Captain Marvel (2019)

CaptainDirectors: Anna Boden and Ryan Fleck

Screenwriters: Anna Boden, Ryan Fleck, and Geneva Robertson-Dworet

Cast: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Annette Bening, and Lashana Lynch

Ever since that cryptic page sent by Nick Fury (Samuel L. Jackson) in the post-credit scene from Avengers: Infinity War, people have been saying…”Who’s Captain Marvel?” That is an epic question in itself. Those familiar with the Marvel Comics origin of Captain Marvel know it is a strange one. The first Captain Marvel dates back to 1939 as a fictional comic book superhero from the now defunct Whiz Comics. Whiz and Captain Marvel were put on the back burner after DC Comics sued the publisher over Captain Marvel’s similarity to Superman in the 1950s. Marvel Comics eventually developed a trademark on their own character named Captain Marvel in the 1960s with the caveat that in order to retain the trademark, they’d need to publish a Captain Marvel title at least once every two years, leading to DC eventually rename their iteration Shazam, a character that is also getting the cinematic treatment this year. But that’s not all! Marvel’s Captain Marvel went through 6 different versions before finally arriving as the Carol Danvers version that we have now!

Ok, so now that we have that out of the way, who’s Captain Marvel and what is this movie all about? Captain Marvel is centered around Carol Danvers (played by Brie Larson), a U.S. Air Force pilot who through a series of events is recruited to an elite team of alien warriors called the Kree on the planet of Hala. Danvers develops superpowers under the tutelage of her mentor and commander, Yon-Rogg (Jude Law). With the Kree, Danvers (known as Vers to her Kree comrades), helps fight in an ongoing war against a group of alien shapeshifters known as the Skrulls. The tricky bit is somewhere along the line, Vers (Danvers) has forgotten any and all of her life on Earth save for some disturbing nightmares featuring a woman (Annete Bening) she recognizes but cannot place. During a botched rescue operation, the Skrull commander, Talos (Ben Mendelsohn) capture Vers and tortures her for answers about the Kree as they make way to Earth with the plan to find a scientist who may be the key to helping them develop a quantum drive that would give them the edge in the battle against the Kree. Vers manages to escape only to crash land in Los Angeles. It is here that we discover that it is the 1990s, and Vers’s spectacle of an entrance draws the attention of (much younger) S.H.I.E.L.D. agents Nick Fury (Jackson) and Phil Coulson (Clark Gregg). Now it’s a race against time as Vers teams up with S.H.I.E.L.D. to stop the Skrulls from obtaining the quantum drive. Another battle – one of identity – also ensues as Vers’s sudden appearance on Earth begins to uproot some repressed memories of her previous life on Earth, some of which may affect the future of the universe! So the stakes are high.

Captain Marvel is a very fun movie, and much credit for its success goes to Larson, who really carves out a character here that could fall flat with the wrong performer in the role. She is charismatic and all-in on this performance, which is no surprise given she’s an Oscar winner for her work in the intensely gripping film Room. Captain Marvel certainly is a pivot from Room, but Larson’s versatility shows here that she’s a bankable and playful actress who will elevate a film. Her chemistry with Jackson, Mendelsohn, and Danvers’s best friend Maria Rambeau (played by Lashana Lynch) is contagious, helping the audience feel much more connected to the film’s events.

In addition to the performances, the action and story are on point as well. I think there were some heightened expectations that this film would provide more clues and explanations associated with the fateful climax of Avengers: Infinity War, but Captain Marvel is an origin story film and it takes place well before Thanos started outfitting that gauntlet with infinity stones. That being said, Captain Marvel is not without some nuance in providing a few answers to some questions within the MCU. Several of which can be attributed to the scene-stealing break-out star of the film, Goose. I’ll say no more. If there’s one other scene-stealer of note worth mentioning, it’s the late, great Stan Lee. 2019 will mark the last year of Stan Lee Marvel film cameos. Captain Marvel, Endgame and Spider-Man: Far From Home all feature appearances by the comic legend, and this one from Captain Marvel is a real gem.

Finally, for some reason, there’s an unfair amount of pressure on this movie due to its milestone status of being the first MCU film with a woman in the lead. This kind of treatment is the ignorant equivalent of saying, “Wait, women can be superheroes too?” The subversive and powerful impact of Black Panther is not part of the mission with Captain Marvel, nor should it be. Of course art is reflective, and so releasing a giant film like this will be part of a cultural conversation, but it really should only be a positive one. If the movie was not good, it should not be used as some kind of barometer test for a larger gender-based agenda. Fortunately the movie is good, and Captain Marvel is cool, so girls and women will be proud and inspired by that. No need to harp on it or heap tons of pressure on it. Ok, end of moderate politically correct rant.

If there is a flaw in the film, it’s the challenge of balancing the Earth story with the Kree story. Jude Law’s Yon-Rogg is somewhat squandered and lost in the sauce once Vers leaves Hala. There’s an obvious desire to tap into some of that Guardians of the Galaxy space opera cache, but it doesn’t quite work. The movie really soars with its Earth storyline, and when it soars it is a blast! A-

Captain Marvel is rated PG-13 and has a running time of 2 hours and 4 minutes.

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2019 Oscar Prediction Ballot

nohost.jpgIt’s nearly Oscars Week! That’s right, next Sunday, February 24th at 8:00 PM EST, there will be a 91st Academy Awards and it will be bonkers. There is no host, and the controversial decision to hand out several awards during commercial breaks has raised even more eyebrows. Nonetheless, this is always an exciting time for The People’s Critic, and as always, I welcome you to join in on the fun by filling out an official People’s Critic Oscar Predictions ballot (use this link if on mobile). I have made my predictions, so now it’s your turn.

The ballot below contains the nominees for all 24 categories! On Oscar night, feel free to review the Summary of responses page for live updates on how your picks are doing, as well as view the live analytics (available only after you’ve submitted a response) for each category throughout the week!

Also, to make your Oscar night as lavish as possible, feel free to grab a copy of this blank Oscar ballot for your Oscar party, and if you’re looking for a feast sure to be a favourite, please enjoy our carefully curated 2019 Oscar dinner menu (printable version). Good luck and enjoy!

Creed II

Creed_II_posterDirector: Steven Caple Jr.

Screenwriters: Che Hodari Coker, Sylvester Stallone, and Juel Taylor

Cast: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Dolph Lundgren, Florian Munteau, and Brigitte Nielsen

I’ve said before that great sports movies are more about life, passion, talent, and determination, and less about “the game.” This statement applies to the 2015 film Creed and even more so with its sequel, Creed II. However, that does not necessarily make it better.

Creed II opens with Adonis “Donny” Creed (Michael B. Jordan) “riding high now” achieving the level of World Heavyweight Champion, beating Danny “The Stuntman” Wheeler (Andre Ward) for the title, and propelling him to the highest echelon of the sport. This accomplishment coupled with Creed’s mentor and trainer Rocky Balboa (Sylvester Stallone) in his corner, attracts the attention of disgraced former World Heavyweight contender Ivan Drago (Dolph Lundgren). Drago, whose loss to Balboa 33 years earlier resulted in a life of ignominy back in Russia and abandonment by his wife has been training his son Viktor (Florian Munteau) and sees an opportunity to regain his glory by pitting Viktor against Adonis for the title. Viktor, it goes without saying, is a threat in every sense. He’s enormous, fast, and has been conditioned for years by his father to crush any opponent. Ivan, of course, notoriously murdered Adonis’s father Apollo in the ring, and so any fight billed as Creed v. Drago sells itself in its sensationalism. The problem is, Rocky senses that this fight is happening for all the wrong reasons and if Adonis wants to go through with it, he’ll have to do it without him.

creed_iiDrago

So there it is, the setup for the film is Rocky IV, revisited. And the similarities do not end there. Creed II is very aware of itself, and this works both to the film’s advantage and disadvantage. Director Steven Caple Jr. makes subtle and overt references to just about every other film in the franchise in this film, which is at times rather endearing and at other times a bit too familiar. An example of the latter comes in the form of the conditioning montage. Rocky IV’s cross-cutting training sequence is pretty iconic, depicting Ivan Drago training conventionally (and juicing up with some roids) while Rocky trains in the Siberian wilderness, carrying logs in the snow and pulling sleds. An identical scene is present in Creed II, which is a tad too “on the nose.” On the other hand, some call-backs are crafted with just the right amount of nuance, like the way Caple Jr. takes the conflict of excess versus grit, flamboyantly displayed in Rocky IV, and tones it down to something more palatable for Creed II.

Of course it is easy to get caught up in the familiarity of Creed II, but there is plenty of unique material here as well. Michael B. Jordan continues to put out great and memorable performances, and man is this guy jacked! Creed II is also one of the more dramatic films in the eight Rocky-franchise films. While Creed was very character driven, it was still mostly a redemption story for its pair of protagonists. With Creed II, we get a chance to explore some generational themes that open the story up a bit, especially in regard to Adonis and Bianca’s (Tessa Thompson) relationship.

drago

Still the obvious focal point of this film is the return of Drago, and while there’s plenty here to enjoy and experience, Creed II is missing that signature moment that we want, and perhaps we have to fault Caple Jr. for that. The fight sequences and the drama overall is missing the sting, choreography and ambition that Ryan Coogler was able to achieve in the previous film. The technical brilliance of Creed no doubt is what caught the eye of Disney executives, leading them to hand him Black Panther, which as we all know became the biggest comic book superhero movie ever and highest grossing movie from a Black director ever. In that regard, congrats to Caple Jr. for stepping up in the first place! Still, Creed II does “throw in the towel” so to speak when it comes to giving us any surprises or something lastingly memorable. Overall, this is a decent entry into the franchise that while not a standout, will keep things fresh enough to make us want to see more. B

Creed II is rated PG-13 and has a running time of 2 hours and 10 minutes.  

First Man

FirstDirector: Damien Chazelle

Screenwriter: Josh Singer

Cast: Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, and Corey Stoll

How do you follow up a movie that won Best Picture at the Academy Awards (for five seconds), and then lost it. What kind of film do you make after having your hopes dashed at the last possible second, just short of experiencing the glory of a mission accomplished? You make a movie about the first god damned guy who went to the god damned moon and stood on the Moonlight itself, that’s what you do! Did Damien Chazelle make a movie about Ryan Gosling standing on a vacant non-musical moon to lament La La Land losing Best Picture to Moonlight? Of course not. There was no love lost between them, and Moonlight was the better film. But if he did, that’s poetry right there, a pure, uncut, mass media movie battle. Your move Barry Jenkins. I’m looking forward to your movie about a jazz drummer who doesn’t need an abusive music teacher to self-realize.

Anyway, First Man is Damien Chazelle’s follow up to La La Land, and it is a departure for him compared to his previous work, and mostly a good one. First Man is the story of Neil Armstrong (Ryan Gosling), the astronaut who became the first man to walk on the moon. However, a word of warning follows. If you are looking for another story of American ingenuity that results in a heroic and feel-good sense of accomplishment, look elsewhere. Chazelle and screenwriter Josh Singer chose to adapt James Hansen’s authorized biography of the life of Neil Armstrong, which – spoiler alert – is not all moonwalking and giant leaps. Armstrong’s life encompassed some of the highest highs as well as some of the lowest lows imaginable, and Chazelle and Gosling bring these emotions to life with vigor.

This tense balance of highs and lows is apparent right from the start when the film opens on Armstrong as a young aeronautics engineer for the NACA, piloting a North American X-15 right into the edge of outer space, and then promptly back down to earth. It’s an intense and disoriented sequence of film.

FM2

Soon Armstrong’s ambitions bring him to the NASA Astronaut program forcing him to uproot his wife Janet (Claire Foy) and family from California to Texas to join Project Gemini as part of the team of astronauts pivotal in putting the United States in the lead during the Space Race against the Soviets.

First Man, however, develops as a human drama rather than simply a biopic. Yes, the journey to the moon is central to the movie, but it is not essential to its impact. Objectively, this film could be about any person stifled by tragedy, loss, and cultural boundaries, who loses himself in the process. The journey to the moon is but an instrument to reveal his catharsis. Speaking of “instruments,” while First Man clearly lacks the musician aspect that has been front-and-center in Chazelle’s previous films La La Land and Whiplash, it is not without music in its core. The editing, orchestration, arrangement and choreography of surroundings is quite rhythmic. This element adds to the immersive quality of the film that continues to be a signature of this young director (although I was hoping that signature would also include another J.K. Simmons cameo).

First Man is a moody film full of emotion and grit. Ryan Gosling gives another brooding yet powerful performance worthy of the man he plays. Additionally, Claire Foy, an actress I admit I’m rather unfamiliar with, is the source of most of the film’s real impact. Her scenes transcend the “poor astronaut’s wife” tropes aspiring to something far more revealing. Her ability to emote anxiety, stress, and struggle under the guise of composure is remarkable. The rest of the cast is serviceable, with recognizable faces playing many of the familiar figures you’ve seen before including Ed White (Jason Clarke), Jim Lovell (Pablo Schreiber), Gus Grissom (Shea Whigham), and Buzz Aldrin (Corey Stoll), but this film is very much a character piece examining Neil and Janet.

Once one understands that this film will not hit the notes you most likely were expecting, First Man works very well. Its disarming use of camera to focus on the human element of the action, and not the detached traditional view of things that we are used to is both uncomfortable and powerful. Overall, a poignant and dramatic exploration of a major historic event without the all too common escapist quality generally associated with this type of entertainment. A-

First Man is rated PG-13 and has a running time of 2 hours and 21 minutes.

The Meg

MEGDirector: Jon Turtletaub

Screenwriters: Dean Georgaris, Jon Hoeber, and Erich Hoeber

Cast: Jason Statham, Li Bingbing, Rainn Wilson, Cliff Curtis, and Masi Oka

When a movie nails expectations, even expectations that are modest and purposefully withdrawn, does that mean it’s good? This is the question we must ask ourselves when describing The Meg, the latest crazy summer shark movie.

The Meg follows a Naval marine biologist played by Jason Statham (just go with it) named Jonas Taylor. After a mishap during a top secret exploratory mission in the Mariana Trench, Taylor is disgraced having abandoned half his crew and aborting his mission due to his sighting of a 70-foot long shark-like creature that no one else saw. Believing he was crazy or that the decompression sickness had made him delusional, Taylor is dishonorably discharged from his Naval position and from the project.

Five years later a submersible and crew are lost in the same area of the Trench where Taylor believed he saw the massive sea monster. The Naval research group privately funded by billionaire, Jack Morris (Rainn Wilson) has yielded some results, discovering a completely new ecosystem below the originally perceived base of the Mariana Trench. This ecosystem is protected by a cloud of gasses allowing the temperature below the cloud to support abundant sea life. Believed to be the only person on earth with the experience and training at such a depth, Taylor is hesitantly recruited back to assist with the search and rescue for the lost submersible. Reluctantly, Taylor agrees in the hopes to regain his honor and prove that the creature exists. Guess what? It does.

The Meg proceeds like every monster movie, only this one is in the ocean. The Meg (short for Megalodon) escapes the depths via a plume of warmer temperature water created by the Naval submersibles penetrating the gas cloud. Now, free to roam the Pacific, Taylor and his crew must attempt to capture the beast before it can cause catastrophic consequences to mankind. The film is actually a lot of fun. Taylor’s team includes all the archetypes we love to see mix it up: the fallen hero, the corporate businessman, the misinformed expert, and the strong-headed scientist, and a Terrier named Pippin.

The Meg is mostly brain candy. It’s like a Michael Bay movie before he totally lost his mind. The performances are weak, the premise is silly, and the story is predictable, but that’s what I thought it would be, and that’s kind of what I wanted it to be. So is it good. The short answer is, yes. The silly premise is not unlike most films in the genre, which is serviceable that some event allows this merging of worlds. It’s nearly 2 hours, but it’s a pretty tight 113 minutes. Most importantly, nearly all of the $130 million dollar budget appears to have been used on the shark, and it works. There are a nice pile of quality visuals presented here. The film has a clear intention of devouring Chinese box offices as well setting an outstanding and highly anticipated scene where the Meg terrorizes a busy beach of swimmers in China instead of San Diego as it happens in the book (yes this is an adaptation of a novel!).meg+banner

My overall point, is I’m a sucker for shark movies, and I like the popcorn element of this one more than many in recent years. I also like Jason Statham in this film, who is underrated in his ability to mix humor and action. He’s done this marvelously in films like Snatch and Spy, but here he does it in a movie that does not begin with the letter “S.” Hopefully this review has successfully communicated the esoteric appeal of this film, but if you fit the niche, dive in! B+

The Meg is rated PG-13 and has a running time of 1 hour and 53 minutes.

Ready Player One

readyplayerone-tributeposter-highres-backtothefutureDirector: Steven Spielberg

Screenwriters: Zak Penn and Ernest Cline

Cast: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Simon Pegg, and Mark Rylance

Ready Player One is the highly anticipated adaptation of author Ernest Cline’s best selling novel. The film opens with a shot of Wade Watts (Tye Sheridan), a high school student living in Columbus, OH in the year 2044. We are introduced to Wade as he navigates his way down from his trailer at the stacks, a futuristic “projects” where trailers are “stacked” on top of each other to conserve space due to the widespread poverty being experienced. Energy and environmental crises have rendered the world mostly back to the stone age with petroleum-fuel a thing of the past and poverty running rampant. One advancement has managed to proliferate through the classes however, and that’s the Online virtual world known as the Oasis. The Oasis is a place where everyone can escape their reality by entering a virtual space where they can be anyone and do nearly anything. All you have to do is log on to the Oasis, invent your avatar, and you’re in!

The Oasis is mostly an entertainment device, but it does serve many practical purposes as well. With the infrastructure of the real world crumbling, the Oasis has become a place of commerce, communication, and even education (although exploration of this concept is curiously missing from the film adaptation). The Oasis is the biggest thing in the world and it has made its creator, James Halliday (Mark Rylance), a trillioniare. However, Halliday takes ill, and with no heir or even true friend to designate his estate, he releases a statement that he has hidden an Easter egg, or hidden object, deep within the Oasis. Whoever is first to find the egg will inherit everything.

Wade, under his avatar Parzival is one such egg hunter, known in the film as a “gunter,” a highly problematic term, if you ask me. Wade along with his friends whose avatars Art3mis (Olivia Cooke), Aech, Daito, and Shoto are all attempting to seek out the hidden prize. This sets up an episodic adventure where Parzival travels through the Oasis searching for clues to lead him to various keys that help him unlock gates that will hopefully lead him to the egg. The catch is that in order to really play the game Halliday has laid out, it helps to know Halliday the man, which is to say you’d better know your 1980s pop culture, music, movies, and video games.

The antagonist of the film comes in the form of Nolan Sorrento (Ben Mendelsohn), the head of Innovative Online Industries (IOI), who wants to inherit and monetize the Oasis. Sorrento hires players to search for the egg on his behalf in exchange for suiting up their avatars with the best suits, armors, weapons, credits, and access possible. These sell-out gamers come to be known as “sixers” due to the fact that all of their avatar names are actually just a series of numbers that start with sixes.

So, what’s the verdict? As it happens all too often for many a film reviewer, I am placed in the curious position of having to evaluate a film adapted from a novel that I just adored. So, while my final grade will reflect my core value’s stance of whether the film itself is worth your money as mainstream moviegoer, I must first speak to how the film measures up to the book’s greatness.

First of all, Spielberg is an appropriate choice for envisioning this book as a film. His career and impact on pop culture is precisely what Cline celebrates in his novel, and he does get a few things right here. One scene based on the concept from the book called a “flicksync” finds the characters of the film transported into a well-known film as part of their journey towards the egg. The massively meta and fabulous poster campaign had me hoping this would play a larger role however. This scene captures the spirit of the book brilliantly while also changing things up for book readers and still pleasing non book readers. Additionally, Spielberg and screenwriters Zak Penn and Ernest Cline himself are very successful in their treatment of envisioning IOI and especially Sorrento who is portrayed brilliantly by Ben Mendelsohn. In fact most of the casting is quite good. Rylance is a very fine choice to play Halliday, and I daresay the film treatment of Sorrento’s eventual henchman iR0k (TJ Miller) is superior to the novel’s treatment. This can also be said for Art3mis who receives a more heroic portrayal in the novel than she perhaps had in the book.

That being said, the film mostly falls flat as an adaptation. The film’s focus diminishes the journey element that was so important to the book’s majesty, and instead simplifies the video game-centric quest plotline in favor of a cliché “resistance” storyline in the real world. Furthermore, the overall structure and complexity of the Oasis itself is marginalized. The crux of the novel is our understanding of this new environment as it unfolds. Its economy, its vastness, its rules, and most disappointingly its education system are all abandoned leaving the Oasis to appear cinematically as simply a game. I almost wish Spielberg had decided to take this project to Netflix or HBO in order to give it a longer play. Simon Pegg, who plays the Oasis’s co-creator Ogden Morrow, is also wasted, as much of his purpose from the book is left out leaving him quite flat as a character.

These gripes are clearly subjective, and Spielberg knew as well as anyone that many of these things had to be cut for a feature length film. Therefore, he did do one of the most bad-ass things a director of this film could do as a consolation, and that’s layer in tons of cinematic Easter eggs. There are numerous references to the various omissions I’ve just laid out all over this movie. It’s as if Spielberg is saying, “I know you love this book, but I can only include so much, so here’s a WarGames poster in the background and some fun Back to the Future imagery. The film’s ending, however is actually quite appropriate and rather clever. Some twists are implemented that work well, and overall there’s a lot to be entertained by in the final act. [Minor Spoiler Alert] However, those looking for that brilliant final “flicksync” in the end will be sadly disappointed, which really upset me; I mean the guy’s name is Parzival, how do you not go there!? [End of Minor Spoiler Alert] So here’s my take. This is a really fun movie overall. There are some great Spielbergian moments that play the nostalgia card, hard. However, the film does have its problematic moments regardless of your familiarity with the source material. What could have been a classic, instead is just kind of a pile of visuals with a story savagely butchered and left on life support. B

Ready Player One is rated PG-13 and has a running time of 2 hours and 19 minutes.

Wonder Wheel

WheelDirector: Woody Allen

Screenwriter: Woody Allen

Cast: Kate Winslet, Justin Timberlake, Juno Temple, Jim Belushi

I’ve been enjoying attending annual Woody Allen theatrical releases since Celebrity was released in 1998; that’s 19 of his films in 20 years that I’ve seen in the theater. Today, that streak comes to an unfortunate end with Allen’s latest, Wonder Wheel. Wonder Wheel is the first Woody Allen film to ever be released in December (December 1st actually, which is Allen’s birthday), and while reviews were mostly poor, the holiday and Oscar films marginalized it within seconds, and it just never opened in any major way. Therefore, as a little birthday present to myself, I rented it on Amazon, and I will turn the frown upside down by making it the first post-theatrical release film I have ever reviewed.

The title Wonder Wheel refers to the Ferris wheel attraction at New York’s Coney Island, the main setting of the film. This is one of Allen’s most minimalist films in years or perhaps ever.  It feels and looks like a play, even more so than films Allen has directed based on his own stage plays! I am unsure if he shot Wonder Wheel at an increased rate, but it’s entirely possible. This decision to go full-Tennessee Williams, or maybe more appropriately full-Eugene O’Neill, is at first rather distracting, and I’ll admit, the film may be an homage to the stage, but perhaps a better story would be more worthy of this treatment.

Wonder Wheel is another mid-20th century period piece for Allen. It’s also another Coney Island backdrop, harkening back to Allen’s childhood, explored in several of his other films like Annie Hall, Manhattan, Radio Days, Purple Rose of Cairo, and Sweet and Lowdown among others, but this is the first completely set within the amusement destination, especially in its heyday. Kate Winslet plays Ginny, a waitress at a Coney Island clam shack who lives with her husband Humpty (Jim Belushi). Ginny ruined her first marriage by being unfaithful, and now she and her pyromaniac son live on the boardwalk with Humpty who also works at Coney Island as a carousel operator. Humpty was also previously married and had one daughter, Carolina (Juno Temple), who married a mobster displeasing Humpty and causing him to disown her and kick her out years ago. Suddenly, Carolina shows up on the boardwalk looking for Ginny to help her as she’s on the run from her mob husband and needs a place to hide. She also hopes Ginny can help her patch things up with Humpty. Complicating things one step further is our fourth-wall breaking narrator, Mickey, a Coney Island lifeguard played by Justin Timberlake. Mickey is our narrator, but he also involves himself in the lives of the characters finding himself attracted to Ginny. Ginny returns his favor and enjoys his attention, but she finds herself suspicious and jealous when on a chance meeting, Mickey also meets Carolina. The layers of drama unfold rather predictably, but that’s not to say there’s not an enjoyable arc to everything. Carolina’s immediate danger is nicely balanced with the complicated and adulterous love triangle involving Mickey, Carolina, and Ginny.

Wonder Wheel is definitely sub-standard Woody Allen. Kate Winslet is the main appeal, and her performance is actually quite strong. However, she is still the most developed character in a film full of caricatures. Allen’s three central characters are an adulterous divorcee, an alcoholic divorcee, and a mobster’s divorcee, and most of the time they are as one-dimensional as that. At the end, the story manages a brief bit of poignancy, albeit a duller sense than Allen is capable of creating. This is not the bomb it was made out to be, but like Coney Island itself, it could use a few more thrills. C

Wonder Wheel is rated PG-13 and has a running time of 1 hour and 41 minutes.