Wonderfully weird, mindlessly marvelous
Aquaman (2018): Arthur Curry learns that he is the heir to the underwater kingdom of Atlantis, and must step forward to lead his people and be a hero to the world.
So for those that have been following my reviews over the years, you know that I don’t exactly have the best relationship with comic book movies. So that should lend some credence to the notion that I actually enjoyed James Wan’s Aquaman, because cynical Joe can still have fun watching movies. That's exactly what Aquaman is: fun. How do you make a film with a standard cookie cutter story enjoyable? With great execution, amazing colors, and over-the-top sequences, that's how. I think Warner Brothers has finally discovered a formula for success with these spin-offs: limit Zack Snyder's involvement while simultaneously allowing the directors of these films be themselves. We can thank Patty Jenkins (Wonder Woman - check out Peter Kosanovich's review here) for that.
So what makes this film so enjoyable? James Wan's fingerprints are all over this film. In a nutshell, the accomplished director takes the Furious 7 formula (his previous big budget action movie) and puts Aquaman in it. And since Furious 7 was a wonderful bit of mindless fun, that means Aquaman is that, but with even more money. My favorite thing about this film are the colors. The production design here is out-of-this-world (or, in the depths of the sea? Does that work? Shut up, Oscar.) and makes the film infinitely more enjoyable. Had Zack Snyder been given more leeway in this project the sets would've been disastrous, given the fact that it's hard to find natural light underwater. (And thus justification to shoot an underwater scene "during the day") But James Wan makes sure every set, regardless of natural lighting, is lush and colorful and fun to look at. Mad props to production designer Bill Brzeski. If this film deserves any recognition from the Academy, it should be for its mesmerizing production design. Or special effects. Those are pretty dang good too. The third act in particular has a ton of absurd sequences that would've looked absolutely ridiculous were it not for the great special effects.
Also, the cast is great. Jason Momoa is fantastic as Aquaman, bringing a level of suave and charisma to a character that's never been known for it. (Deeeeeem abs doe.) The writing is where this film really flounders, (more on that in a sec) but one character that does receive a great arc and a ton of depth is King Orm. (Patrick Wilson) While this villain isn't quite as dynamic as Killmonger from Black Panther, King Orm's motivations are grounded in real-world problems and thus make him a far more sympathetic villain. (2018 has definitely been the year of the villain in superhero movies.) However, King Orm is about the only character who's arc is even remotely interesting. Aquaman goes on a dullishly ordinary hero's journey, and Mera (Amber Heard) is all but wasted as the sidekick that (predictably) falls in love with the male lead. You're never taken by surprise with this story, but, similar to that of Furious 7, you still find yourself having fun with all the mindless action. It is undoubtedly well-made and executed, with a charismatic (though dull) lead and an interesting villain. What more could you ask for out of a big budget action movie?
The Critique: Despite a cardboard cutout of a story, Aquaman delivers a ton of mindlessly enjoyable moments thanks to incredible production design and stellar visual effects.
The Recommendation: if you're looking for a fun popcorn flick this holiday season, look no further!
The Verdict: 7.5/10 Almost Great
Noir films make the best holiday films, don't they?
Kiss Kiss Bang Bang (2005): A murder mystery brings together a private eye, a struggling actress, and a thief masquerading as an actor.
Happy holidays everyone! The annual tradition continues here at Enter the Movies. For those that are new, (first off, welcome!) every year I take a brief look at a film that is something of an unorthodox holiday film. Past reviews include Die Hard, (which, let's be real, is a holiday film) L.A. Confidential, When Harry Met Sally..., American Psycho, and The Bourne Identity. Now, let's add Shane Black's explosive debut Kiss Kiss Bang Bang to the list, shall we? So gather round the fire with your chestnuts and eggnog, and let's talk about a violent noir film that just happens to take place around Christmas!
The calling card of this film is its screenplay. Writer/director Shane Black (at the time the established screenwriter of the Lethal Weapon franchise was making his directorial debut) puts on a clinic in how to craft and execute a well-made screenplay. The dialogue is fluid, the acting is natural, (Robert Downey Jr. is basically playing himself in the title role of Harry Lockhart, which always helps) and the pace is almost incomprehensibly rapid. Harry Lockhart (RDJ) narrates the entire film, and this narration style is the calling card for a Shane Black film because of its boldly unique fourth-wall-breaking method. (It's basically Scorsese on steroids) While there are moments where the narration is VERY distracting, (Pointing out a weak moment in the script does not make it better, it makes it worse) I found myself laughing and gasping more times than not. And the editing brings it all together. The transitions here are seamless. If I've learned anything over the years of watching film, a great screenplay can be tanked by poor editing just as much as it can be propped up by it.
Let's talk about RDJ for a second. Harry Lockhart is basically Tony Stark's origin story. The parallels between the two characters are rather uncanny. But, if anything, it goes to show that this acting style works and makes it easy to understand why RDJ was ultimately cast to play one of Marvel's central figures. (And become the top-grossing actor in the business) Gay Perry (Val Kilmer) and Harmony Faith Lane (Michelle Monaghan) both deliver this Shane Black dialogue with grace as well. While they are both great, the treatment of Harmony's character, and the film's casual treatment of sex (clearly from a man's perspective) is where this movie really shows its age.
And age well, it has not. I get it. It's 2005. We've come a long way since then. However, that doesn't forgive a film for treating its only woman this poorly. Shane Black makes a joke out of how Harmony has slept with seemingly every guy on the planet besides Harry, who of course she offers to sleep with at one point because what else would you expect her to do? Oh, and of course Harry says no because she admits that she slept with his best friend back in high school, and that really upsets him. And it's funny! Aren't you loling so hard right now? Ha! That's one of several moments throughout the 103 minute runtime that were so cringe-worthy I almost had to stop the film to compose myself. (There's a casual Harvey Weinstein-esque producer in this too, of course.) This film rears its ugly overt sexism quite a bit, which is a damn shame because when it's not it's really enjoyable. Because outside of a frustrating MacGuffin that leads to a messy epilogue, the execution here is flawless. Shane Black bursts out in a big way here, even if it fails the Bechdel Test in rather spectacular fashion.
The Critique: Shane Black's directorial debut wreaks of sexism, but still manages to be somewhat enjoyable thanks to its unique storytelling style and fun lead duo.
The Recommendation: I mean, it's worth a watch, just.....brace yourself for dat sexism dough.
Rewatchability: Moderately Low
The Verdict: 6/10 Above Average.
Happy holidays everyone!! Drink some more eggnog for me!
Raunchy, unapologetic, and batshit crazy
The Favourite (2018): In early 18th century England, a frail Queen Anne (Colman) occupies the throne and her close friend Lady Sarah (Weisz) governs the country in her stead. When a new servant Abigail (Stone) arrives, her charm endears her to Sarah.
If you're looking for an insane time at the movies right now, look no further. The latest (and greatest) work from director Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, Dogtooth) completes an oddball trilogy of films that investigate the human condition via dystopian, supernatural, and now existential views. I believe Lanthimos has been honing his style on his previous two films, crafting works that were memorable but also somewhat flawed in their execution. However, those flaws are nowhere to be found here, and we are gleefully treated to a raunchy, intoxicating period drama on steroids with an out-of-this world story, executed flawlessly, while containing one of the most unique and identifiable footprints in Hollywood today. Safe to say I have a new favorite movie of 2018 so far.
Let's start with the three core characters. Queen Anne, (Olivia Colman) Lady Sarah, (Rachel Weisz) and the newcommer Abigail (Emma Stone) are thrust together almost immediately, and from the opening moments the tone of each character is set. Abigail and her cunning ambition, Lady Sarah's chilling no-holds-barred demeanor, and Queen Anne's relative obliviousness to the events unfolding around her. Yet the one who steals the show (in my opinion, at least) is Queen Anne herself. Despite her obliviousness, her presence is felt in nearly every sequence of the film, regardless of whether she's on screen or not. As her character develops, to say she takes over is something of an understatement. All of this is propped up by Olivia Colman, who's performance as the Queen is one of the best I've seen all year. It is innocent yet chaotic while painting a picture of an incredibly emotional and unstable Queen. The performance even has some "quantifiable" acting by film's end. And, let me tell you.....the ending is a show stopping moment courtesy of Colman. Abigail's casting was initially a head-scratcher, but it didn't take long for Emma Stone to win me over. Her mannerisms are dialed down a bit here, but are more than welcome when they do show up. But, of the three leads, Abigail also has the benefit of the strongest bit of writing courtesy of Deborah Davis and Tony McNamara. More on that later. Stone's accent isn't the greatest, but coming off of Jamie Foxx's joke of an accent in Robin Hood...... I'll be happy with just about anything. Finally, there's Rachel freaking Weisz. While Colman has the show-stopping scene at the end, and the Queen's presence is felt throughout the film, Lady Sarah has a multitude of show-stopping moments in the first and second act of this film, and Rachel Weisz makes these scenes look easy. She is quick-witted, cunning, and absolutely ruthless. There seriously needs to be a villain role in Weisz's immediate future.
While Abigail has the best writing overall of the leads, all three benefit from a terrific script from Davis / McNamara. Undoubtedly the best script of the year so far, the dialogue is sharp, witty, and unapolagetically raunchy, all while still containing that trademarked Yorgos Lanthimos mystique. After all, where else are you gonna get a movie with an 18th-century dance-off? Or razer-sharp tension around shooting pigeons? I really think this film does a good job of keeping things weird while not making them distractedly weird. It's a long cry from Colin Farrell's unsettling deadpan character in The Lobster.
Another part of the masterful execution here lies in the cinematography and editing department. The cinematography is a massive departure from Yorgos Lanthimos's previous works, so it's not too surprising that he collaborated with a new camera man, Robbie Ryan. I'm glad he did because I freaking love the unorthodox angles and brisk tracking shots. And there are multiple lens changes that make the film look like you're literally watching a peephole into these character's lives. All held together by brisk and fluent editing courtesy of Yorgos Mavropsaridis. Oh, and the score selections are amazing too. This film utilizes an entirely curated score, a rare thing in Hollywood nowadays, and it is breathtaking. Honestly, the sound design in general is amazing. The score is dialed up to eleven at some points, but Lanthimos also isn't afraid to cut to silence when he needs to.
Yes, every aspect of this film is absolutely stunning, and it's a triumphant climax for a director that has made his mark on the business the last four years. This film is very polarizing - a sign of a truly great work of art - but for me it's a masterpiece on every level. In terms of the films of Yorgos Lanthimos, it is likely his most accessible to date, but it is still not for the feint of heart. There is a lot of raunchiness here, and that will likely discourage some viewers. But for those that are willing to step outside their comfort zone and try something new, to say The Favourite is for you is something of an understatement.
The Critique: The best film of 2018 so far, The Favourite is a raunchy, unapologetic, and tense drama featuring masterful performances from its entire ensemble.
The Recommendation: If you're ok with weird and risqué, then this is absolutely for you. If not.....your loss.
The Verdict: 10/10 Perfect.
Quick Reviews, Winter 2018 Part 1: The Ballad of Buster Scruggs, Creed II, Can You Ever Forgive Me?, Boy Erased, Robin HoodRead Now
The Ballad of Buster Scruggs
Can You Ever Forgive Me?
A total disaster
Fantastic Beats: The Crimes of Grindelwald (2018): The second installment of the "Fantastic Beasts" series set in J.K. Rowling's Wizarding World featuring the adventures of magizoologist Newt Scamander.
I was actually pretty excited to see this new entry into the Fantastic Beasts series. I was a shockingly huge fan of the original installment, Fantastic Beasts and Where to Find Them, in part due to the magical performances of Eddie Redmayne, Ezra Miller, and especially Katherine Waterston. The dynamics between Newt, (Redmayne) Tina, (Waterston) Quennie, (Alison Sudol) and "muggle" Jacob (Dan Fogler) were compelling to me, and were reminiscent of the wonderful relationship of Harry, Hermione, and Ron which grounded the original Harry Potter series. However, writer J.K. Rowling, (who was given full autonomy over this film's script and the direction of this series, for that matter) and director David Yates clearly did not see the groundwork of this series the same way I did. Instead, they chose to focus the second installment of this franchise on the weak and uninteresting villain, Grindelwald, so they could hand over the face of this franchise to.......Johnny Depp? Seriously? (Oscar! Is that really Johnny Depp helming a major movie franchise in 2018? ARE YOU SURE?) I mean, I know there are like five more of these things, but why go all-in on freaking Johnny Depp? No wonder J.K. Rowling went out of her way to defend Johnny Depp after he found himself on the wrong side of the #MeToo movement. Most of the decisions made in this film make no sense, and it's all covered by this weird level of "prestige." As if J.K. Rowling fully believes this franchise will be every bit as culturally impactful as the original Harry Potter franchise. All of this combines for an installment that is so bad it honestly makes me want to revisit the original Fantastic Beasts and figure out why I liked that one so much. I am questioning my very sanity, right now. It's not good.
So, uhhhhhhh, good things. Ezra Miller is good! I mean I think Ezra Miller should be in everything ever so of course I would enjoy Credence. Honestly, Credence is basically the only saving grace of this film. His arc is far more interesting than what I remember in the first one: he's more of a flawed character struggling to find his purpose versus a sort of comic book villain that everyone is seeking for some reason. While it will be largely overshadowed by how much of a comic book villain Grindelwald is, J.K. Rowling is doing a pretty good job with Credence thus far. Minus the completely RIDICULOUS "twist" at the end of this film. Also, Dumbledore is cool. Jude Law is essentially playing himself, but I'm ok with that. Also, the "fantastic beasts" are still cool! They look good, as they should in a big budget film in 2018, but it's still worth mentioning when you're struggling to find anything decent to mention in this dumpster fire.
And that's because everything else is awful. Let's start with the core characters: Newt, Tina, Quennie, and Jacob. Their dynamics are not built upon in any way, (it also doesn't help when Tina is only actually in the film for like 30 minutes, but that's neither here nor there) as instead J.K. Rowling chooses to create division between Quennie and the rest of the group that isn't earned in any way and totally contradictory to her character in the first film. I mean, imagine if in The Chamber of Secrets Hermione had decided after reading a few books written by Tom Riddle, "Ya, actually all of these wizards being turned to stone deserve it because y'all have been mean to me, so I'm joining the Death Eaters now." Sure, it would've delivered the shock value in the moment, but it absolutely would've sacrificed the arc of her character in the long run. That's exactly what happens to Quennie here. Her character does a complete 180 for the sole purpose of delivering shock value in this installment. SPEAKING OF SHOCK VALUE. The twist at the end is hilariously awful. Like, I almost laughed out loud at the screen. It doesn't fit into the world at all and does nothing except tell us that J.K. Rowling is all out of original ideas. Finally, gotta take a second and talk about the uninteresting Grindelwald. Why did J.K. Rowling go all-in on this character? He's not interesting or unique and is nothing more than a comic book villain. He's decided that wizards are better than humans, but for some reason isn't immediately rising up against them because........reasons? In the climax of this film it takes like 30 wizards to stop him from destroying all of London, why doesn't Grindelwald just jump into the muggle world and announce he's a wizard and going to take over the planet? Like, even the Transformers franchise figured out that there was no way these giant robots were going to be able to "sneak" around the earth two films in. It doesn't help that Grindelwald is portrayed by Johnny Depp, a dude who has had one single decent film (Black Mass) since he debuted his character in the original Pirates of the Caribbean. Yes, Johnny Depp showed us he was the symbol of white male entitlement even before he weathered the #MeToo movement. Now, his overbearing presence dates the film while you're watching it, and the incomprehensible decision by Warner Brothers, J.K. Rowling, David Yates to double-down on the decision to stick with Depp may even spell doom for this franchise.
In case that wasn't enough, this movie isn't even all that good from a technical perspective. Sure, the effects are decent, but the lighting, production design, and cinematography are all..... bad. There are a TON of corners cut in these departments by David Yates, with the highlight being one of the worst chase sequences I've ever seen to literally open the film. This opening scene is shot at night, in the rain, and is so muddy, dark, and incoherent it would make The Lone Ranger proud. Speaking of incoherent, why is this film so dark? From start to finish, so much of this film is shot in dark corridors and on dark sets. Not only does the lighting crew fail to show up at points, but the production designers failed to put any vivid colors on set. Everything is brown, grey, or black. That's something of a trivial complaint, but if you're going to give us a convoluted story and force us to watch Johnny Depp for two hours, at least give us some pretty colors to look at!
In conclusion, in case you haven't figured it out yet, Fantastic Beasts: The Crime of Grindelwald...... it's not good. It's not even worth watching once it hits streaming services. I'll give this franchise one more go because I am somewhat interested in what they do with Credence, (stupid plot twist aside) I am exactly the demographic that grew up reading the Harry Potter books, and hopefully they'll realize we need more of Newt, Tina, Quennie, and Jacob, but I won't lie: we're on thin ice now. I can hardly recall a time a franchise has crashed and burned so spectacularly. (Sure, The Hunger Games comes to mind, but we all knew that Mockingjay was going to be a crapshoot. That makes it somewhat easier to bear.) What a shame this franchise has fallen so hard. Hopefully now it can pick itself back up.
The Critique: A disastrous sequel, Fantastic Beasts 2 loses all the charm of its predecessor, in part, because of ignoring its core characters and instead focusing on its unimaginative and dull villain.
The Recommendation: AVOID LIKE THE PLAGUE.
The Verdict: 2/10 Garbage.
"Like" Enter the Movies on Facebook for the latest and greatest on all things movies! OR ELSE FACE THE CONSEQUENCES OF A KILLER RABBIT. Sorry about this one, guys. Not my decision. He volunteered. And is just absolute dynamite!