Pinault) — explains that Mike Lane (Tatum) lost his furniture business in the pandemic, which is why he is bartending at a fancy party in Miami. He runs into Kim (Caitlin Gerard), a woman whose bachelorette party he danced at back in the 2012 original Magic Mike movie. Now a lawyer for Maxandra, the woman throwing the fancy party Mike is working, Kim tells the divorcing and unhappy Maxandra about Mike’s past occupation. Max calls him into her house after the party and offers him $6,000 for a dance. He delivers and then some, which is how they end up in bed with Max offering to take him to London. She has a job for him — not that — that will require him for a month, after which she will pay him $60,000. He agrees, which is how he finds himself at a historic theater which has been presenting a fusty play.
Max got control of the theater as part of her divorce — mostly out of spite because her ex-mother-in-law loves it — and, after being danced on by Mike, decides that what she most wants is to bring the passion of that experience to the London stage. She asks Mike, with his male entertainer background, to direct this new production. She also declares that there will be no more romance between them; he declares that he will not dance in this production. Guess what happens!
The day I saw this movie, I consumed a fair amount of Magic Mike content. I finally saw 2015’s Magic Mike XXL and I listened to the This Had Oscar Buzz podcast episode about that movie (featuring hosts Joe Reid and Chris V. Feil with their Oscar-nominated buddy Pamela Ribon as guest). That episode was a delight, as was XXL — all goofy buddy energy and lots of dudes gyrating while trying to make flustered ladies feel sexy. It’s fun! It’s, as the podcast observed, all fun, with none of the more serious elements of the original movie.
I bring all this up because if that’s where you’re coming from, the “Woo-hoo! Pony!” vibe of XXL, Last Dance isn’t going to quite live up to that abs-tastic joyfulness, with Jada Pinkett Smith calling the female audience queens and Joe Manganiello being a loveable goof. The remaining Kings of Tampa are mostly absent in this third outing. Instead, we get a lot of relationship-building between Mike and Max, most of which happens with Mike talking and not dancing. There is also stuff about Max’s struggles to be a mother to Zadie and her difficult divorce — and, sorry to Hayek Pinault, but I didn’t care about any of that. Zadie, sassy teen, can be a fun balance to the sometimes kooky dreams of Max, and she and Max’s butler (Ayub Khan-Din) have a nice brothers-in-arms sort of friendship, but generally all of that stuff felt a bit like spinning our wheels waiting for dancing, which this movie felt rather light on. There is a cute sequence about halfway through that blends dance and caper, a director Steven Soderbergh specialty, and I wish the movie had done more of that, had more of that energy, lightness and general glee.
Overall, Magic Mike’s Last Dance is an OK amount of fun, a B maybe or a B- when compared to the top-notch “ladies make some noise” delight of Magic Mike XXL, which is a solid B+. And, for the record, This Had Oscar Buzz in general, and this episode in particular, are always an A+.
Rated R for sexual material and language, according to the MPA on filmratings.com. Directed by Steven Soderbergh with a screenplay by Reid Carolin, Magic Mike’s Last Dance is an hour and 52 minutes long and distributed in theaters by Warner Bros.
Want more Magic Mike? The original movie is currently streaming on HBO Max, if we’re still calling it that, and is available for rent or purchase. Magic Mike XXL is also streaming on HBO Max and Hulu (where it’s labeled TBS on Demand) and is available for rent or purchase.
This Had Oscar Buzz is available where ever you get your podcasts and is an absolute must for movie nerds, especially during Oscar season.
Pamela Ribon, a one-time Television Without Pity writer, writer on a bunch of TV and movie stuffincluding Ralph Breaks the Internet and a co-host of the Listen to Sassy podcast (also excellent), is nominated for an Oscar in the animated shorts category for the movie whose title got a little moment when Riz Ahmed read it — starts with My Year of and if you Google it you can probably still find it to watch via Vimeo. Watch it, it’s great! (Decidedly not for kids but great!)
Four talented actresses deserve better than the bland oatmeal that is 80 for Brady, a Girls Trip-meets-Last Vegas-style comedy.
Longtime buddies and Massachusetts residents Lou (Lily Tomlin), Trish (Jane Fonda), Maura (Rita Moreno) and Betty (Sally Field) have been getting together to watch the Patriots play football for nearly the whole of Tom Brady’s career (the movie takes place in 2017). They stumbled on a game while hanging with Lou after her chemo treatments and have now become such superfans that they even have a pre-game ritual, with everybody needing to sit in a specific spot or do a specific thing (Rita must drink tea, Lou must knock over chips). They love the whole team — Trish is even the successful author of a steamy fan fiction series about Gronkowski — but their particular shining star is Tom Brady, especially to Lou. Lou even hears Tom Brady (playing himself) urging her on when she decides to find a way to get tickets to the quickly forthcoming Super Bowl LI in Houston. When the ladies’ favorite sports show announces a plan to give away a four-pack of tickets, Lou is certain she’s found a way to make her dream happen.
The women make it to Houston, each dealing with her own stuff: Lou seems desperate to make this an experience to remember, Trish fears that she’s about to repeat a pattern of falling in love too fast when she meets ex-football player Dan (Harry Hamlin), Maura is trying to move on after the death of her beloved husband, and Betty’s beloved husband (Bob Balaban) is driving her nuts with his neediness. None of this is terribly well-examined and all the women remain kind of flat — Tomlin and Fonda’s characters more than those of Moreno and Field, who get to be more lively.
The movie’s slate of non-professional actors — Tom Brady, Guy Fieri, Rob Gronkowski — does not lead to a lot of stunning performances (though Guy Fieri gets off a pretty good throwaway joke). But it’s the flatness of the lead performances that is more disappointing. To describe the movie in Guy Fieri terms — he runs a hot wings contest in the movie — 80 for Brady not only never enters Flavortown, it stays on the far outskirts. I’d compare the movie to ketchup when it bills itself as hot sauce but ketchup has vinegar and this bland affair could use a bite of acid. The movie is so mild in its comedy, so restrained in what it lets its four lead actresses do and so shallow in the way it develops the characters’ stories that it feels slow and dragging even though it is only an hour and 38 minutes long. C
Rated PG-13 for brief strong language, some drug content and some suggestive references, according to the MPA on filmratings.com. Directed by Kyle Marvin with a screenplay by Emily Halpern and Sarah Haskins, 80 for Brady is an hour and 38 minutes long and distributed in theaters by Paramount Pictures.
Knock at the Cabin (R)
A couple and their daughter are menaced by four strangers and the possibility that they might have to make a terrible choice in the underwhelming thriller Knock at the Cabin from director M. Night Shyamalan.
Eric (Jonathan Groff), Andrew (Ben Aldridge) and their daughter Wen (Kristen Cui) head to a cabin in rural Pennsylvania for a family getaway. Eric and Andrew are hanging out on the porch when on the other side of the house Wen is approached by Leonard (Dave Bautista). A Dave Bautista-sized man with a Dave Bautista voice, Leonard is nonetheless gentle when talking to Wen about the crickets she’s capturing to put in a jar for study and his desire to be friends with her and her dads. She sees other people appear and makes a run for the house, closing doors behind her and frantically telling her dads to come inside. Leonard and three other people — who we eventually learn are Sabrina (Nikki Amuka-Bird), Adriane (Abby Quinn) and Redmond (Rupert Grint) — come to the door and ask to come in. Eric and Andrew sensibly and politely tell them to buzz off, after which the group smash their way into the cabin.
Eventually, we get to the part you’ve probably seen in the trailers where Leonard explains that the four of them have been tasked by visions and some mysterious force to come and find this family. The family must, as families throughout history have done, make a horrible choice: sacrifice one of the family members or watch as the world ends through a series of plagues and disasters. Eric and Andrew reasonably call BS on this but then, as they decline to make a choice, Leonard turns on the TV to show Eric and Andrew the first series of disaster their unwillingness to participate has unleashed.
This movie reminds me of a rollercoaster, slowly click-click-clicking up toward the top. Except in this case the “top” is a long shallow climb and the down is a half-foot drop.
There are two not-stupid, medium-intriguing questions at play here: Could you sacrifice a beloved family member to save all of the world (and no copping out by one selfless member sacrificing themself)? And, could a group of people be manipulated into believing they are on a quest from God when really they’ve been pushed into a group delusion by the internet?
Both of these little puzzles make for potentially interesting story telling, but the movie doesn’t really dig in to them. Instead Dave Bautista just repeats that “one of the three of you has to sacrifice themself” over and over while we get little glimpses into the life of Eric and Andrew via flashback. Not a lot of character development or personality depth, more just like “here’s the time when they first saw baby Wen at the hospital” or “here’s the song they were listening to on the way to the cabin.” Aside from some basic name-age-occupation facts, we don’t get a lot of personality on the other characters either. Maybe Shyamalan felt like this story was more plot-driven, about the questions raised and the story twists and not about character relationships. And, OK, that’s not a terrible storytelling choice but that means that the twists, thrills and puzzles need to be compellingly presented, and they’re just not here. C+
Rated R for violence and language, according to the MPA on filmratings.com. Directed by M. Night Shyamalan with a screenplay by M. Night Shyamalan and Steve Desmond & Michael Sherman, from the book The Cabin at the End of the World by Paul Tremblay, Knock at the Cabin is and hour and 40 minutes long and distributed in theaters by Universal Studios & Vacation Home Productions.
The women of a rural fundamentalist community must decide to stay or leave in Women Talking, a captivating exercise of storytelling through conversation directed by Sarah Polley and based on the novel by Miriam Toews.
After years of the women of the colony, as they call their settlement, waking up to find themselves bruised and bleeding, the rapists who had been drugging and violently assaulting female community members (ranging in age from little girls to their grandmothers) have been arrested. They are imprisoned in the nearby town and all the men of the colony have gone to bail them out. The leaders have told the women that when the men — rapists included — return, the women must forgive them. The alternative is to be cast out — of the colony, of the religion, of the eternal kingdom of God.
Before the men return, the women all decide to vote on what to do. Their options, as laid out with sketches for these women and girls who have never been allowed to learn to read and write, are to do nothing, to stay and fight or to go. “Do nothing” is a first-round loser but “stay and fight” and “go” are in a dead heat with a smaller committee of women being tasked with discussing the two options and deciding for all the women of the town.
All of the women are angry, a deep full-body anger. Salome (Claire Foy), mother of a 4-year-old girl who had recently been attacked, attempted to kill the accused men and vows that she will finish the job if she stays. Ona (Rooney Mara), pregnant from her attack, has some elaborate ideas about what a post-colony egalitarian community could look like but her ideas sound very pie-in-the-sky to Mariche (Jessie Buckley), who is stuck in an abusive marriage. Mariche is so rage-filled that she’s sort of firing indiscriminately at the other women and girls gathered in the barn, as likely to yell at a woman having a panic attack or wonder about whether really all the accused men are guilty as she is to rail against the injustice of what’s been done to them all.
At the beginning of the movie, a title card describes the story as a product of “female imagination,” which I think you can kind of take how you want in this movie written and directed by a woman based on a book by a woman and performed almost entirely by women — the only two non-female characters with significant roles are August (Ben Whishaw), the school teacher asked to take minutes of the meeting, and Melvin (August Winter), a young trans man who was also attacked. The discussion spreads out to all the edges of dealing with gender violence and with the general oppression under which the women have lived their lives. They come from a place of very strong core faith and an organization of their lives around God and it’s from that point of view that they argue about the right decision, what their duty is in terms of forgiveness, their duty to keep their children safe, their place in the community and what they deserve as humans. They worry about their sons — how do they keep them from becoming these kinds of men. In some ways it is a very stagy discussion and I feel like you have to decide to go with the conceit of what’s happening — what and how these women are arguing, August’s role as meeting note taker, the way we learn everybody’s stories. I could see this movie not working for some people (I read some commentary on Jezebel that seemed to suggest the staginess got in the way of the writer’s really enjoying it). But for me, this sort of bottle-episode thought-experiment worked — and was boosted by some extremely strong acting talent. Not only is Foy absolutely magnetic throughout, Mara gives what could be a drippy character some roundness and humanity. Judith Ivey and Sheila McCarthy, playing the mothers of Ona and Mariche respectively, are also great, showing us how these two people who haven’t been given much can use the tools that they have to fight for themselves and their children. And, for all that it dives in to some awful places, Women Talking is filled with some lovely imagery of the farmland where these women live and shot with faded colors that help to put you in this alternate reality.
Women Talking received Oscar nominations for Best Picture and Adapted Screenplay, both well deserved but I would have added more — a few supporting actress nods, definitely a directing nomination — to that list. A
Rated PG-13 for mature content including sexual assault, bloody images, and some strong language, according to the MPA on filmratings.com. Directed by Sarah Polley, who also wrote the screenplay from the novel by Miriam Toews,Women Talking is an hour and 44 minutes long and is distributed in theaters by Metro-Goldwyn-Mayer Pictures.
A teen uses location services, street cams and Colombian Taskrabbit to search for her mother in Missing, a lightweight thriller.
June (Storm Reid), 18, is on eyeroll-whatever terms with her mother, Grace (Nia Long), as Grace heads from their L.A.-area home to vacation in Colombia with her boyfriend Kevin (Ken Leung). The vacation falls on Father’s Day, a tough time as June’s dad James (Tim Griffin) died when she was little. June is no more interested in Kevin’s awkward beginnings of some discussion about his feelings for her mom than she is in Grace’s blah blah blah about safety. She just wants Grace out the door so her friend Veena (Megan Suri) can come over with a big box full of cheap booze purchased with the money Grace Venmo-ed June “for emergencies.” I guess needing booze for the friends hanging out at your parent-free house for a week, culminating in a rager the night before mom is slated to return, is, like, a hosting emergency. The only oversight June has is a brief visit from Heather (Amy Landecker), her mother’s friend, who seems a little too fond of Kevin.
The Sunday morning Grace is set to arrive, a hungover June wakes up late and rushes to the airport to meet her. She waits — and waits and waits but neither her mother nor Kevin get off the plane. When June calls the hotel in Colombia she is able, with some help from some quick Google translations, to figure out that while Kevin and Grace are no longer there, their suitcases and other items still are. June calls the embassy but finds it closed and the hotel won’t send her the security footage over the internet. Via the Colombian version of Taskrabbit, she hires Javi (Joaquim de Almeida) to go to the hotel to get the footage. He doesn’t find that but does find other clues to where the couple may have gone.
As Missing’s present-day scenes begin, June and her friends are watching Unfiction, a true crime show. Using some of the techniques of that show, Veena and June figure out how to find street footage that might give more information about her mother’s trip and even her relationship with Kevin. Against the advice of Agent Park (Daniel Henney) at the Embassy, who is all “evidence we can use in court,” June worms her way into Kevin’s Gmail account and starts to learn more about her mother’s boyfriend. She also gets access to the location services that give her more clues about where they really went.
Some of the same people involved in this movie were also involved in Searching, a 2018 movie seen almost entirely through a variety of screens (phone, computer, etc.) where John Cho searches for his teen daughter. Though this movie isn’t quite as stuck to screens, we are learning and searching and seeking largely through June’s computer searches and phone calls with occasional news reports and “live” scenes worked in. The movie edits these pieces together in a way that keeps things moving. I wouldn’t say this particular puzzle is super-complicated or all that twisty — there are several twists that the movie drops enough clues on that it feels a little pokey how long it takes June to figure them out. But Reid, who carries the action with her worried face, is a compelling enough lead character that the movie never really feels slow.
Missing maybe makes little nods toward saying something about our constant surveillance, our very unprivate notions of privacy and the true crime industrial complex. But mostly it is a fun enough thriller that moves along at a brisk enough pace. B
Rated PG-13 for some strong violence, language, teen drinking and thematic material, according to the MPA on filmratings.com. Directed by Nick Johnson and Will Merrick with a screenplay by Will Merrick & Nick Johnson, Missing is an hour and 51 minutes long and is distributed by Sony.
Plane go crash in Plane — a movie that will never be criticized for being too complex.
Right from the jump, this movie won me over by letting Gerard Butler, who plays Trailblazer Airline pilot Brodie Torrance (I mean, HA! with that name), just be Scottish and not try to hide his accent. That always weighs these goofy action movies of his down; Plane keeps the story relatively light so we can focus on what really matters — an airplane doing crashy things.
Brodie and co-pilot Dele (Yoson An) are flying from Singapore to wherever, I forget, not important, with a small flight crew and 14 passengers, including Gaspare (Mike Colter), who is being returned to the U.S. in handcuffs. He was wanted for a homicide — something that happened when he was in his teens — and was finally caught after a decade and a half in the French Foreign Legion. Also, some corporate jerk tells the pilots not to worry about the big storm in their path, they should just fly above it — not around it, though, because that would cost slightly more in fuel.
The storm will not let itself be flown over and even at 40,000 feet the airplane gets tossed about and eventually struck by lightning. The electrical stuff goes out, the plane has to make an emergency landing and the Captain-Sully-esque Brodie manages to sort of crash-land it (with lots of sheared off trees and bumps and skids) onto an unknown island. Though, as Dele explains, probably not an uninhabited island — he’s pretty sure they’ve crashed down on a lawless island run by let’s just say Bad Guys.
With no way to radio out, Brodie decides to go in search of someplace with a telephone — and he takes Gaspare with him as a way to keep an eye on him. Thus are the rest of the crew and the complainy passengers left with the titular Plane to be found by the Bad Guys, who know ransom potential when they see it.
Meanwhile, in New York City, a room full of corporate people who I don’t think get names take direction from Scarsdale (Tony Goldwyn), a guy whose whole deal is handling crises by talking tough and having mercenaries on speed dial.
I won’t say this movie has no unnecessary details. We learn that Brodie has a daughter, we learn some details from his past, it’s New Year’s Eve — none of this matters at all. The movie could slice these bits out and it would be fine and might improve some of the draggy moments when the plane isn’t crashing or Brodie and Gaspare aren’t fighting the Bad Guys. I did enjoy the moments when this movie called Plane is basically doing Plane — Brodie and Dele say words like “thrust” and “landing gear” and “radar” to each other and we see the plane take off or climb in altitude. These moments don’t really get us any closer to the fireworks factory of airplane-centric action or Gerard Butler-centric violence, but they do underline the theme of this movie, which is, to be clear, “plane” and nothing more.
This movie is so just “plane” that it almost defies ranking. You absolutely get “plane” and absolutely nothing else. Do I wish it were maybe a little more fun, a little more self-aware about how it is a Gerard Butler movie called just “Plane”? Sure, but nevertheless this nonstop service to “movie your eyes can watch while your brain takes a rest” gets you where you need to go. B-
Rated R for violence and language, according to the MPA on filmratings.com. Directed by Jean-Francois Richet, Plane is an hour and 47 minutes long and distributed by Lionsgate in theaters.
A Man Called Otto (PG-13)
Tom Hanks plays the neighborhood grump in A Man Called Otto, a movie about a man lost in grief and depression.
But, like, whimsically!
After being forcibly retired from his decades-long job, Otto (Tom Hanks) now has more time to police neighborhood rules about parking and recycling and to grow increasingly despondent over the recent death of his wife, Sonya. (We see her in flashbacks as a young woman played by Rachel Keller; young Otto is played by Truman Hanks, son of Tom and Rita Wilson). He decides to “join you,” as he says, speaking to Sonya’s headstone, turning off the electricity and phone service to his tidy townhouse. But new neighbors, the very pregnant Marisol (Mariana Treviño) and her husband Tommy (Manuel Garcia-Rulfo), distract Otto from his plans with their terrible attempts at parking a trailer. He fusses at them and then grumps that he’ll do it himself, getting in their car and parallel parking it — which is how he meets their young daughters, Luna (Christiana Montoya) and Abbie (Alessandra Perez), who are strapped in the back and instantly amused by grumpy Otto. Marisol also seems to find Otto and his prickliness kind of amusing and she barges past it to give him food by way of saying thank you and asking for more neighborly favors — an allen wrench, a ladder, a ride to the hospital when Tommy falls off the ladder. Against Otto’s will at first, Marisol and her family befriend Otto and, because Marisol is a naturally outgoing person, she pulls Otto back into the life of his neighborhood. She makes him part of a cat rescue, and thus does Otto end up with a cat. She seems to inspire his reaching out to Malcolm (Mack Bayda), a neighborhood teen who turns out to have been a student of Sonya’s. And even though Otto seems to continue seeking ways to “join Sonya” he also seems, little by little, more tethered to the wider world.
Whimsical suicidal ideation and performative grumpiness — sounds fun, right? There are moments when this movie feels right on the edge of “yikes, really?” and I think it’s only the American Treasure Tom Hanks-iness of Tom Hanks that keeps it from sliding over. Even so, there’s a lack of nuance and a flatness to the characters that really gets in the way of this movie reaching the emotional depths it’s shooting for. Hanks (actually, Hankses, because I’d include Truman’s portrayal) never really seems to calibrate Otto exactly right. There is often a collection of quirks and brow furrows standing in for a multi-dimensional person.
So, on the one hand, there’s a really too-sweet, too-greasy overall uneasy quality to this. But there are still some genuine moments and some nice scenes of relationships — Otto and Marisol, particularly the way he helps to build her up at the right moments but also Otto and Malcolm (those scenes do a better job filling in one of Otto’s big life disappointments than the eventual exposition about it do), Otto and the cat, and Otto and Reuben (Peter Lawson Jones) and Anita (Juanita Jennings), a neighborhood couple that had been longtime friends but from whom he had been estranged.
I’ve never seen the Oscar-nominated 2012 Swedish original A Man Called Ove on which this movie is based so I can’t offer a comparison. I think this variation is probably fine, offering some emotionally satisfying moments even, if you don’t think too hard about what’s actually going on. B-
Rated PG-13 for mature thematic material involving suicide attempts, and language, according to the MPA on filmratings.com. Directed by Marc Forester with a screenplay by David Magee (based on the screenplay of A Man Called Ove by Hannes Holmes, which was based on the book by Fredrik Backman), A Man Called Otto is two hours and six minutes long and distributed by Sony in theaters.
The Whale (R)
Brendan Fraser gives a legitimately very good performance — for which he has received awards nods including Golden Globe and SAG nominations — in the very frustrating The Whale, a Darren Aronofsky movie based on a play.
Charlie (Fraser) teaches English remotely to college students. Because his laptop camera is “broken” they hear his voice but don’t see him in his apartment, where he is nearly immobile on his couch, breaking out in sweats and suffering from wheezing and sudden pains in his chest. As Liz (Hong Chau), his friend and a nurse who regularly checks on him, explains, Charlie has dangerously high blood pressure and congestive heart failure and will likely not live beyond the week. He has gotten to this state from extreme weight gain, which we learn has happened since the death of Charlie’s longtime boyfriend. Realizing he’s at the end of his life, Charlie reaches out to Ellie (Sadie Sink), his teenage daughter whom he hasn’t really seen since the breakup of his marriage to her mom, Mary (Samantha Morton). He basically bribes Ellie, with money and the promise of doing her English homework, to hang out with him so he can get to know her.
As the days tick down, Thomas (Ty Simpkins), an eager little missionary with connections to a church Liz’s family belongs to, regularly stops by Charlie’s house, hoping to “save” him, even if Thomas doesn’t seem entirely sure what that would mean. Liz meanwhile seems to both hope she can convince Charlie to go to a hospital and be somewhat resigned to the fact that Charlie isn’t going to stop his rapid decline.
If you’ve heard about this movie at all, it’s probably because Fraser is sort of wrapped in prosthetics to make himself appear extremely obese and there has been, you know, discourse about that whole thing. This movie’s approach to Charlie and his weight does not, as Roxanne Gay in her New York Times article and others have pointed out, exactly radiate respect for Charlie as a fully worthy human. Fraser will have some moment of heartbreaking sweetness where Charlie talks about his love for his daughter, but then the movie lingers on Charlie in the shower in a way that made me want to tell the movie to knock it off.
And yet, this, the sort of body horror aspect infused into the story, is not the movie’s only, or even its biggest, problem. Fraser’s performance really does come through but it occasionally gets crowded out by the stageyness of the movie. There are times when you can all but hear someone reading a stage direction as a character unnaturally walks to a door or stares out a window. Samantha Morton’s lines are so play-ish, so not-how-people-talk that it frequently pulled me out of her scenes. Because Fraser and Chau (who also got a SAG nod) are pretty capable at sounding like humans, it is even more noticeable when Simpkins’ Thomas sounds like he’s doing a chunk of dialogue as part of an audition. The religion aspect of the story and the way he fits into it is just not smoothly integrated and sticks out as nuggets of “bigger meaning” — much in the way the news reports about the 2016 presidential primaries do (just no, movies, to using 2016 as thematic shorthand).
And then there’s Sink, making Ellie a teenager sort of vibrating with rage — at the father who left her, at the mother with whom she’s in constant struggle, at the school where she’s not thriving. It can be good and get to the part of Charlie’s choices that he hasn’t really dealt with. But it can also be “angry Rory Gilmore,” which just pulls the whole man’s-struggle-with-depression into a place of thin melodrama.
Fraser and Chau deserve their accolades from this movie. They did good work, but The Whale is exhausting. C+
Rated R for language, some drug use and sexual content, according to the MPA on filmratings.com.Directed by Darren Aronofsky with a screenplay by Samuel D. Hunter, The Whale is an hour and 57 minutes long and is distributed by A24 in theaters.
A terrifying giant doll becomes even more terrifying thanks to some A.I. programming in M3gan, a lively thriller coming in at a brisk hour and 42 minutes.
Gemma (Allison Williams) is a toy designer who becomes the guardian for her tween-ish-aged niece Cady (Violet McGraw) after Gemma’s sister and brother-in-law die in a car accident. Cady, who was in the car with her parents at the time, is understandably distraught about both the traumatic accident and their deaths. Gemma, who is unsure about this whole parenting thing, decides that she can cross two tasks off her to-do list — cheer up Cady and beta test a new toy — by introducing Cady to M3gan, a 4-foot-tall doll who will bond with its primary user and learn how to relate with that particular child. Previously, Gemma had helped develop toy company Funki’s Purrpetual Petz, a sort of toothy-Sonic-plus-Furby creation that looks nightmarish but has impressive tech (we later learn that Gemma has programmed it to listen to its kid owners and collect data — but of course). It is also sort of chef’s-kiss perfect in how annoying it is portrayed as — it makes realistically parent-aggravating noises and has all of these dumb app-based features.
M3gan (voice by Jenna Davis; Amie Donald does the doll action, according to Wikipedia), which will be a kid’s best friend, surrogate parent and gentle nag about teeth brushing all rolled into one, also seems like a just awful product and one of the great aspects of this movie is that most people’s reaction to seeing the doll for the first time is to be instantly creeped out by it. For some reason, though, it isn’t until a therapist points out that Cady is transferring all of the grief-bonding that should be happening with Gemma to the doll, that Gemma starts to get a little concerned. She tries to get Cady to take some breaks from M3gan, but by then her silicone creation has started to get sassy.
Again, it is really quite delightful that this movie never tries to get us to think maybe M3gan is a good idea. From the first moment we meet the first prototype (whose face melts! It’s great!), the movie makes it clear that this poorly-thought-out toy will be some kind of horror show, even if we don’t know at first what kind. When I first saw the trailer for this movie, I probably thought something like “ugh, what ridiculous nonsense.” After seeing it, though, my reaction is “What ridiculous nonsense! 10 out of 10! Four stars! No notes!” Like the brutal artificial intelligence it portrays, it feels like this movie guessed the potential response to it and absolutely leaned all the way in. Is it all intentional, what a snort-laugh hilarious movie this frequently is? I think probably. Williams has such a great “ha! What?” energy the whole time and everyone is so appropriately, un-horror-movie wigged out by M3gan that I feel like M3gan knows it’s chosen gothicly silly over scary and that that choice was correct. B+
Rated PG-13 for violent content and terror, some strong language and a suggestive reference, according to the MPA on filmratings.com. Directed by Gerard Johnstone with a screenplay by Akela Cooper and a story by Akela Cooper and James Wan, M3gan is a delightful hour and 42 minutes long and is distributed by Universal Studios.
Steven Spielberg directs and co-writes this movie adaptation of what appears to be his childhood in The Fabelmans, a very sweet story of a boy and his camera.
Look, I’m going to use words like “sweet” and “cute” and I mean all of them sincerely even though I realize there may be a damning-with-faint-praise quality to them. But this is a sweet tale of a movie-loving Boomer’s childhood and I think you just have to go with that kid’s-eye-view approach.
We meet Sammy Fabelman (Mateo Zoryan as a very young child; Gabriel LaBelle as a teen) as he waits in line with his parents to go see his first movie, Cecil B. DeMille’s The Greatest Show on Earth. He’s anxious about the experience and his mother, Mitzi (Michelle Williams), explains the magic of it all while his father, Burt (Paul Dano), explains the science that makes a series of photos move. It is the dichotomy that will follow Sammy through the movie — an artistic, emotional, searching mother and a quiet, rationality-focused father. Little Sammy isn’t thinking about that, though; he’s focused on the on-screen train crash. Later, he asks for a train set for Hanukkah and then almost immediately recreates the movie scene. Burt gets mad that Sammy would be so rough on such an expensive train set; Mitzi suggests that Sammy crash the train just once more and film it with the family’s home movie camera so he can watch it again and again. Thus we see the first film of a young Steven — I mean, Sammy — projected inside his closet and featuring the crash depicted with close-ups and from multiple angles.
We catch up with teen Sam as he makes movies with his buddies for a Boy Scout patch. He shoots an elaborate Western, figuring out special effects to make the gunshots look real. Later, he films what feels like a Saving Private Ryan precursor with some 50 kids, squibs, dust kicked up to look like explosions and an emotional arc for a central character. But at the same time, he’s also filmed something else during a family vacation. Without quite realizing it, he captures a romance between Mitzi and Ben (Seth Rogen), Burt’s best friend and a sort of adopted uncle. Once a pianist with big dreams, Mitzi seems to struggle with the narrow role of housewife and need something more from her life.
The Fabelmans feels like two things. One is a collection of events significant to Sam — not his life story, exactly, but more the moments that stand out, the moments he might discuss if giving an extended interview about his life. The other is Mitzi’s story as filtered through Sam. I think because Williams is a skilled actress, because she can bring complexity even when her character is going big, that is the more compelling story, for all that the Sam-focused moments are cute and often kind of mirror iconic bits of Spielberg’s filmography. The movie gives us Sam’s view of Mitzi but also is able to imply what parts of that view are the “only part of a story” any kid gets of their parent and also suggests how each of the Fabelman kids (Sam has three younger sisters, as Spielberg did, according to Wikipedia) have a different portrait of Mitzi.
There is something very sweet and earnest about the story we get here, with a lot of information delivered very plainly and upfront, very text, but just enough richness to the details of the story to make it pull you in. B+
Rated PG-13 for some strong language, thematic elements, brief violence and drug use, according to the MPA on filmratings.com. Directed by Steven Spielberg with a screenplay by Steven Spielberg and Tony Kushner, The Fabelmans is two hours and 31 minutes long and distributed in theaters by Universal Studios and via VOD for rent or purchase.
Puss in Boots: The Last Wish (PG)
Down to his last life, the swashbuckling cat Puss in Boots ponders mortality while heading out on a quest for a fallen star and its one wish in Puss in Boots: The Last Wish, a mostly exciting animated adventure story/hour and 40 minutes of kid entertainment.
I say “mostly exciting” because there were some moments of fidgeting when I took my kids to this movie. Yay to swashbuckling, “how much longer is this movie” to characters working out their inner turmoil.
After liberating a governor’s gold (and wigs and fancy clothes) and fighting an earthen giant, Puss (voice of Antonio Banderas) finds himself waking up from his eighth death and thus he is entering the ninth (and final) of his cat lives. Shaken by approaching death — as personified by the bounty-hunting Big Bad Wolf (voice of Wagner Moura) — Puss decides to take his doctor’s advice and retire from adventuring, finding a home at Casa Luna, where the most dangerous characters are the health department officials chasing Mama Luna (voice of Da’Vine Joy Randolph) and her way-too-many cats. Having left his boots and sword behind and sporting a David Letterman beard and a collar that says “Pickles,” Puss is spending his days wallowing in self-pity and being friended at by Perrito (voice of Harvey Guillén), a small lonely dog pretending to be a cat to hang out with the Casa Luna crowd.
But then Goldilocks (voice of Florence Pugh) and Mama (voice of Olivia Coleman), Papa (voice of Ray Winstone) and Baby (voice of Samson Kayo) Bear show up looking for Puss in Boots to hire his thieving skills. He convinces them that the legendary Puss in Boots is dead but overhears their plan to steal a map from Jack Horner (voice of John Mulaney) that will lead them to a fallen star, which can grant one wish. Puss decides to search for the star by himself, tailed, like it or not, by Perrito. He learns, of course, that such a map is a prize for several thieves, including his old rival/romantic interest Kitty Softpaws (voice of Salma Hayek).
Eventually, the characters are in a sort of It’s a Mad, Mad, Mad, Mad World scenario, withJack Horner and his collection of magical items and hired henchmen chasing Goldi, and the Bears chasing wary reluctant partners Kitty and Puss, who are joined by eager Perrito, who soon names their trio “Team Friendship.” The wishing star lies deep in the Dark Forest, which is filled with psychological obstacles set up specifically for whoever holds the map; thus does the good-hearted Perrito get a path filled with flowers and rainbows while Puss gets a kind of hall of mirrors featuring reflections of his own bravado.
The Last Wish is largely full of questing, silliness and occasional moments of Dreamworks-y tartness (a put-down session that includes some bleeps). Banderas makes full use of his vocal talents —that blend of overinflated ego, dramatics and, in this movie, vulnerability — to craft Puss, who is selfish and vain but also kind and ultimately sort of lovable. There is also some sweetness going on with the Goldilocks and Bear family storyline. When we initially meet them they are basically a gang of thieves, but Coleman gives Mama a kind heart and Pugh makes Goldi more than just a pushy low-rent Cinderella, as Baby calls her.
The Shrek universe, of which this is a part, was always one of the better aspects of Dreamworks Animation, and this Puss in Boots tale is a solid, entertaining entry. B+
Rated PG for action/violence, rude humor/language and some scary moments, according to the MPA on filmratings.com. Directed by Joel Crawford and Januel Mercado with a screenplay by Paul Fisher and Tommy Swerdlow, Puss in Boots: The Last Wish is an hour and 40 minutes long and is distributed in theaters by Universal Studios.
Glass Onion: A Knives Out Mystery (PG-13)
Detective Benoit Blanc is invited (maybe?) to a murder mystery weekend (with a real murder?) in Glass Onion: A Knives Out Mystery, a fun sequel that takes the comedy at least as seriously as the mystery.
Blanc (Daniel Craig) is one of the guests who meet at the dock for a boat to take them out to the Greek island where tech bro Miles Bron (Edward Norton) has a big, elaborate, weird home and has planned a big, elaborate, weird weekend for his friends circa early spring 2020. The friends include politician on the rise Claire Debella (Kathryn Hahn); Bron’s company head scientist Lionel Toussaint (Leslie Odom Jr.); faded model and leisurewear company owner Birdie Jay (Kate Hudson) and her assistant Peg (Jessica Henwick); influencer Duke Cody (Dave Batista) and his girlfriend Whiskey (Madelyn Cline), and former friend to them all Andi Brand (Janelle Monae). Andi was until recently business partner with Miles but was, as the others explain, Eduardo Saverin-ed out of the company. We don’t know the cause of the break, exactly, but it seems that Miles got the friends in their split — possibly because, as we learn, all of the friends have some financial stake in Miles’ friendship.
At first, the assembled crowd — delighted to take a break from the isolation and masks of the early pandemic — believes that Benoit Blanc, the world’s greatest detective, is with them to add authenticity and a bit of challenge to the promised mystery game. Miles is always whisking his friends away for a theme weekend and his invitations come this year in ornate mystery boxes. But once the party arrives at the island, we learn that Miles is as surprised to see Benoit as everyone else was (well, almost everyone else — clearly someone reset their invitation box and sent it to him, Benoit posits to Miles). Why has one of the guests arranged for Benoit to come to what is supposed to be just a carefree weekend away? Why has Andi shown up for a weekend with frenemies? And is someone using the murder mystery theme to plot a real muhrr-derrr?
This is a mild spoiler but stupidity plays a big role in the central mystery of Glass Onion and I truly appreciate that, both for the wider messaging and for how clever the movie is about turning the conceit of the cunning Moriarty-like killer on its head. This movie is fun, at times even goofy. It (or maybe I should credit writer/director Rian Johnson) really enjoys sending up the different flavors of rich person — the careless rich, the cynical rich, the head-up-its-rear techie rich. But it is a handcrafted bespoke goofiness; the movie’s fun is all specific and organic to the story it’s telling and the characters it’s building. Perhaps it was Norton’s presence that initially got me thinking about Wes Anderson movies and how everything is perfectly crafted and intentional down to the grains of sand. This feels similar, not in tone but in its purposefulness.
Also having a specific blast is, well, everybody involved. Hudson is lively and so good at being a very particular kind of daft. Hahn is, well, Hahn but just always brings a certain martini-with-lime quality to everything. Monae gets a heavier lift than the others and does some really fun stuff with it. And Craig, much like Chris Evans in the last movie, seems to be enjoying shaking off his franchise and playing everything just a little sillier.
Glass Onion: A Knives Out Mystery is a thorough pleasure. B+
Rated PG-13 for strong language, some violence, sexual material and drug content, according to the MPA on filmratings.com. Written and directed by Rian Johnson, Glass Onion: A Knives Out Mystery is two hours and 19 minutes long and is available on Netflix.
The Banshees of Inisherin (R)
Two former friends become strange enemies in The Banshees of Inisherin, a quirky comedy with a dark and melancholy heart.
Pádraic (Colin Farrell) stops to get Colm (Brendan Gleeson) for their regular walk to the pub for a pint in 1923 on an island off the Irish mainland. Pádraic can see Colm sitting in his house but Colm ignores his knocks and, when Pádraic finally does run into Colm, Colm tells Pádraic that he doesn’t want to talk to him any more. After what’s implied to be years, probably decades, of friendship, Colm has decided he doesn’t like Pádraic, whom he thinks is “dull.” Colm wants to spend his time writing music that will be remembered through the centuries, like Mozart, and just being a nice guy doesn’t get you remembered.
Pádraic is shocked — he doesn’t understand Colm’s request for silence from him. Pádraic’s sister Siobhán (Kerry Condon) tries to get Colm to knock it off and Pádraic recruits the local priest to try to talk to Colm. But Colm is determined to have nothing more to do with Pádraic and threatens to start cutting off his own fingers and throwing them at Pádraic if he ever speaks to him again.
It’s a strange and gruesome threat but it’s a strange and gruesome island. Siobhán gets a piece of mail that has been opened “in the heat,” the mail woman tells her on the grayest of days — we and Siobhán know that the woman is desperate to hear any news of anything. Pádraic’s pal after Colm dumps him is Dominic (Barry Keoghan), a young man who has a troubled home life with his father (Gary Lydon), who is the local police officer. One of Siobhán’s few visitors is Mrs. McCormick (Sheila Flitton), a black-clad widow who might very well be a banshee herself. One of the other regular visitors inside the family home is Jenny, Pádraic’s beloved pony, despite Siobhán’s demand that he keep his animals outside. While gunshots and cannon fire from the mainland occasionally suggest that the island is a refuge, there is lots of evidence that it is also something of a prison keeping these people trapped in lives without a lot of choices.
Despair, civil war and wacky pony comedy — The Banshees of Inisherin is very much an unexpected mix of tragedy (Dominic’s truly horrific abuse at the hands of his father, Siobhán and Pádraic’s grief over the deaths of their parents, Colm’s feelings of despair and meaninglessness) and laugh out loud moments of comedy. There are times when the residents of the island have a real “what a bunch of characters” feel and you could see a version of this movie that was all cutesiness and charming affectations. But the more performative aspect of their lives seems to be, more than anything, the coping mechanism for the problems people have — the uncertainty of the outside world, the stucked-ness of the island. It is occasionally a little jarring to go from thick brogues and a vaguely witch-like neighbor to child abuse and self-mutilation. But it works? I mean, but it works. Sometimes the question mark pushes its way in there but then the truly heartfelt “you can see all the years piling on” performances, particularly of Farrell and Gleeson, push the questions away and give you real people having internal struggles. B+
Rated R for language throughout, some violent content and brief graphic nudity, according to the MPA on filmratings.com. Written and directed by Martin McDonagh, The Banshees of Inisherin is an hour and 54 minutes long and distributed by Searchlight Pictures, for rent or purchase via VOD and on HBO Max.
2022 offered sweet stories, beautiful animation and some excellent stupidity
Whether you define a great movie as an artistic achievement or as a movie so gleefully goofy that you cry from laughter, there were great movies in 2022.
Saying this almost feels counter-intuitive with all the stories about movies — especially non-franchise, non-sequel, non-existing IP movies — that didn’t do as well as hoped at the box office. On Dec. 21, Box Office Mojo showed a year-to-date top 10 consisting of two cartoons for kids, four Marvel movies, two movies based on DC Comics IP, the latest (last?) Jurassic movie and Top Gun: Maverick. (Avatar: The Way of Water had not yet clawed its way into the top 10 but I suspect by close of business on Dec. 31 it will.)
But other movies came out on screens big and small — often on the big screen followed quickly by the small screen, which probably isn’t great long-term for theatrical distribution but was helpful to the movie-lover who couldn’t make it to the theater in time. I still haven’t caught Aftersun, Spoiler Alert, Triangle of Sadness,Bones and All, The Fabelmans or Decision to Leave but these acclaimed films are currently available via VOD. Glass Onion: A Knives Out Mystery is on Netflix, along with Bardo. Other 2022 (or, you know, nominally 2022 movies) I haven’t seen yet include Women Talking, The Whale, White Noise and Babylon — so this isn’t quite a definitive list. But, of what I have seen, here’s where to find some of the great movies — whatever that means to you — of 2022.
• “2021” movies I saw in 2022: I always start the year watching all the movies that sort of touched base in a few theaters in the previous year but didn’t get a major release until later. Of that bunch, I enjoyed dramedy Licorice Pizza in spite of its problematic teen boy-older teen or twentysomething girl chaste-but-dodgy relationship and because of the solid performance by Alana Haim and the 1970s southern California of it all (find it on Amazon Prime, Paramount+ and for rent or purchase). Joel Coen’s black and white take on The Tragedy of MacBeth (Apple TV+) featured great performances by Denzel Washington and Frances McDormand. C’mon C’mon (Paramount+, possibly as part of some Showtime situation, who even knows anymore; maybe also Showtime and purchase) is a sweet movie with a likable performance by Joaquin Phoenix.
• About that top 10: Look, you wanna watch Top Gun: Maverick (2022’s No. 1 at the box office, as of last week)? That’s fine, we can still be friends; I also think planes are cool (movie is available for rent and purchase). But for me, the best movies of the moneymakers are The Batman (HBO Max or rent or purchase), mostly because I liked the municipal corruption aspect; Thor: Love & Thunder (Disney+ or rent or purchase), which is no Ragnarok but has some great moments (many featuring solid use of Guns N’ Roses); Black Panther: Wakanda Forever (still in theaters), which deals with personal emotions and global philosophical issues and has beautiful, thoughtful costumes, and Minions: The Rise of Gru (Peacock, rent or purchase), which had a fun Looney Tunes vibe that my kids really enjoyed.
• Animation for the kids: For the last few years, Netflix has turned out some solid animation with a mix of styles. Two this year: Wendell & Wild with kind of a marionette stop-motion look to its characters and Guillermo del Toro’s Pinocchio, which has a whole different, very del-Toro-ish approach to stop-motion. I’d peg both of these movies at late tweens and up, both for themes and for unnerving visuals. My favorite animated film of the year is Disney’s Turning Red (Disney+ and for purchase), an absolute charmer that is sweet, hilarious and very pretty. It too is a tween-and-up film, in which an Asian-Canadian girl in the early aughts finds that emotional turmoil (over boys, her relationship with her mother, all the changes of being 13) turns her into a giant red panda.
• Animation for the PG-13 crowd: Joke density and surprise earnestness were my favorite things about The Bob’s Burgers Movie (HBO MAX, for rent or purchase). Even if you’ve fallen away from the series, it’s still an enjoyable watch.
• Animation with live action:Marcel the Shell with Shoes On (rent or purchase) has fun with the shell-ness and acorn size of its lead character but also deals with big issues (grief, loneliness) with incredible sweetness.
• Another one for the kids: I have no nostalgic memories of the first Hocus Pocus so I found Hocus Pocus 2 (Disney+) rather delightful, with its silly-fun musical number and its hokey jokiness.
• Leftover Christmas cookies: We are living in a golden age of weird Christmas content, with every streaming service seeming to want to participate. I don’t understand it but each year I find a few movies that make me enjoy it. This year, I liked Disney+’s Guardians of the Galaxy Holiday Special, which really went for the goofy holiday special of old and made great use of a very game Kevin Bacon, and Apple TV+’s Spirited, a good-natured AChristmas Carol riff. The very gory, kinda sweet Violent Night (like, believe them; violent, not for kids) is still in theaters but you can also rent or purchase the movie.
• So dumb it’s genius: I might have had more fun watching Weird: The Al Yankovic Story (Roku Channel) than any other movie this year. It is an absolute achievement of stupidity and an excellent approach to rock music biopic. I can’t recommend it highly enough; go watch it now.
The Unbearable Weight of Massive Talent (STARZ, rent or purchase) also featured performances of people willing to go to silly extremes, namely Nicolas Cage as an actor named Nicolas Cage.
• Girls through the ages: In medieval England, a girl tries to resist her father’s push to get married (in part to settle family finances) in Catherine Called Birdy (Amazon Prime). In fair Verona, a girl resists her father’s push to get married and gets dumped by secret boyfriend Romeo in Rosaline (Hulu). In Victorian London, a girl attempts to establish herself as an investigator rivaling her famous brother in Enola Holmes 2 (Netflix). Sure, these stories feature varying amounts of anachronism, but all three are charming and make some honest observations about the lives of young women.
• True love:Fire Island (Hulu) offers a delightful riff on Pride & Prejudice and features great performances from Bowan Yang, Joel Kim Booster and Conrad Ricomora, who joins the pantheon of great Mr. Darcys. Bros (Peacock) also offers solid performances from Guy Branum and Bowen Yang, a stand-out cameo by Debra Messing and truly sweet chemistry between romantic leads Billy Eichner and Luke Macfarlane.
• Dumb love: Am I here to argue that Marry Me (Prime Video, rent or purchase), a movie where Jennifer Lopez plays a pop star who marries a stranger on a whim after romantic embarrassment, is an Oscar-worthy achievement? Well, maybe yes if we’re talking about the Best Original Song Oscar. Otherwise, it’s more of a “great artistic achievement in cotton candy goofiness.” Ditto The Lost City (Paramount+, rent or purchase), which doesn’t go as goofy as I would have wanted with Sandra Bullock and Channing Tatum but does have enough fun to relax you after a long day.
• Heartfelt: People are going through it in the sweet but sincere and deeply felt Cha Cha Real Smooth (Apple TV+), a sort of quarterlife-crisis dramady; Good Luck to You, Leo Grande (Hulu), a series of conversations between Emma Thompson’s character and the man she hires to help broaden her sexual experience, and Mrs. Harris Goes to Paris (Peacock, rent or purchase), Lesley Manville’s character’s breaking out of her shell to buy a Dior dress in the 1950s.
• What’s up, docs: This is also a golden age of doc accessibility — sure, many of them are true crime, but the various streamers do make documentaries on all subjects available. Three I liked from this year: The Automat (HBO Max), which I first saw as a part of the New Hampshire Jewish Film Fest and is a loving tribute (filled with excellent interviews, including from Mel Brooks) to the automat dining experience; Sr. (Netflix), a look at the life of filmmaker Robert Downey Sr. and his relationship with his son, and Descendant (Netflix), a look at the Black community in Alabama that can trace its ancestors to the ship Clotilda that illegally smuggled Africans into the pre-Civil War South.
• As advertised: In Beast (Peacock, rent or purchase), Idris Elba fights a lion — like, that’s it, that’s the movie. The Princess (Hulu) requires a warrior-trained princess to escape down a tower and then kick some more butt until she rescues her family. Sure, these movies have action and violence but their “what you ordered and nothing more” quality is kind of relaxing.
• Action and thrills with a kick: Of course, some action movies go above and beyond. Prey (Hulu), the latest entry in the Predator series, is a solid bit of suspense-action entertainment, with a young Comanche woman in the early 1700s facing off against a Predator. In Steven Soderbergh’s Kimi (HBO Max, rent or purchase) the spare but engaging thriller has Zoë Kravitz believing she hears a crime via the Alexa-like personal assistant she works on troubleshooting. The Northman (Amazon Prime, rent or purchase) is a wonderfully bonkers, super grisly Viking Hamlet. Is Nope (Peacock, rent or purchase) a Western, a sci-fi movie, a thriller or something else? I’m not sure I’ve decided but it is a great suspense movie from Jordan Peele with standout performances by Daniel Kaluuya and Keke Palmer.
The Woman King
• Bring the performances: Of performances that stood out this year, let’s start with Manchester’s own Adam Sandler in Hustle (Netflix) where he plays a scout for a basketball team and gives his character depth. In The Wonder (Netflix), Florence Pugh brings a whole well-rounded person to the role of 19th-century nurse who is sent to examine a girl in Ireland who isn’t eating but somehow isn’t starving. Causeway (Apple TV+) gives both Jennifer Lawrence and Brian Tyree Henry a chance to shine as two people who find comfort in a friendship. Tár (available for purchase) features a standout Cate Blanchett performance as a conductor whose ego has eclipsed ethical behavior and even rationality. In Till (purchase) Danielle Deadwyler does not let you look away from the grieving Mamie Till-Mobley, whose young son is murdered horribly in segregated Mississippi. Viola Davis gives just one of the great performances in The Woman King (rent or purchase), which tells the story of the female warriors of the African kingdom Dahomey.
• 2022’s best: Michelle Yeoh, Ke Huy Quan, Jamie Lee Curtis, multiverses, compassion, a rock with googly eyes, a raccoon chef, mothers and daughters — Everything Everywhere All At Once (Paramount +) actually has everything, taking place everywhere throughout different realities, all at once so Yeoh can hopefully save all of existence. It is smart, it is hilarious, it is empathetic. It’s, well, great.
2023 in movies
Here are some of the movies I’m looking forward to watching in the first half(-ish) of 2023. Dates are according to IMDb and who even knows anymore how solid any movie’s release date is until it actually hits screens.
• Magic Mike’s Last Dance (Feb. 10) Steven Soderbergh returns to direct this third movie in the Magic Mike (Channing Tatum) series.
• Ant-Man and the Wasp: Quantumania (Feb. 17) The next Marvel entry seems medium promising — the trailers promise, if nothing else, a relentlessly likable Paul Rudd.
• Creed III (March 3) Michael B. Jordan directs and stars in this third outing of the Rocky spinoff series.
• Shazam! Fury of the Gods (March 17) DC’s whole movie situation seems like a hot mess but this follow up to the very likable 2019 film feels like a bright spot.
• John Wick: Chapter 4 (March 24) I love this Keanu Reeves franchise beyond all reason. The trailer for this new entry features more “High Table” nonsense, more Ian McShane and Laurence Fishburne and more John Wick casually wasting fools.
• Are You There God? It’s Me, Margaret (April 28) The iconic Judy Blume novel gets a big-screen adaptation.
• Guardians of the Galaxy Vol. 3 (May 5) Marvel’s traditional summer kickoff.
• Fast X (May 19) On the one hand, Charlize Theron’s exhausting villain Cypher returns to the Fast & Furiousverse in this the 10th outing, but on the other hand, IMDb lists Rita Moreno in the cast. If she has just half as much fun as Helen Mirren (also listed in this movie’s cast) has been allowed to have in this franchise, this should be good.
• The Little Mermaid (May 26) These live action Disney remakes have always been interesting. Plus you have Halle Bailey as Ariel and Melissa McCarthy as Ursula.
Spider-Man: Across the Spider-Verse Part One
• Spider-Man: Across the Spider-Verse Part One (June 2) This would be the animated Spider-Man universe, featuring Miles Morales. The 2018 first entry was, rightfully, that season’s Oscar winner for animated feature.
• Barbie (July 21) I am Team Greta Gerwig, who directs this movie and co-wrote the screenplay with Noah Baumbach. That and the super-winky (literally and figuratively) teaser trailer give me lots of hope for this movie.
• The Marvels (July 28) This movie, which features Brie Larson’s Carol Danvers as well as Iman Vellani’s Kamala Khan (and, according to IMDb, Teyonah Parris’ Monica Rambeau), is probably the 2023 Marvel outing I’m most looking forward to. In the meantime, watch Disney+’s Ms. Marvel, which is a fun time.
James Cameron takes us on a three-hour-and-change trip back to the lush moon Pandora in the 13-years-in-the-making sequel Avatar: The Way of Water.
After some Jake Sully (Sam Worthington) narration flipping us through the years since the first movie (when Sully, a human Marine, eventually got, er, uploaded into the big blue body of the Na’vi, Pandora’s pre-existing humanoid population uncomfortably rendered with a bunch of “noble people of the land”-type tropes), we pick up on the action a “Jake and Neytiri (Zoe Saldana) have four kids, some of whom are teenagers” amount of time later. A “new” star appears in the sky — a sign that the sky people, a.k.a. damn dirty humans, have returned. This time, the humans start their visit by burning to bare dirt a city-sized patch of land and then building a heavily fortified operations base.
A year later, a new batch of avatar-like Na’vi hybrids shows up — only these don’t have human operators in a pod somewhere. These soldiers are Recombinants — basically Na’vi clones with human memories, emotions and crappy personalities uploaded to their brains. These special soldiers, who are physically Na’vi but styled to look like Marines (why?), are meant to help keep the, sigh, insurgent hostiles on Pandora at bay while the re-established human colony expands to make Pandora a new home for humanity. But they (we) are achieving this by aggressively paving over all the greenery, strip mining again I guess and now, whaling. I get that we, as a species, are crummy at not repeating our mistakes but come on. Also, somehow this whole operation seems to be run by the U.S. Marines?
Anyway, the gist is that Colonel Quaritch (Stephen Lang), the bad guy of the first movie, is back, despite being dead, this time in a Na’vi body. Because Jake and his tribe have been attacking the new human supply lines, Quaritch and his Recombinant crew are sent to hunt down Jake Sully. After Quaritch very nearly kills Jake’s kids, Jake decides to take his family and leave their forest tribe to find a new place — somewhere they can just disappear and not put others in danger.
The kids don’t love this plan. Oldest son Neteyam (Jamie Flatters) wants to stay in his homeland but gets with the program to please his dad. Lo’ak (Britain Dalton), their second-oldest son, is sullen about everything and mopes about being an outsider. Kiri, whose name I thought was Kitty the whole movie, is their adopted teen-ish daughter; she is the half-Na’vi child of Sigourney Weaver’s character’s avatar from the first movie (somehow?), voiced by Weaver here. She is kind of an “I can feel the spirit of the planet” type, almost to the point of having superpowers. Like, they talk a lot about the biological connection between all living things on Pandora but Kiri is portrayed as almost being able to Use the Force. Also, she has a close relationship with Spider (Jack Champion), a human who was orphaned by the first human colony and has been raised by the human scientists and the Na’vi Sully family. Also, there’s Tuk (Trinity Jo-Li Bliss), the Sullys’ youngest daughter, who just seems to tag along on adventures and get captured.
The family winds up in a village on an island with people who live by the sea — with turquoise-colored skin and swimming-friendly tails and just enough visuals borrowed from Pacific Island cultures to make this all uncomfortable, especially since the wife of the chief is played (or voiced or whatever we’re calling all of these essentially animated performances) by Kate Winslet.
As you might imagine, this village is a little wary of the family that shows up essentially saying “we’re escaping death and destruction at the hands of the human military industrial complex; is it cool if we kick it with you for a bit? They probably won’t know we’re here in your very flammable village.”
Other stuff in this 192-minute movie: Spider gets a whole storyline about his difficult lineage. Lo’ak — giving strong Edith from Downton Abbey’s vibes — is bummed about how much his dad rags on him and he also makes friends with an outcast whale. (I know, the animals aren’t Earth whales but they’re basically whales and they’re the creatures being hunted for some tiny gland that stops aging in humans.) Edie Falco plays a human general. But even with all the stuff this movie crams in, it still could have shaved a good 50 minutes off, at least, and not lost anything.
But length isn’t the movie’s only problem.
The Way of Water lacks coherent character arcs and seems to change course or sort of forget character motivations.
The whole “natives and colonists” thing and its accompanying ickiness from the first movie is still there in this movie, along with, not misogyny exactly, but some patronizing stuff with the female characters. I thought “ugh, movie” a lot — which I think is the result of the characters generally being so one dimensional.
There is way too much repetition, both of stuff that happened in the first movie and of stuff that happened an hour earlier in this movie.
At times, The Way of Water feels a little “James Cameron’s greatest hits”-y with a sequence that feels very Titanic and some elements that made me think of Terminator 2.
So what’s to like?
The visuals, not all of the visuals, but many of the visuals are very good. (I saw a 2D version of the movie.) Scenes of discovering the ocean and island worlds are, sure, long but they are also often very beautiful. The Way of Water hasn’t completely solved the problem of how to make underwater, blue-lit stuff look dazzling but it maybe does a better job with underwater than any live-action/photorealistic movie before. (Colors and faces pop more than in, say, Black Panther: Wakanda Forever, where I felt like a lot of the cool visuals of the underwater kingdom got lost in the watery haze of it all.) Underwater fights are still a blur of whatever but the water does add some fun elements to the choreography of the fights and what happens in the battles.
Jermaine Clement has a small role as a human scientist and in the final battle gets a dumb but fun line. It stuck out just enough to make me wish there was more of that sort of goofiness.
Ultimately, Avatar: The Way of Water is fine, a perfectly acceptable thing to watch if you’re looking to kill three hours on something that will only medium annoy you and offers some pretty things to look at. If you, a person who pandemic splurged on a nice home viewing setup, want to wait to watch it until you can do so cuddled up on the couch, I think that’s fine too. B-
Rated PG-13 for intense epic battle sequences and warfare, sensuality, language and some smoking, according to the MPA on filmratings.com. Directed by James Cameron with a screenplay by James Cameron & Rick Jaffa & Amanda Silver, Avatar: The Way of the Water is THREE HOURS AND 12 MINUTES OF THIS YOUR ONE LIFE ON EARTH LONG and is distributed in theaters by 20th Century Studios.
