Tenet

Tenet (2020)

Director: Christopher Nolan

Screenwriter: Christopher Nolan

Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, and Kenneth Branaugh

I am back! I’ve been off the grid for about a year now; anything happen while I’ve been gone? In all seriousness, the pandemic has certainly disrupted life for all of us in so many ways that are impossible to quantify. We’ve adjusted and sacrificed and pulled together to keep our families, communities, and beyond safe and healthy. As part of that, watching and reviewing movies had to take a backseat to the challenges of the new daily life. I mean I haven’t written a movie review since 1917 in 2019, which is a line that belongs in the movie I am reviewing today! Accordingly, if a movie was going to get me to crawl out of my bunker it would be one from Christopher Nolan. Especially one like this that I have to watch 100 times to still not understand it.

When the Avengers announced in the film Endgame that they were going to pull a time heist, we all chuckled at the silly little notion and enjoyed our popcorn and superheroes. But somewhere in an inverted turnstile, Christopher Nolan was sitting at a computer writing and cackling maniacally, muttering to himself, “You want a time heist? I’ll give you a time heist!” And now we have Tenet, the unequivocal time heist, sci-fi, Bond-esque, brain bending spectacle that it is.

Tenet opens with a baffling sequence depicting a terrorist attack on an opera house in Kiev where many people are dressed the same but it becomes increasingly obvious that they are very different groups of people all trying to accomplish different objectives. One of the groups is the CIA led by a character known in the film only as The Protagonist (John David Washington), who is at the opera house to secure a contact whose cover is blown and recover some plutonium that the terrorists are attempting to secure. The confusion of it all is deliberate however, and lays the foundation for the viewer by introducing some consistencies that will be explored as the film progresses.

A few things before I continue:

  1. I am going to attempt to avoid spoilers, but in all honesty, it is not that easy to pinpoint what is and is not a spoiler, so be warned.
  2. While I have gotten very good at understanding people who talk while wearing a mask, for the purposes of your enjoyment of this movie, I highly recommend you watch it with subtitles on because there are lots of masks. And if that’s not enough, the booming score by Ludwig Göransson makes much of the spoken dialogue even harder to make out.
  3. Don’t watch this movie unless you are comfortable making some, most or all of the following faces while trying to figure out what’s happening:
The many faces of watching Tenet.

With that out of the way, let’s explore Tenet. Tenet is, as you’ve most likely noticed, the word ten forwards and backwards. That in itself introduces you to the concept of the film which is on the surface a story about the future attacking the past. Like Inception and Interstellar, Nolan’s previously most confusing films, there are layers at play. There are also lines in this movie like, “In one hour from now, they had this briefing,” which will just make your head implode in on itself. One character early in the film even says, “Don’t try to understand it. Feel it.” These words should be on the poster because the true strength of Tenet (and most of Nolan’s films) is not in its cast but in its atmosphere and ambition. My suggestion is that you watch this movie, especially the first time, focusing on the surface layer which is a conflict between the future and the past. In the future, technology has progressed in a way that has brought on the advent of a process called inversion. Inversion or reversed entropy as it is also called is a process whereby objects and people can be inverted allowing them to reverse in the trajectory of time like a salmon heading upstream. Inversion is tricky business though as it is achieved through radiation and so inverted objects carry with them radioactivity and inverted people are physically unable to breathe the air and must bring their own oxygen, hence all the masks.  

The Protagonist is eventually inducted into a covert group of special forces who use the code word Tenet and are actively fighting this new “Cold War” where inversion from the future is preparing an attack on the present. He is joined by British agent, Neil (Robert Pattinson) to thwart an arms dealer who leads them to the real big baddie in this film, a Russian oligarch Andrei Sator (Kenneth Branaugh) with lots of money and, you guessed it, ties to the future! The Protagonist and Neil spend the rest of the film in thrilling style attempting to stop Sator from gathering the weapons he needs to complete what he calls “the algorithm,” which he is able to gather thanks to knowledge from the future.

What follows is a head-scratcher to say the least, but a wild ride as only Nolan can produce. The set pieces are second to none, and scenes like the Kiev Opera siege and the climactic battle are truly spectacular. Most notably the Oslo airport scene, which is breathtaking, is done practically and with almost no special effects! Come for the action scenes, stay for the story is what I’m saying.

Image Credit: Indiewire.com

Once you get the hang of this film, there is so much to analyze and explore. Nolan drops plenty of clues and weaves a narrative that may or may not make sense, but definitely follows its own rules. Once turnstiles start showing up, buckle up for some of the most confusing cinema you’ve ever seen.

Tenet is still event movie making in the style that Nolan has grown accustomed and the challenges put forth by the narrative are not lazy or purposefully divisive; they are surgically inserted with great care and precision. At the risk of sounding cliché, Tenet is a film that must be seen twice. The film asks a lot from its audience in terms of attention to detail, navigating its audio hurdles, and its extended running time, but if you are up for that kind of commitment, it will be a rewarding watch. B

PS – I’m hoping the new year brings more love, health and happiness to all along with more new movies and of course more reviews from The People’s Critic.

Tenet is rated PG-13 and has a running time of 2 hours and 31 minutes.

Ford v. Ferrari

Director: James Mangold

Screenwriters: Jez Butterworth, John-Henry Butterworth, and Jason Keller

Cast: Matt Damon, Christian Bale, Jon Bernthal, Caitriona Balfe, Josh Lucas, and Tracy Letts

Ford v. Ferrari was released November 15th, and that makes sense because it’s a finely set table of exactly what you expect in heaping quantities with few surprises, and when you’re done you need a nap.

Matt Damon and Christian Bale headline this cinematic slog through the American pastime of driving cars fast. Damon plays Carroll Shelby, a famous race car driver and designer who finds himself with a heart condition that forces him to end his driving career. Of course, you can take the driver out of the car, but you can’t take the car out of the driver, and soon Shelby is busy working for Ford to deliver a car fast enough to defeat Ferrari at the world renowned race at Le Mans. Shelby selects hot-tempered British mechanic Ken Miles (Christian Bale) to be his driver to the chagrin of Ford President Henry Ford II and VP Lee Iococca. Nonetheless, Shelby and Miles must work together with little to gain and everything to lose.

Ford v. Ferrari is this year’s Green Book. Now depending on who you are, that statement will mean different things. To me, it’s another installment in a troubling cinematic trend. Every year, a handful of “Oscar darling” films are released that follow a virtual template of style and perceived wit. Essentially odd-ducks are paired up to navigate an unkind social climate full of architypes and caricatures that must be thwarted. Movies like The Help, Green Book, and Driving Miss Daisy all fall into this category. Now like I said, you may see that list and say, well that’s a pretty good list! What’s the problem? To that I say, that upon examining these films, what you really have is a film where everyone is uni-dimensional except the principal characters, and the film progresses with a style that broadly spoon feed audiences hearty portions of quippy one-liners and unlikely conversations practically winking at the camera instead of being in the moment. Obviously, Ford v. Ferrari does not contain the racial subject matter that the other films I mentioned have, but the style of this film matches those precisely. These historic, character-driven dramas shot with this disingenuous style ring so false to me, and I wind up caring less and less.

We do have the essential ingredients to a film like this in spades though. The main characters of Shelby and Miles are portrayed strongly by Damon and Bale respectively. They ground the movie as best they can, especially through the racing scenes, of which there are many.

Director James Mangold is generally not guilty of producing these kinds of films. In fact, his 2017 film Logan was raw and exporative despite being a “comic book” movie. Ford v. Ferrari, unfortunately, has little gas in the tank and more or less feels like it’s just going in circles, taking too many pit stops before ultimately just being totaled (puns intended). C-

Ford v. Ferrari is rated PG-13 and has a running time of 2 hours and 32 minutes.

Doctor Sleep

Director: Mike Flanagan

Screenwriter: Mike Flanagan

Cast: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Cliff Curtis, and Carel Struycken

When I heard that a film adaptation was in the works for Doctor Sleep, Stephen King’s sequel to his 1977 novel The Shining, I admit I was worried. When I read the 2013 novel, I remember immediately thinking, “Well, this will never work as a film.” Then, to my surprise, within a few years, it’s announced that it’s already in production, and with the talented horror-guru Mike Flanagan (Haunting of Hill House, Hush) as writer/director. That’s enough to get me in the theater, and fortunately, Doctor Sleep does not disappoint.

As I mentioned, Doctor Sleep is Stephen King’s long awaited follow up to his horror classic, The Shining. The original film version of The Shining from 1980 directed by Stanley Kubrick has taken on a life and mythology of its own being hailed as one of the greatest horror films of all time as well as inspiring countless stories and documentaries about some of the strange occurrences associated with the production. Doctor Sleep picks up 30 years after the events at the Overlook Hotel from the original novel. Danny, now going by Dan (Ewan McGregor), is a fully grown, recovering alcoholic, and still has the shine, a term referring to his psychic abilities. Dan’s pretty messed up as one tends to be after a haunted hotel possesses your dad leading him to chase you and your mom around with an axe and just murder a bunch of people before freezing to death in a hedge maze. Oh…spoiler alert.

Now, Dan is sort of a lost soul leading him to taking a job as a hospice nurse, a job that puts his abilities to good use, as his shine gives him an uncanny ability to help soothe the dying in their final moments – subsequently earning him the nickname Doctor Sleep. The shining is a pretty valuable thing – even more so to a group of steam-punk looking, cultish demons known as the True Knot. Lead by ancient matriarch, Rose the Hat (Rebecca Ferguson), the True Knot travels by RV across the country seeking out those with the shine, torturing them, and then devouring their essence, which they call steam. It’s a motley crew of weridos with weird names to say the least (a tip of the cap to Twin Peaks’s Carel Struycken as Grandpa Flick). They survive on steam and it must be extracted through pain and torture, which results in some very unsettling scenes in the film.

When the True Knot sense the presence of a young girl named Abra (Kyliegh Curran) who possesses incredibly strong abilities, Rose and her band of scoundrels look to hunt her down. Abra reaches out to Dan asking for his help to stop the True Knot from capturing and killing more people in their caravan of death!

I enjoyed Doctor Sleep much more than I expected I would. The performances are good, especially by Rebecca Ferguson as Rose. The horror is quite terrifying in parts, and while The Shining is on a different plane in terms of achievement and experience, Doctor Sleep is a well-told, strongly designed sequel. The nods to the first film are appropriate, but this is a fully realized, complete story all on its own. The adaptation from the source material is extremely faithful in most respects, but Flanagan also takes some massive left turns in other places, most notably with when Abra’s powers manifest and with the film’s ending. Stephen King said in an interview that it is important for readers to understand that the novel Doctor Sleep is a sequel to the novel The Shining and not the film. I think Flanagan took to that approach with this film in that the movie Doctor Sleep is a sequel to the movie The Shining and not the book, therefore the choices he made to deviate from the book make sense to the characters as we know them from the movie (even though I would have loved to see the novel’s ending play out in the film).

Doctor Sleep does what it set out to do very well. It invokes the spirit of The Shining without needlessly relying on it to stay above water. The inexplicable 152-minute running time does unsurprisingly result in the occasional drag here and there, especially in the first act. Still, there’s plenty that works and more than enough play in this film to keep Doctor Sleep from being a dull boy. B+

Doctor Sleep is rated R and has a running time of 2 hours and 32 minutes.

The Lighthouse

The Lighthouse Poster
The Lighthouse (2019)

Director: Robert Eggers

Screenwriters: Max Eggers and Robert Eggers

Cast: Willem Dafoe and Robert Pattinson

Arrr – ye all be a scurvy lot, boastin’ a tall tale of the sea be ye? That is not a line from Robert Egger’s 2019 film, The Lighthouse…but it could have been! The Lighthouse is Egger’s follow up to his film The VVitch: A New-England Folktale, which gained the director a lot of attention in 2015. Now Eggers is back with a film about two lighthouse keepers that will no-doubt have people talking…like a pirate!

The Lighthouse stars Willem Dafoe and Robert Pattinson as two lighthouse keepers off the coast of Nova Scotia sometime in the mid-to-late 19th century. Dafoe plays Thomas Wake, a grizzled, weather-beaten veteran and foil to Pattinson’s young, idealistic Ephraim Winslow. Wake and Winslow arrive for a four-week shift looking after a lighthouse as wickies, the colloquial term for this occupation. It’s isolating, hard work, as you can imagine, especially given Wake’s insistence that he is the only one who gets to keep the light atop the lighthouse, leaving Winslow to most of the hard labor and grunt work. At night, there’s little to do but eat, drink, and talk and much of the film is dedicated to these activities, but that’s where we as the audience learn the most. These men have secrets.

Dafoe and Pattinson in The Lighthouse
Willem Dafoe and Robert Pattinson star as sparring lighthouse keepers who drive each other mad in Robert Eggers’s “The Lighthouse.” Image Credit: A24 Pictures

As the film progresses, we get quite a bit of insight on these men. Both have questionable pasts that have brought them to this “rock” as Wake calls it, and both are dealing with inner struggle that slowly reveals itself. That slow burn could result in a slog of a film; Eggers’s dialogue through the mouths of Dafoe and Pattinson goes a long way. First, a word about Dafoe. Whether you know it or not, Willem Dafoe has been quietly scooping up Oscar nominations left and right. Assuming he is nominated for this role (which in my opinion is a sure thing), he would be receiving his third nomination in as many years, placing him on the shortlist of actors like Meryl Streep, Al Pacino, Jack Nicholson, and Marlon Brando who have accomplished such a feat! Dafoe puts out a vicious, raw, funny, and technical performance as the gritty Thomas Wake. The credits express thanks to the dark Romanticist, Herman Melville for inspiring much of the dialect and language for the film, and Dafoe masterfully spits this lugubrious, Melvillian prose in such a captivating way that I searched in vain for the screenplay for this film just so I could read and treasure every syllable of exactly what resulted when poor Ephraim Winslow expressed disfavor with Thomas Wake’s prepared lobster dinner. It is a scene for the ages.

Dafoe as Thomas Wake

Pattinson too gives a layered and impressive performance. While his character has fewer eccentricities with which to chew the proverbial scenery, his performance is solid and aggressively mysterious.

For a movie with really only two characters and one principle setting, The Lighthouse is actually quite confusing; however, I would preface this with the understanding that this confusion is mostly deliberate. Writer/Director Robert Eggers layers the film with texture. Shot entirely in black and white with an aspect ratio of 1.19:1, the film resembles something out of German expressionism resembling films like The Cabinet of Dr. Caligari and Nosferatu (coincidentally Dafoe played Max Schreck, the actor who portrayed Nosferatu, in the 2001 film Shadow of the Vampire). This places us as viewers in bizarre territory as madness and insanity are tropes often associated with films that look like this, and The Lighthouse, it seems, is no exception. Eggers uses Expressionist qualities to tell a fable-like story full of mystery and mythology that takes some serious unpacking upon its conclusion.

The Expression I get

I certainly cannot say I got every bit of this film, but I can say that I enjoyed the ride from start to finish, and I look forward to reunitin’ with this salty cinematic saga again one day if the sea-god Triton grants it be so. B+

The Lighthouse is Rated Arrrrr as has a running time of 1 hour and 5 minutes.

Joker

Joker Poster

Director: Todd Phillips

Screenwriters: Todd Phillips and Scott Silver

Cast: Joaquin Phoenix, Robert De Niro, Frances Conroy, and Zazie Beetz

Todd Phillips’s dark origin story of the nefarious, titular Clown Prince of Crime is a moody film that feels much closer to the Christopher Nolan vision of Gotham City’s milieu than any of the most recent efforts in the DC universe. And by universe, I mean adaptations of material from Detective Comics because the makers of Joker have made it quite clear that this film is not part of what has been called the DC Extended Universe, which includes films like Batman v. Superman, Wonder Woman, and Aquaman

Joker is drawing comparisons to Martin Scorsese’s 1976 thriller, Taxi Driver as well as to his 1983 dark comedy, The King of Comedy. These comparisons are quite justified as all three films explore celebrity, sub-cultural unrest, and showcase the talents of Robert De Niro. These comparisons come ironically on the heels of Scorsese’s own recent public comments in Empire magazine that other comic book movies are “not cinema.” Whether or not Scorsese has seen Joker remains to be seen, but there’s no doubt the film is heavily stylized and inspired by his early works. But this film is much more than a Scorsese tribute; it is actually quite an astute commentary on some very difficult issues to discuss, making it one of the most necessary films produced this year.

At its core, Joker is a character-driven story about Arthur Fleck (Joaquin Phoenix), a meager, struggling performer hoping to someday be a stand-up comedian. Fleck also has a “condition” which manifests as uncontrollable laughter at inappropriate times. The film quickly establishes that this is a film about man vs. society where Fleck’s numerous mental illnesses result in a rejection from society regardless of his desire to be part of it. Fleck is literally beaten at one point by some kids simply because he stands out. This significant but minor violent experience results in a series of events that eventually see Fleck unemployed, unsupported, and friendless.

To make matters worse, Fleck, who lives at home with his mother Penny (Frances Conroy) discovers that he may be the illegitimate son of billionaire Thomas Wayne (Brett Cullen) who ultimately abandons both Penny and Arthur. The film is quite ambiguous on this point, and so I leave it up to your interpretation on exactly what is going on here, but suffice it to say, just the idea of it would certainly contribute to Arthur’s coming unhinged. Phoenix is excellent in this film allowing Fleck’s struggles to feel very real and human. His decisions, as radical as they are, all come from a raw and authentic place within the character that Phoenix is able to capture and put on display in a very captivating way.

Phoenix as Joker
Joaquin Phoenix as ‘Joker.’

Joker as a film also does an excellent job of pitting this dynamic individual against a society that is crumbling into chaos and compartmentalizing into a vastly unsettling class struggle. There is no need to underscore the parallels director Todd Phillips is attempting to draw between Gotham and say New York City. The rich are getting richer, the poor are being underserved and beaten down. Fleck simply wants his chance at the American dream, but the more he looks around, the more he notices that the dream is not attained, it’s taken by whoever wants it most by whatever means – which in itself distorts the “American Dream” into something entirely different. You can be rich and famous in America if you’re lucky enough to have it already or if you’re bold enough to destroy others to get it. Jesus Christ – that’s a scary thought! Fleck’s one dream is to be a stand-up comedian and perform for his favorite late-night talk show host Murray Franklin (Robert De Niro). The film wisely frames the film’s climax on this notion, and what transpires is compelling and profoundly unsettling. Not because it is necessarily “shocking” but because of what it does to us as viewers who will no doubt be feeling a variety of conflicting emotions by the end – all worth examining.

The film does wind up in some familiar territory at the end that on its surface feels a bit unnecessary; however, when reflecting on the film as a whole, and depending on where you sit on certain interpretations of events, the significance of the film’s final scene is quite subjective. Joker is at its worst, a conversation piece, and at its best the most socially significant American film released this year.  A-

Joker is Rated R and has a running time of 2 hours and 2 minutes.

It: Chapter 2 (2019)

Director: Andy Muschietti

Screenwriter: Gary Dauberman

Cast: Jessica Chastain, James McAvoy, Bill Hader, Isaiah Mustafa, and Bill Skarsgård

Is It good? Does It get better or worse? How much money did It make? Should I see It before I see It 2? I will answer these confusing questions and more in my review of blockbuster horror sequel, It: Chapter 2.

As horror sequels go, this is one of those perfect studio no-brainer scenarios. Hey, we have the rights to remake this film adaptation of this really beloved horror novel, and we just have too much material! Let’s make two movies. Better yet, let’s split the films so that the first one covers the children storyline, and the second covers the adult plot. Brilliant! And that’s how the highest grossing horror film of all time came to be.

That’s right, as readers of Stephen King’s bestselling novel know, every 27 years, a monstrous demon and “Eater of Worlds” comes to feed on fear, preferring children because their fears are easier to elicit. To the kids from the first film, this demon manifests as a dancing clown known as Pennywise (Bill Skarsgård), who preys on them until they seriously wound it, sending it back to the nether-regions from whence it came…until now. 27 years later, The Losers Club is all grown up, but the past is not done with them yet.

The film opens with some really effective horror that gets the attention of Mike (Isaiah Mustafa), the only member of the Losers Club who remained in Derry, Maine. The event reminds Mike of the pact they all made as kids after vanquishing Pennywise; if it comes back they all come back. And remembering is key because it turns out if one leaves Derry, the memory of what happened there fades away, so Mike is the only one who fully remembers what happened all those years ago. The film’s first act essentially follows Mike’s contacting of each member of the group convincing each to return, moving the plot forward as well as reintroducing us to each of the characters, all now grown adults. The casting of the adult characters is very spot on including the aforementioned Mike, chubby intellectual, turned hunk Ben, (Jay Ryan), chatterbox Richie (Bill Hader), asthmatic Eddie (James Ransone), neurotic Stanley (Andy Bean), ringleader Bill (James McAvoy), and outcast Beverly (Jessica Chastain). This first section of the film is quite engaging and works very well as both character and plot driven story that balances humor and drama nicely.

Unfortunately, when they are all inevitably reunited, the movie starts to drag a bit. The film wisely continues to play games tonally with the audience. One moment we’re gripped with intensity and another, we’re laughing (this tone is perfectly signified by the Stephen King cameo mid-way through the film). Unfortunately, while the Pennywise threat is real, and the conflict is clear, I didn’t feel the critical nature of what was at stake this time around. There’s an odd sense surrounding the action in this film in terms of what is experienced by individuals, what is experienced by the group, and what is really happening in the physical world. This confusion distracts from the action lessening the film’s impact. An impact that has tremendous potential. It was conceived by Stephen King to be a novel about primal fear – the things that scare us as a child and how those things stay with us and haunt us long after. I’m not sure the execution quite hits the mark when all is said and done. However, I do think the sequel is serviceable and most will walk away satisfied and entertained, as long as they can tolerate the nearly three-hour running time! B

It: Chapter 2 is rated R and has a running time of 2 hours and 49 minutes.

Once Upon a Time…in Hollywood

Once Upon a Time in Hollywood poster

Director: Quentin Tarantino

Screenwriter: Quentin Tarantino

Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, and a lot of familiar Tarantino regulars (and at least one of their kids)

Do you like beautiful people doing interesting things? Then you like Hollywood, and that’s precisely what Quentin Tarantino is illustrating in his 9th film, Once Upon a Time…in Hollywood. If there’s one thing you know about Quentin Tarantino, it’s that he loves movies, especially of a certain era. If there are two things you know about Quentin Tarantino, it’s that he admires the shit out of Japanese martial arts films and spaghetti westerns. Many of his films include trademarks of these two genres, and with the title of his latest film, he is paying homage to perhaps the greatest spaghetti western director of all time, Sergio Leone, a man responsible for two landmark epics, Once Upon a Time in the West and Once Upon a Time in America. Both of those films invoke the common fairy tale prelude, Once upon a time as a way to express the opening of a narrative that will be about past events, but the phrase also signals a fable-like quality within the work. The same can certainly be said about Once Upon a Time…in Hollywood.

Once Upon a Time…in Hollywood is the story of a fading TV actor, Rick Dalton (Leonardo DiCaprio) and his friend and stuntman Cliff Booth (Brad Pitt). Dalton has the starring role in a weekly gunslinger western called Bounty Law, a program similar to the 1960’s series Wanted Dead or Alive starring Steve McQueen. Booth’s career has hit a few snags so to speak, but Dalton remains adamant on keeping him as his exclusive stuntman as well as employing him as his chauffeur and occasional housekeeper. Most importantly though, Dalton has dreams of stardom on par with the greats of Hollywood’s Golden Age. The film takes place in Los Angeles in 1969, just as classic Hollywood is losing its grip to new Hollywood and the post-classical movement.

Many will cite this as being the least “Tarantino” of all of his films, whatever that means; however, while the plot is perhaps more loose than his previous films, Tarantino captures the atmosphere of this dynamic time with great success. There’s a lot going on in this film, which is why I think some will have a tough time figuring out what to make of it. On one hand, we have Dalton’s quest for fame, attempting to leverage some television notoriety into a film career without aging out, becoming typecast, or losing his game all the while battling an internal conflict about whether he is worthy of fame in the first place. Then we have Booth’s ambiguous, deliberate sojourn through the land of broken dreams. However, he appears mostly unaffected. His role is almost Virgil-like, like a guide on a personal tour through hell with the Manson family smack dab in the center. I’m sure most readers know by now that the film costars Margot Robbie as Sharron Tate, a Hollywood starlet forever tragically linked to the madness of the Mansons. While the two main characters are on two very separate personal journeys, Tarantino craftily balances this film on the relationship between the two men allowing the film to move along nicely despite their uniquely different paths. Moreover, the friendship between Dalton and Booth is smart, clever, and relatable. There’s no arbitrary cliché-constructed conflict dropped on the audience for cheap drama. There’s a sense of history between them both, and this comes through mostly thanks to the exquisite performances given by Pitt and most notably DiCaprio. The scenes of DiCaprio prepping and delivering various shots as an actor within the film are some of his best work.  

Leonardo DiCaprio as Rick Dalton
DiCaprio as Rick Dalton

The ending of Once Upon a Time…in Hollywood will most likely be the greatest discussion topic and conversation piece produced by the film, and it is a doozy. It’s those ellipses (…) that set this film apart from the Leone films I mentioned earlier, and it is there where I could start to go down the rabbit hole. However, not to spoil anything, all I will say is that I am already eager to see the film a second time with the ending in mind, and my guess is I’ll appreciate the film differently and quite a bit more upon a second viewing. A familiar experience with most of Tarantino’s films, but this one may be one of his most fascinating conclusions of any film he’s made.

Pitt and DiCaprio in Once Upon a Time...in Hollywood
This won’t be the last time we see these two paired up in a film.

What we have here is a modern-day auteur at the top of his technical game taking chances and making movies that still make an audience appreciate the medium and the experience it can offer. There’s tremendous atmosphere populated with thrilling takes on movies, dreams, American culture, music and the divisive nature of society. Plus there’s a bitching soundtrack curated no doubt for some of the blunt references they make to the film’s plot. The soundtrack also being the medium for Tarantino’s only cameo, a device in nearly all of his films, some being overt (Pulp Fiction, Reservoir Dogs, Django Unchained), and some being practically non-existent (Inglorious Basterds, Kill Bill, Jackie Brown). Speaking of cameos, this film has some good ones that are not Tarantino, and I will not spoil any of them. Just go see this movie. I have almost nothing bad to say about this movie other than it’s not Tarantino’s best, which is to say it’s the best movie of 2019 so far by a long shot, just not the best movie of 1994. A

Once Upon a Time…in Hollywood is rated R and has a running time of 2 hours and 41 minutes.

The Lion King (2019)

The Lion King Poster

Director: Jon Favreau

Screenwriter: Jeff Nathanson

Cast: Donald Glover, Beyoncé, Chiwetel Ejiofor, James Earl Jones, John Oliver, Keegan-Michael Key, Billy Eichner, Seth Rogan, and Alfre Woodard

Like with most good things, there comes a point where the end must eventually come. The Lion King live action remake is officially that moment in terms of these cinematic cover versions of classic Disney animated films, where the wheels have finally come off. And this is coming from a guy whose power went out on the hottest day of the year, so he took his family to the movies for some sweet air conditioned relief. In other words, I was an easy audience to impress.

But impress it did not. Jon Favreau returns to direct his second of these live-action remakes after the 2016 hit The Jungle Book, a film that kind of jump started this whole remake-craze at Disney. I guess it’s also fitting that he also helms the one that starts its descent.

The Lion King opens with a live-action rendering of the opening scene from the 1994 animated film. It is starkly identical to the original, where animals all gather around Pride Rock to view the presentation of the newly-born king to be, Simba set to the excellent song, “Circle of Life.” This opening does succeed at programming the audience for nostalgia, and it is quite impressive how exact the animators were able to recreate this scene with life-like CGI creatures. Bringing back James Earl Jones to voice Mustafa serves a comparable purpose, setting the table for what could be a nice mix of old and new. Unfortunately, this similarity to the original does not end here, to the point where I’m not sure exactly what screenwriter Jeff Nathanson is really responsible for beyond that of the original screenplay from 1994. The Lion King sticks to the script more than any of these remakes have to date.

The plot of The Lion King remains Hamlet, Disneyfied. The brother of the king, Scar (Chiwetel Ejiofor), desires the throne to the pridelands for himself leading him to hatch a plan to murder the king and his son, steal the queen, and usurp the throne. Simba (voiced first by JD McCrary and later by Donald Glover) escapes Scar’s minions; however, he blames himself for the death of his father and leaves the pridelands. In exile, Simba embarks on a journey of self-discovery eventually discovering the true meaning of duty and courage.

Ultimately, this film sounded like a slam dunk. Beloved story, cutting edge special effects, creative director, and some of the greatest talents of their generation. Ultimately, all of these talents are wasted including the two hugest entertainers on the planet, Donald Glover and Beyoncé (who voices the adult Nala, Simba’s childhood friend). Arguably the most impressive piece of entertainment to come from this movie is actually off-screen: The companion soundtrack The Lion King: The Gift, curated by Beyoncé. The music of the original film written and performed by Tim Rice and Elton John was always the keystone to that film, so arranging for the musical giants of Glover and Beyoncé made a lot of sense. That being said, their efforts on screen do not really deliver, while as a soundtrack off-screen they actually do. Aladdin, released earlier this year, did a far better job of creating a more sonorous experience even with arguably lesser musical content.

All in all, The Lion King is very rote, stale, and unimpressive (aside from the visual effects, which are stunning). The decision to play it so safe with this film is a real disappointment and the result is a clunky film with no personality. The only highlight comes in the form of Billy Eichner and Seth Rogan’s portrayal of Timon and Pumba, Simba’s meerkat and warthog companions. They represent the only segment of the film that attempts to find some fresh territory by playfully riffing on the nostalgia of their characters (and some other Disney favorites) while also truly entertaining the full audience from young to old.

Timon, Simba, and Pumba
Timon, Simba, and Pumba in the new live-action remake of The Lion King

This is also one of Disney’s more frightening and violent films in terms of younger viewers, and the decision to make it live-action only emphasizes the violence and danger. The hyenas are also more disturbing, which is a head scratcher because they are laughing hyenas. The hyenas do not even laugh; this is low-hanging fruit. While an attempt was made to add a layer of humor to their characters, one of which is voiced by comedian Keegan-Michael Key, that decision felt like an afterthought. An afterthought that should have been obvious when Cheech Marin and Whoopi Goldberg did such a good job voicing two of them in the original animated film.

Hyenas
I’m not laughing…

The Lion King is a forgettable rehash that could have been a wonderful update on a classic. When these films do not bring something new to the table, it is hard to see them as anything but a shallow attempt to take our money with familiar branding. And that may have been their goal all along with these films, but if you want me to have a Hakuna Matata attitude about these things, at least make me feel the love. C

The Lion King is rated PG and has a running time of 1 hour and 58 minutes.

Spider-Man: Far From Home

Spider-Man Far From Home poster

Director: Jon Watts

Screenwriters: Chris McKenna and Erik Sommers

Cast: Tom Holland, Samuel L. Jackson, Jake Gyllenhaal, Marisa Tomei, Jon Favreau, Zendaya, and Cobie Smulders

Spider-Man: Far From Home is the follow up to 2017’s Sony/Marvel Spider-Man reboot, Spider-Man: Homecoming. However, this time around it is also the first glimpse at “life-after-Endgame” in the Marvel universe, which gives it a little more gravitas.

We rejoin Peter Parker (Tom Holland) post-second-snap as the world [*Spoiler Alert for those Spider-Man fans who somehow have not seen Endgame yet] mourns the loss of lead-Avenger, Tony Stark (Robert Downey, Jr.). We learn that the five-year period between Thanos’s vaporization of half of the world’s population and then the fateful reversal of that action where vaporized humans were restored has been lovingly coined as “The Blip.” We also learn that those returning from the Blip have not aged while those who did not vanish are five years older. This is very bizarre to the youth at Mid-Town High School as the vanished are forced to start the grade over that they vanished from, while the younger students they knew in middle school are now a grade above them. It’s a psychological field day!

Peter is ready to return to life as a kid and take a break from saving the world (and the neighborhood). His class is embarking on a class trip to Europe, and he sees this as the perfect time to make his feelings clear to MJ (Zendaya). The only thing standing in his way is that dorky little Brad Davis (Remy Hii), who did not blip, is now hunky, handsome, older Brad Davis, and he’s into MJ as well.

But it all can’t be wine and roses because this is a Marvel movie! We discover that S.H.I.E.L.D. agents Maria Hill (Cobie Smulders) and Nick Fury (Samuel L. Jackson) have been investigating strange seismic activity in remote parts of the world only to witness a mysterious new character, known as Mysterio (Jake Gyllenhaal) battle and slay a vicious otherworldly beast. Fury instantly takes a liking to Mysterio who is from an alternative dimension of Earth where these creatures (known on his Earth as Elementals) exploit the elements of earth, water, wind, and fire until they ultimately deplete the planet (cue Captain Planet!) They destroyed his Earth and he is determined to not let them destroy ours. As you can guess, the next seismic disturbance is in Italy, exactly the place where Peter and his class are first visiting on their class trip leading Fury via Happy Hogan (Jon Favreau) to enlist Spider-Man in plans with Mysterio to save the planet from destruction. Can’t a kid get a break?

Spider-Man: Far From Home is a lot of fun, and for my money is the finest Spider-Man movie of them all. This could be recency bias, but this film is neck and neck with Sam Raimi’s celebrated 2004 film Spider-Man 2. The first hour gets to breathe as a teen comedy, joyously following Peter’s conflicted path of pursuing MJ and thwarting Brad all the while avoiding Happy and Nick’s attempt to draw him into the fight against the Elementals.

The second hour meets the superhero quota of action and spectacular visuals. Director, Jon Watts is developing a visual style with these films, emulating the John Hughes teen comedies with Homecoming, but now seeming more comfortable building his own brand with Far From Home. One particular scene of purposeful disorientation for the characters and the audience is handled quite masterfully.

Now, I’ve been purposefully vague regarding several of the main events of this film because like the best of the Marvel films, Spider-Man: Far From Home has some tricks up its sleeves. Tricks that I would compare to those in one of my other favorite Marvel sequels, which will remain nameless so not to spoil anything (curious folks can click this link). I will say that Mysterio is a welcomed agent in the MCU; a mostly forgotten character who was completely ignored by all of the other film iterations of Spider-Man, but is damn near brilliant to include in today’s era of technology. Gyllenhaal is also excellent as Mysterio’s alter ego Quentin Beck, and the treatment of Mysterio/Beck, while different from the comics in many respects, is actually quite faithful to his character; they even nailed the costume. I still have my Mysterio trading card from the 1991 Marvel Universe Series 2 set.

Mysterio Trading Card
1991 Marvel Universe Series 2 Mysterio Card
Shot of Jake Gyllenhaal as Mysterio
Gyllenhaal as Mysterio in Spider-Man Far From Home

I sat grinning like an idiot through the first hour of this film because I was just so pleased that after all Spider-Man has been through cinematically, it’s culminated in something that just hits the mark so well. The second hour manages to do the business of big summer blockbusters without losing too much of the steam it builds in its first act. It also succeeds at carrying the franchise to the next phase, whatever that might be, by shifting some things around that will no doubt become vital to the ongoing saga of the Marvel films. One of these things is of course buried after the credits, so be sure to A) See Captain Marvel before you see this film, B) Be up on your Spider-Man film history, and C) stay through the credits of Spider-Man: Far From Home.

Spider-Man: Far From Home gives off a sense of things being in flux, which is precisely the right tone this film needs to have moving into Phase 4 of the MCU. More importantly, this movie is just a pleasure to watch, especially if you’re a Spidy fan, so calm your ‘Peter Tingles,” and get out there and see it! A-

Spider-Man: Far From Home is rated PG-13 with a running time of 2 hours and 9 minutes.

Toy Story 4

Toy Story 4 Poster

Director: Josh Cooley

Screenwriters: Andrew Stanton and Stephany Folsom

Cast: Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keegan-Michael Key, Jordan Peele, Keanu Reeves, and Christina Hendricks

When Toy Story 4 was announced, I was one of the first voices to express that this will be the sequel that nobody needed. I will now eat those words, as Toy Story 4 is as creative, delightful, and enjoyable as its predecessors, perhaps even a top 3 Toy Story film.

Toy Story 4 starts out in full awareness of its arrival nine years after the previous installment. Clearly, there is no expectation that a children’s film will have deep complex call backs to its previous franchise entries, but a series is a series. The film opens with a flashback from nine years ago that answers the burning question from Toy Story 3, “What happened to Bo Peep (Annie Potts)?” This flashback serves as both a frame of reference for where this story is going as well as assurance that this is really the only thing you need to know about any of the previous films in order to move forward. That being said, we are then treated to a beautiful montage of events from the three previous films set to Randy Newman’s classic song “You Got a Friend in Me,” which is a nice touch.

We then move to modern day where Woody (Tom Hanks) and the gang are now the property of soon-to-be-Kindergartner, Molly. Woody has fond memories of his days with Andy, but he is now in full Molly-mode working with Dolly (Bonnie Hunt) to run playtime with all the toys. Things get a little weird when Molly brings home a toy she made at school out of glue, googly eyes, a pipe cleaner, and a spork, whom she has named Forky (Tony Hale). This is the first time the Toy Story films have really ever delved into the mythology of what makes a toy anthropomorphic, but the movie does more to confuse that question than answer it. Anyway, Forky, assembled from trash more or less, believes he is just that, trash, and while Molly loves him, Forky wants nothing more than to find the nearest garbage can and jump in. These scenes are hilarious by the way, and casting Tony Hale was ideal! During a road trip with Molly’s family, Forky escapes prompting Woody to chase him down and bring him back to Molly.

What follows is an adventure much different from any of the previous films. For the first time, the toys are out in the world away from the familiarity of toy stores, playgrounds, and childhood bedrooms. This change of scenery is refreshing and revitalizing for the characters and the story in general. The Toy Story films are far from stale, but opening up the environment to the world at large offers a breath of fresh air that could keep this franchise going for years to come.

In their exploits we visit carnivals, antique stores, campgrounds, and the open road, all of which offer their own flavor of fun, humor, and heart.

Toy Story 4 does fall into this curious trend Disney and Pixar have perpetuated involving adding really creepy stuff in the midst of otherwise very palatable family fare. This time in the form of super creepy ventriloquist dummies. These things look like Edgar Bergen’s Charlie McCarthy doll mixed with Jimmy Nelson’s Danny O’Day and with a dash of the killer dummy from the 2007 film Dead Silence. Bottom line, to quote Forky, “They are terrifying.” I mentioned in my review of Aladdin from earlier this year that there’s a strange fixation by Disney for including brief unnecessary moments of nightmare quality imagery. WTF?

Image of the Benson dolls in Toy Story 4.
The new stars of your nightmares!

Anyway, thankfully, the creep-factor is easily mitigated by highly effective comedic relief. The best of which comes from the reunion of Keegan-Michael Key and Jordan Peele as two sewn together carnival prizes with less than delicate plans of action.

Speaking of new characters, there are quite a few, which does impact the screen time given to old favorites dramatically. Most of the familiar characters including Buzz Lightyear (Tim Allen) to an extent take a backseat to Woody and the new crew. Fortunately the newbies are a blast, but that doesn’t take the sting out of seeing so many other characters on screen for such a short time.

All in all, Toy Story 4 is a surprisingly solid entry in the series. The change of atmosphere along with the addition of some really fun new characters gives it some edge. And while you won’t be a blubbering, bawling, wailing mess like so many of us were at the end of Toy Story 3, you will still want to grab a tissue or two for the inevitably sentimental final act that pulls hard at the voice box and heart strings. B+

Toy Story 4 is rated G and has a running time of 1 hour and 40 minutes.