AVATAR: THE WAY OF WATER (2022)

December 13, 2022

Greetings again from the darkness. I’ll admit that I’m not easily dazzled, and I’m very happy to admit that the thirteen years since James Cameron’s AVATAR was not just worth the wait – this latest one truly dazzled me. While the 2009 film was impressive from a technical standpoint, the new one is awe-inspiring, especially in the underwater sequences. I should disclose that I saw this on a huge screen in a theater with a spectacular sound system, and even the 3D glasses didn’t bother me at all (a first). The usually annoying muted color tones of 3D were minimal here, and the colors still popped as the 3D effects became a part of the presentation rather than the typical gimmickry.

Heading back to Pandora is either something you look forward to or could care less about. For those who have been anxiously awaiting the release, prepare to be amazed and stunned at just how far the CGI has come since Cameron set the standard years ago. On the other hand, one should be prepared for a middling, cliché-driven story with a script by Cameron, Rick Jaffa, and Amanda Silver, with story credits to Josh Friedman and Shane Salerno. And since there will be at least one more film in the franchise (filmed simultaneously with this one), and possibly as many as three more, be prepared for unresolved and dangling story lines (that you may or may not care about). The reality is that the magic of the Avatar movies is in the visuals – escapism and fantasy creatures – not in the plot.

A lot has happened since the previous film. Jake Sully (Sam Worthington), the human-turned-Na’vi (via genetic engineering) is now a tribal leader on Pandora. He and Neytiri (Zoe Saldana) now have two teenage sons and a young daughter, as well as an adopted teenage girl Kiri (played via stop-motion by Sigourney Weaver, one of the scientists in the original), and a quasi-adopted human son named Spider (Jack Champion). Family bliss in paradise is a pretty darn good life … at least until the evil humans return, scorching the land with their machinery. Since humans have pretty much ruined Earth, the mission is to find a new homeland, and what better place than Pandora. A miscast Edie Falco is the General leading the mission, and her advanced exoskeleton is a nod to Ripley in Cameron’s ALIENS. Her elite squadron of Na’vi Avatars is led Quaritch (Stephen Lang), a human character who died in the first film, but his memories are now implanted in a physically superior Na’vi body and he has revenge on the mind … specifically hunting Sully and Neytiri.

As beautiful as Pandora is (and it is), the island that Sully and family escape to takes beauty to another level. This tribe of Na’vi has evolved to live at one with the ocean. The water people aren’t overly excited about taking in the forest people, especially since bad guys are chasing the newcomers, and what follows is a stream of predictable interactions – though the predictability is quickly forgiven once Cameron takes us beneath the surface. It’s truly breathtaking to see this underwater world filled with wildlife, plants, and coral. The creatures are unique, colorful and exciting, none more so than the mega-whales considered spirit animals by the water people.

The stop-motion technology means we see only a few actual humans, though the cast is often recognizable, and in addition to Worthington, Saldana, Weaver, Lang, and Champion, it includes Oscar winner Kate Winslet, Jemaine Clement, Cliff Curtis, and CCH Pounder. But this isn’t a showcase for actors. Instead, it’s a showcase for Cameron to blend his love of technology with his love of the ocean and commitment to environmental protection. He succeeds in wowing us and reminding us what a true cinematic spectacle can be. Another warning I’ll offer is that at least one-third (maybe closer to half) of the film is either the hour-long battle in the final act, or some other action sequence sprinkled in. Just don’t think this is a relaxing getaway to Pandora! Lastly, for those interested in seeing this, I encourage you to seek out a local theater that is decked out with the latest technology, and don’t shy away from 3D showings unless you are one of those who get nauseous or experience motion-sickness.

Opens nationwide in theaters on December 16, 2022

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Posted by David Ferguson

THE WOMAN KING (2022)

December 11, 2022

Greetings again from the darkness. I’m a little late on this one as I try to catch up with viewings for year-end lists and voting. From the opening scene, director Gina Prince-Bythewood (LOVE AND BASKETBALL, 2000) establishes the skill and intimidation of the Agojie, an elite force of female soldiers in the Dahomey Kingdom of West Africa. The year is 1823 and the warriors are led by their General, Nanisca (Oscar winner Viola Davis, FENCES, 2016), a fierce leader who also has the ear (figuratively speaking) of Ghezo (John Boyega), the new king.

The film is based on historical facts, but also takes a great deal of dramatic license in its story telling. Actress Maria Bello developed the story, and the screenplay was written by Dana Stevens (FOR LOVE OF THE GAME, 1999). Dahomey’s riches come from its slave trade, and its way of life is being threatened by it’s enemy, the Oyo Empire … for whom Nanisca holds a personal hatred. Nanisca recommends transitioning to the sale of palm oil, while Shante (Jayme Lawson, TILL, 2022), the power-hungry wife of the King, promotes further expanding their successful slave trade.

Nanisca loses many soldiers in that initial battle and must quickly train a new group of recruits. One of these is Nawi (Thuso Mbedu, “The Underground Railroad”), an obstinate young girl who rebels against her father’s wishes and finds herself ‘gifted’ to the kingdom. Izogie (an excellent Lashana Lynch, NO TIME TO DIE, 2021) takes on the role of training and mentoring Nawi, and the two form a strong bond. The trading of slaves plays a part in this version of the story, yet somehow it feels minimized in the interest of playing to the mainstream and ensuring Ms. Davis’s character appears heroic and appealing throughout … even with the twist, that won’t really surprise anyone.

What I find most interesting is that Viola Davis is garnering much attention for another Best Actress Oscar nomination, yet it’s Thuso Mbedu whom I would claim is the lead in the film, and certainly a more interesting character. The King’s Guard (the Agojie) are remarkably fit and the battle scenes are well orchestrated … and Nanisca has one of the best fight/attack yells of all time. The film is large in scale and likely owes a bit of gratitude to the success of the Black Panther movies for the enhanced budget. In the end, we can certainly appreciate Ms. Davis’s strong General, though it’s Ms. Mbedu who looks to be the one to watch in the coming years.

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Posted by David Ferguson

VIOLENT NIGHT (2022)

November 30, 2022

Greetings again from the darkness. HO-HO-HO! Who is ready for the best ever Santa slasher movie? Admittedly, it’s a narrow sub-genre and anyone that knows me or reads my reviews, knows full well that this is not the type of movie I typically recommend. However, it’s the season for charity and director Tommy Wirkola (HANSEL & GRETEL: WITCH HUNTERS, 2013 – sequel in the works) and co-writers Pat Casey and John Miller (the screenwriters behind the “Sonic the Hedgehog” films) have gifted us an extremely violent and often very funny Christmas present, replete with a sledgehammer-slinging Santa Claus.

We first meet an inebriated Santa (“I’m on a break”) at a local pub, where he explains to a mall Santa why he has become so disenchanted with the job … greedy, self-centered kids who only want more video games. The booze numbs Santa’s disgust as he heads off on his sleigh … and Wirkola delivers the first shocking moment as Santa’s barf keys us into the type of twisted tale we are about to experience. David Harbour (best known for “Stranger Things” and HELLBOY, 2019) is absolutely all-in for this far-from-glamorous portrait of jolly ol’ Saint Nick. On his rounds, Santa raids household liquor stashes while chomping on cookies and eschewing skim milk. He’s a full-blown slob, yet still holds a soft spot for “nice” kids, while having little mercy for the “naughty” among us.

Most of the story takes place at the Lightstone family compound, where one-percenter Gertrude (CHRISTMAS VACATION alum Beverly D’Angelo) is the foul-mouthed matriarch ruling over her entitled and unlikable family consisting of daughter Alva (Edi Patterson) and her airhead-actor husband Morgan (Cam Gigandet) and their poser teenage son Bert (Alexander Elliot). Also present for the festive evening are Gertrude’s son Jason (Alex Hassell), his estranged wife Linda (Alexis Louder) and their precious 7-year-old daughter Trudy (Leah Brady). Santa arrives at the Lightstone mansion not long before a team of mercenaries, led by Mr Scrooge (John Leguizamo), storm the place and take the family members hostage. Their mission is to break into the family vault and abscond with $300 million in cash.

What follows is a demented mash-up of DIE HARD (1989), HOME ALONE (1990), BAD SANTA (2003), and THOR (2011). Deadly weapons used here include your expected firearms, but also a finely-honed candy cane, an icicle, a skating shoe, and a Christmas tree star, among other holiday items. Most prominent is the sledgehammer wielded by Santa, and the flashback to his pre-Santa days for explanation. The violent action is plentiful, and it’s well-balanced with countless lines of comedy. Surprisingly, there is a story nestled in amongst the mayhem, and the heart of it revolves around the bond between Santa and young Trudy. She’s a true believer in him and that overrides his uncertainty about the job, and inspires him to stick around for the fight. Santa can’t explain the mystique of Christmas “magic”, but he does know an 1100 year marriage has its ups and downs.

Obviously, this is not one for the kiddos (it’s a hard R-rating), and they should be shielded from this Yuletide yuck. Director Wirkola has delivered an instant holiday classic for those seeking the bizarro world flicks contrasting to the more respectable family fare of IT’S A WONDERFUL LIFE and A CHRISTMAS STORY. Who would have ever thought that Festivus might be the safer holiday?

Opens in theaters on December 2, 2022

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Posted by David Ferguson

BLACK PANTHER: WAKANDA FOREVER (2022)

November 8, 2022

Greetings again from the darkness. The big secret was spoiled before the film ever hit theaters, and of course, I won’t reveal anything here for those who have managed to avoid the leaks. We do learn the identity of the new Black Panther, complete with action sequences. What really stands out in this sequel to the 2018 original, is that writer-director Ryan Coogler and co-writer Joe Robert Cole return with less action, and more focus on grief, the transition of power, and the introduction of yet another society that has lived undetected for generations.

The film opens with the death of King T’Challa from a mysterious illness. We see his mother, Queen Ramonda (Angela Bassett) and his sister Shuri (Letitia Wright) and the whole of Wakanda attending his funeral in a sea of white. Ms. Bassett kicks into dominant Queen Mother mode, while butting heads at times with Shuri in a collision of tradition vs. science. A couple of sequences make sure we understand that Vibranium remains the most valuable and sought-after natural resource on the globe. Wakanda will stop at nothing to protect their way of life and their corner on the Vibranium market. However, it turns out, it’s not a corner they control, but rather one they share with a previously unknown society.

The CIA is involved … in a botched mission of greed, of course … and this means Agent Everett K Ross (Martin Freeman) continues his communication relationship with Wakanda, which drags the agency director and his ex-wife (Julia Louis-Dreyfus) into the fray. The story has many tentacles and bounces around the globe, mostly to appear complicated and important. Other familiar characters are back, including the fierce Okoye (Danai Gurira, a standout in the first film), M”Baku (Winston Duke, given little to do this time), and super spy Nakia (Lupita N’yongo) who now runs a school in Haiti.

New to the proceedings are Dominique Thorne, who plays 19-year-old MIT science and technology whiz, Riri Williams, and especially Tenoch Huerta as Namor, the ruler of the underwater kingdom of Talokan. Not back are Daniel Kaluuya (scheduling conflicts?) and, of course, the late Chadwick Boseman, who passed away in 2020. Director Coogler includes a tribute to Boseman over the opening credits, and another near the film’s end.

The film is two hours and forty-one minutes long, and definitely drags at times. Still, the attempt at in-depth storytelling is commendable in the Marvel universe, though on a couple of occasions, the interjection of songs are distracting and recall 1980’s filmmaking. The underwater segments look somewhat realistic rather than cartoonish, and the reveal of the new Black Panther probably won’t surprise many – although the high-profile cameo might. Everything about the movie seems to set the stage for more sequels, all quite likely despite this one not reaching the unattainable level of the original.

Opens wide in theaters beginning November 11, 2022

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Posted by David Ferguson

MEDIEVAL (2022)

September 9, 2022

Greetings again from the darkness. There are some actors I follow simply because I admire their work. Ben Foster earned that loyalty with his performances in such films as LEAVE NO TRACE (2018), HELL OR HIGH WATER (2016), and 3:10 TO YUMA (2007). Here he is cast as Jan Zizka, the legendary 15th century Czech icon whom historians have pegged as having never lost a battle. At the helm is Czech writer-director Petr Jakl whose previous films did not come close to this scale. The list of credited screenwriters includes director Jakl, his father Petr Jakl Sr, Marek Dobes, Michal Petrus, Kevin Bernhardt, and Petr Bok. I don’t pretend to know which of these writers had the greatest impact, but what I can report is that the film looks great and includes some of the best battle scenes you’ll find in any film set in the Middle Ages.

“Tyranny.” The narrator opens the film with that word, followed by an explanation of the ongoing battle for the power and control of the Catholic Church. That narrator is Lord Boresh, played by 2-time Oscar winner Michael Caine, who has paid Jan Zizka and his band of rebels to protect him from assassination attempts. Director Jakl doesn’t make us wait long for the first skirmish, and it gives us a taste of what’s to come. These are no-holds-barred battles where bones and faces are crushed, and horses toppled into rivers. This is Italy 1402.

After the battle, Zizka heads to Prague to reunite with his brother, and while he’s there, the political maneuvering and power-brokering is occurring. Those involved include Lord Boresh, the King of Bohemia (Karel Roden, ROCKNROLLA, 2008), his half-brother, the King of Hungary (Matthew Goode, THE IMITATION GAME, 2014), and nobleman Rosenberg (Til Schweiger, INGLOURIOUS BASTERDS, 2009). When Rosenberg refuses to cooperate, a plan is hatched to kidnap his fiancé Katherine (Sophie Lowe, so good in BLOW THE MAN DOWN, 2019), who also happens to be the niece of the King of France. It may seem challenging to keep the political alliances straight, but fear not, double-crossing and backstabbing adds to the fun.

Katherine is in fact kidnapped. And then kidnapped from the kidnappers. And then rescued … well, you get the idea. It seems her own allegiance transitions as she discovers the true character of her fiancé. Plus, it seems she walks at least 42 miles during all of this. What really makes this one worth watching are the battle scenes, including a face-off between Zizka and his mentor, the intimidating Torak (Roland Moller, ATOMIC BLONDE, 2017). The fights are bloody and gruesome and violent. The brutality is as realistic as you could want, while cinematographer Jesper Toffner captures these scenes in the most visceral manner possible … we are not let off the hook from the damage caused by swords, axes, maces, and mauls.

Director Jakl highlights Zizka as a military strategist and tactician, and not just a brute. It’s this part of the personality that best fits Foster’s talent. It’s difficult to know how much of this true story is accurate and how much is legend (always print the legend!), but the push for religious and political power and control seems a common topic regardless of century.

Opening in theaters on September 9, 2022

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Posted by David Ferguson

DAY SHIFT (2022)

August 18, 2022

Greetings again from the darkness. We are taught from an early age to take good care of our teeth. For vampires, oral health care is even more important. See, their fangs cannot grow back … in fact, that’s the only part of their bodies that those supernatural powers can’t heal. This leads us to the premise of this film – vampire hunters collecting fangs not just to thin the heard, but also for the monetary reward attached to such valuable collectibles. Look, I’m trying here; but this first feature from long-time stuntman and stunt coordinator JJ Perry suffers from a lackluster script seemingly gap-filled to connect a handful of decent ideas and raucous fight sequences.

Bud Jablonski (Oscar winner Jamie Foxx) is a struggling pool cleaner. He’s behind on his rent, and his daughter needs braces and her school tuition is due. Making things more stressful and urgent, his ex-wife Jocelyn (Meagan Good) is threatening to pack up and move their daughter Paige (rising star Zion Broadnax) cross-country from the San Fernando Valley to Florida. She gives Bud just a few days to raise the money. We get a tour of the familiar spots in the valley, and then quickly move to the first action sequence. Bud’s “real” job is hunting vampires and selling those precious fangs. He takes on an “old” lady in a cartoonish fight sequence that serves as a precursor to most every fight scene that follows. The fangs don’t bring much on the black market run by the always colorful Peter Stormare, but it leads Bud to request re-entry into the Vampire Hunter’s Union … a very inspired idea in a film that isn’t consistently filled with them. Bud’s sponsor is none other than the legendary vampire hunter, Big John Elliott (played masterfully by Snoop Dogg).

It turns out Bud has been expelled from the Union for multiple infractions over the years, and the shop steward (a mulleted Eric Lange) has one condition … Bud must be accompanied on his hunts by nerdy union clerk Seth (Dave Franco). What we soon learn is that Seth is not cut out for the field, and more importantly, Bud’s old lady kill was actually the daughter of Queen Vamp Audrey (Karla Souza), who also happens to be a real estate developer looking to mainstream the population of vampires into the Valley. Audrey seeks revenge by kidnapping Bud’s ex-wife and daughter, and Bud’s rescue mission becomes a veritable blood bath.

The Miami Vice joke made me chuckle, but for an action-horror-comedy, there are simply too few laughs. With the talent on screen, we can only look to the script for fault. Director Perry certainly knows his way around stunts and fight scenes, and while we may question the career choices of a very talented Jamie Foxx, he continues to work regularly and expand his producing skills. For those who enjoy sinking their teeth into over-the-top fight sequences (Perry worked on the first two John Wick movies) and aren’t too demanding on the cleverness of jokes, this one will likely work. And I likely speak for all viewers when I say that Snoop Dogg makes the coolest cowboy since ‘the man with no name’.

Opens on Netflix beginning August 12, 2022

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Posted by David Ferguson

BULLET TRAIN (2022)

August 3, 2022

Greetings again from the darkness. If you are one that still needs proof that movie stars matter, this latest from director David Leitch (a former stuntman who also directed ATOMIC BLONDE, 2017) and screenwriter Zak Olkewicz (adapted from Kotaro Isaka’s 2010 novel, “Maria Beetle”) may be submitted as evidence. Replace Brad Pitt with almost any other actor, and this one becomes borderline unwatchable. However, with the Oscar winner, there is sufficient charm, humor, and entertainment to keep us around for the more than two hour run time.

Mr. Pitt stars as Ladybug, a floppy bucket hat wearing last minute fill-in for an assassin who called in sick. His handler (voiced by Oscar winner Sandra Bullock) walks him through what is supposed to be a simple snatch and grab job involving a briefcase. Of course, it turns out to be anything but simple as the train is filled with what seems to be an endless stream of contract killers intent on securing the same briefcase. Among those are Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry). Mr. Taylor-Johnson continues his tradition of over-acting and lacking the charm he believes he has, while Mr. Henry’s obsession with Thomas the Tank Engine at least gives his character a reason for us to be annoyed. The two are referred to as British brothers or even ‘twins’, which gives you some idea of what the film wants you to buy as humor.

A slew of other characters include Joey King as Prince, the “Shibumi” reading type who pushes a kid off a roof, and then uses her skill of crying-on-demand to escape most danger; Andrew Koji as Kimura, that kid’s distraught father; Hiroyuki Sanada as Kimura’s father; Zazie Beetz as The Hornet; rapper Bad Bunny as Wolf; Logan Lerman as the son of a Russian gangster, and Lerman spends much of the movie auditioning for the title character in “Weekend at Bernie’s”; and Michael Shannon as said Russian gangster, White Death. Beyond all of these highly recognizable folks, we also get two very high-profile cameos, both used for comic effect.

In between the one-minute stops on the trip from Tokyo to Kyoto, there is an abundance of fighting – comical, rapidly-paced, and violent – using such available props as the features on a smart toilet, knives, guns, swords, poison, bombs, and a venomous (incorrectly labeled as poisonous in the movie) Boomslang snake. Since most of the action takes place on the train, we get action in passenger cars, the galley, the lounge, the control booth, and even on top of the speeding train.

It’s Pitt’s character who keeps us interested, and the movie drags when he is off screen. Ladybug is a skilled improvisational fighter, although his recent personal growth through therapy has him eschewing guns, dwelling on his inherent bad luck, and reciting affirmations and wisdoms, when he can remember them. Mostly, by golly, he just wants to be a nicer person (quite a short trip for a contract killer). This chaos and spontaneous convention of bad players were all part of White Death’s plan, which is revealed late in the film.

It appears director Leitch (a former renowned stuntman) worked diligently to create a new form of zany by blending Guy Ritchie’s best work with Tarantino’s “Kill Bill” films, and then adding a dash of ‘who-done-what-to-whom?” Instead, with the near slapstick action and goofy dialogue, it plays more like a modern day CANNONBALL RUN, which was also directed by a former stuntman (the legendary Hal Needham). As a bonus, we also get the Japanese version of “Stayin’ Alive”, replete with Brad Pitt strutting through Tokyo in tennis shoes.

Opens in theaters on August 5, 2022

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Posted by David Ferguson

THE GRAY MAN (2022)

July 15, 2022

Greetings again from the darkness. You’ve likely heard, and maybe used, the old adage, “everything but the kitchen sink.” It’s typically meant to emphasize the inclusion of many unrelated and often unnecessary elements into a conversation or event. It also provides a description of the strategy filmmaking brothers Anthony Russo and Joe Russo have taken with the action sequences in the highest budget Netflix original movie to date. Of course the Russo brothers have directed numerous Marvel movies, including AVENGERS: ENDGAME (2019), so subtlety is never anticipated in their films. If you are curious to know what kind of kitchen sink you get for $200 million, Anthony and Joe show us: lots of guns, a global trek to various countries, more big guns, plenty of characters – some relevant, some not, even larger guns and weapons, lots of rayon, and the destruction of a town square in Prague.

Fans of turbo-charged action films such as the John Wick and Jason Bourne films will likely be quite satisfied with the set pieces, stunts, and manic gun fights and fist fights that are packed into a two-hour run time. There is so much bouncing around the globe that it’s kind of difficult to keep up – especially since there doesn’t seem to be any particular reason for all of the globetrotting (well, other than it’s pretty unusual). I couldn’t keep track of every locale, but we definitely visited Bangkok, Austria, Croatia, and Czechoslovakia. And that’s beyond Washington, D.C., and Langley, where we spend time in dark offices.

Co-director Joe Russo co-wrote the screenplay with frequent Russo Brothers collaborators Christopher Markus and Stephen McFeely, and it was adapted from Mark Greany’s novel (the first in a series). Ryan Gosling stars as Court Gentry, codename Sierra Six, a CIA black ops hit man recruited directly from prison by veteran CIA agent Donald Fitzroy (Oscar winner Billy Bob Thornton). This is Gosling’s first movie in 4 years (FIRST MAN, 2018) and it’s nice to have him back in a role that will recertify his ‘man card’ before next year’s BARBIE movie. As you might expect, Gosling’s Six is cool as a cucumber, popping off quips, and stoic in the face of adversity. In fact, much is made of his character’s ‘street cred’, despite most every scene involving colossal mistakes, should-be death encounters, and enough mayhem to make Allstate jealous. Six is so cool that he has less reaction to being shot or stabbed than I have when I stub my toe on the leg of the bed.

When Six’s mission goes awry due to his human compassion, three things happen. First, Agent Dani Miranda (Ana de Armas) bails him out (the first of a few). Second, his target gives him advice and the always mysterious thumb drive with incriminating evidence; and third, his corrupt station chief, Denny Carmichael (Rege-Jean Page, “Bridgerton”) throws a tantrum and hires a psychopath to track down Six and eliminate him. The psychopath is Lloyd Hansen played by Chris Evans, sporting an evil mustache and resort casual attire. It seems Mr. Evans is having fun with the villainous role that he hopes will put distance between his career and the Captain America role he has embodied for more than a decade. The argument could be made that he overplays his hand here, but he does get to spout the already infamous line, “If you want to make an omelet, you gotta kill some people”.

Other players here include the always terrific Alfre Woodard as a former station chief, Jessica Henwick (Bugs from THE MATRIX RESURRECTIONS), Dhanush as yet another hired assassin, Shea Whigham in flashbacks, and Julia Butters as the ‘damsel in distress’. You might recall Ms. Butters’ scene-stealing turn as the precocious child actor in Tarantino’s ONCE UPON A TIME … IN HOLLYWOOD. This film’s title is derived from the term for a CIA operative who effectively moves around without being noticed or remembered (the opposite of a Kardashian). The ironic thing is that Gosling’s Six is almost never undetected. He is frequently in fights, shootouts, car chases, and either causing or escaping explosions. Even the Russo’s “gray” lacks subtlety! It makes perfect sense that the film’s cinematographer, Stephen F Windon, is best known for his work on multiple entries in “The Fast and the Furious” franchise. Here he employs some supersonic drone shots in order to add further hyper-activity to the proceedings. Again, this one is for extreme action fans, not those looking for a brainy spy-thriller.

Opens in theaters on July 15, 2022 and on Netflix beginning July 22, 2022

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Posted by David Ferguson

THOR: LOVE AND THUNDER (2022)

July 5, 2022

Greetings again from the darkness. With a steady stream of Marvel movies and TV serials, maintaining coherent and connected storylines has become challenging. In fact, it’s probably best if fans take these at face value, rather struggling to connect the dots, only to end up frustrated. Perhaps no one understands this better than Taika Waititi, the director behind what many (including me) consider the best MCU film, THOR: RAGNAROK (2017). Waititi and co-writer Jennifer Kaytin Robinson once again embrace the blend of quick quip comedy and expected action sequences, supplemented this time a love story.

The pre-opening credits sequence provides the backstory for the film’s villain, Gorr the God Butcher, played by Oscar winner Christian Bale. Gorr has spent a lifetime worshipping the Sun God, only to realize his worshipping has occurred in an actual God-forsaken world that costs him dearly. Gorr ends up learning the lesson of ‘never meet your heroes’, and this confrontation gives him the power and curse of the Necrosword, and sets him on a revenge mission to kill all Gods. We have to respect a villain who has a legitimate claim to his mission – it’s not just a thirst for world domination. Gorr wants the Gods to pay for their ambivalence.

We then pick up Thor Odinson (Chris Hemsworth) as he has been fighting with the Guardians of the Galaxy since the end of AVENGERS: ENDGAME (2019). With no shortage of characters who excel in comedy, this sequence shifts us into laughter and light-hearted mode after the bleak Gorr opening. It’s this pacing that holds for most of the movie … Waititi never lets things stay too serious for very long. Soon, Thor splits off from the Guardians, as he returns to New Asgard, being run by King Valkyrie (Tessa Thompson). Now based on Earth, New Asgard is a theme park and tourist attraction. One of the features is the theater acting group we’ve seen previously, and this time Matt Damon, Luke Hemsworth, and Sam Neill are joined by Melissa McCarthy as Hela. While this is going on, we learn Thor’s old flame, astrophysicist Jane Foster (Oscar winner Natalie Portman) is now an author being treated for Stage 4 cancer. A trip to New Asgard provides her strength as the shattered Mjolnir hammer magically re-forms in her presence. Jane’s story boils down to whether she wants to try to extend her life through science or live every remaining day to it’s fullest.

Gorr kidnaps the Asgardian kids, forcing Thor, Valkyrie, Korg (voiced again by Waititi), and Mighty Thor/Jane Foster to track him to the Realm of Shadows. Their plan is to stop by Omnipotence City to request assistance from the almighty Zeus (Russell Crowe). They are shocked to discover that Zeus is little more than a colorful televangelist with a Borat accent performing a whiz-bang show so that he can get on to the next orgy. Zeus refuses to assist with an army, but he does manage to chain Thor and strip him nekkid centerstage. The good guys nab Zeus’ golden lightning bolt and head off to rescue the kids and confront Gorr.

In a reverse Wizard of Oz twist, the films turns to Black & White when they reach the Realm of Shadows. It’s an eerie environment befitting Gorr. Bale is certainly at his best when he is terrifying and menacing, although the writing is a bit inconsistent for the character, and sometimes it drifts into Pennywise mode, a definite drop in suspense. The action sequences are fine, but really nothing we haven’t seen before. And that’s probably the biggest issue with all superhero/comic book stories these days. Anything new must come from the story or the characters, and we know the characters far too well at this point.

Waititi’s version delivers many laughs throughout. Among the best is the odd relationship between Thor and his hammer Mjolnir and his axe Stormbreaker. Thor’s jealousy of his ex-hammer hooking up with his ex-girlfriend is almost as funny as Stormbreaker’s jealousy of Thor trying to steal back the hammer. Also cool is Thor’s homage to Jean-Claude Van Damme, and the look of the Altar of Eternity, where one last wish is granted. Maybe not as effective is the apparent Guns ‘n Roses fetish or Jane’s struggle to come up with a catchphrase. Sure to be a divisive element is the recurring gag of bleating goats … I found them hilarious, but many won’t. Another piece that simply didn’t work for me is Ms. Portman’s performance, especially in the scenes with Hemsworth. Her comic timing can’t match his, and it’s a match that just never clicks.

Obviously, the characters originated from the minds of Stan Lee and Jason Aaron in Marvel Comics, and it’s Taika Waititi who brings his unique touch to the project. Since he directed THOR: RAGNAROK, he won a screenplay Oscar for JOJO RABBIT (2019), and I’ve been a fan of his style dating back to EAGLE VS SHARK (2007), and on to the brilliant HUNT FOR THE WILDERPEOPLE (2016), and TV series “What We Do in the Shadows”. Waititi is scheduled to direct a Star Wars movie in the near future – one surely to be divisive among that fan base. As for this latest Thor movie, it may be tonally jagged and have a few too many zippy quips for some, but it manages to be silly and tender and emotional, while having the look and feel of a comic book come to life. Stay for the two end-credit scenes.

Opening in theaters on July 8, 2022 (Thorsday)

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Posted by David Ferguson

GREEN GHOST AND THE MASTERS OF STONE (2022)

June 30, 2022

Greetings again from the darkness. Next up in this prime era for Superheroes comes “Green Ghost”, a struggling south Texas car dealer who moonlights as a Lucha Libre wrestler with untapped mystical powers linked to the Mayan Apocalypse! Does that sound preposterous? Sure it does. But really, is it any more ridiculous than Thanos’ Infinity Gauntlet? With an overall budget that was likely less than that AVENGERS powerful glove prop, writer-director Michael D Olmos and co-writers Charlie Clark and Brian Douglas deliver their version of a gently comical, semi-serious genre film saturated with martial arts moments and finding meaning in life. While certainly no cinematic masterpiece, what’s obvious about the film is that it was a labor of love … a true passion project.

Charlie Clark stars as Charlie Clark, aka “Gringo”, aka “Green Ghost” (the latter two make for an easy to decipher play on words). The real Charlie Clark is a car dealer in Brownsville, Texas. He’s also the star, producer, and co-writer of this project, so obviously it is very personal to him. This movie is not meant to be compared to big budget productions. In fact, it feels more like a bucket list item for Mr. Clark, and he was fortunate enough and committed enough to fulfill his own wish of making a movie (very) loosely based on his life. In real life, Clark was raised in the Mexican culture by his Nana … photos are shown over the closing credits. This plays as a tribute to her and his upbringing.

In the film, Charlie’s dealership is floundering, mostly because he’s quick to shirk his duties and head to the latest underground wresting match for his adoptive brother, Marco (Kuno Becker). Charlie supports Marco by donning his Green Ghost spandex costume – one that the crowd loves to jeer, and that causes fellow wrestlers to cringe. At a very high level (and low bar), the story involves a plan by evil forces led by Drake (Marko Zarar), the son of Nana’s sister, to obtain the magical and mystical emerald and rule humanity. The defenders of humanity are the trio nicknamed, El Trio de la Luz, and it consists of Marco, his sister Karina (Sofia Pernas), and to his surprise, Charlie. The group’s leader is Nana (screen veteran Renee Victor, who voiced Abuelita in COCO). To prepare for battle, Nana arranges a training program featuring Master Kane (MMA fighter Cain Velasquez), Master Hung (renowned stunt coordinator Andy Chang, “Rush Hour” films), and, best of all, Master Gin, played by the always great Danny Trejo … who even gets a “Machete” punchline. A “Rocky” montage technique is utilized, replete with a Spanish version of “Eye of the Tiger” performed by (director) Robert Rodriguez’s band.

An inordinately high percentage of scenes involve martial arts fighting, and some of the stunt work is much better than we’d expect. And then there are the moments that are meant to ensure we understand the filmmakers are in on the joke … like the flinging of tortillas, and a protective force field negated by fancy eyewear. We are never really sure how all of the mystical powers fit together, but the issue of corruption by power is pretty obvious, even within a family. The film’s best line is, “Every family’s not perfect, Charlie. Sometimes, we just have to make our own.” While watching, a few other films came to mind. This includes Tommy Wiseau’s THE ROOM, and Jack Black’s NACHO LIBRE. Perhaps that will help you find the right mindset for this one.


available VOD beginning June 28, 2022

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Posted by David Ferguson

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