THE LOST CITY (2022)

March 24, 2022

Greetings again from the darkness. It’s not billed as a remake of ROMANCING THE STONE (1984), and perhaps that’s because it borrows from many adventure romantic-comedies over the years. Brothers and co-directors Aaron Nee and Adam Nee (BAND OF ROBBERS, 2015) have proven they can deliver exactly what is promised from a script by co-writers Oren Uziel (MORTAL COMBAT, 2021) and Dana Fox (CRUELLA, 2021). Seth Gordon receives a story credit, which is a bit ironic considering he has been quoted with, “The best stories are rooted in reality.”

Oscar winner Sandra Bullock stars as grieving, reclusive and highly successful romance novelist Loretta Sage, and Channing Tatum co-stars as her long-time and extremely popular cover model, Adam (in what is obviously a ‘wink and a nod’ to Fabio). Loretta’s love of history, and the passing of her husband, have combined to make her despise the books she writes and the publicity tours she’s required to attend … especially when being forced to wear a skintight purple/fuchsia sequined onesie. On the other hand, vapid model Adam relishes giving the audience what they want – strutting, hair waving, and bare chest.

After their most recent event goes sideways, Loretta is kidnapped by the villainous rich guy with a so-called gender-neutral name of Abigail Fairfax (Daniel Radcliffe). He’s read her latest book and needs her help in locating the ‘Crown of Fire’ hidden somewhere on a remote island he purchased for this reason. Things have to move quickly before the volcano erupts and buries the treasure. At this point, Adam is committed to rescuing Loretta and proving that he’s more than a pretty face. Loretta’s stressed out literary agent Beth (Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019) is determined to save her writer-asset, while the newly hired social media director (Patti Harrison) acts goofy (and deserved better lines).

It’s regrettable, yet a sign of the times, that (2-time Oscar winner) Brad Pitt’s cameo is included in the trailer. This should have been a pleasant surprise for viewers, and instead is spoiled by the clip. He has fun with his role as former Navy Seal and meditation partner with Adam, as the two work towards Loretta’s rescue. The time on the island combines the adventure sequences with the slow-build of the romantic bond between Loretta and Adam, and both actors do their thing. It’s mostly Mr. Radcliffe who seems a bit out of place as he goes big in his role as villain, when some subtlety might have played better. Then again, there is nothing subtle about this production, including the scenes with Beth and an oddball pilot with a goat-fetish played by Oscar Nunez (“The Office”).

Sandra Bullock and Channing Tatum can play these characters in their sleep, and to their credit, they both seem engaged and willing to put forth the necessary effort. Tatum especially embraces the duality of a preening cover boy and the sensitive type out to prove he has substance. It’s an easy film to criticize, but why would you? It’s meant to be harmless fun and bring joy to movie lovers. It’s totally fine to make a silly formulaic movie when your objective is to make a silly formulaic movie.

Opening in theaters on March 25, 2022

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Posted by David Ferguson

THE ADAM PROJECT (2022)

March 10, 2022

Greetings again from the darkness. At a certain age, most of us have given some thought to what we might say to our younger self if we had the opportunity to go back in time. The familiar phrase goes, “Hindsight is 20/20”, but what if we had foresight? What if we knew the best choices to make, and the bad decisions to avoid? Director Shawn Levy (the “Night at the Museum” franchise) reunites with his FREE GUY (2021) actor, Ryan Reynolds, to bring us a crowd-pleasing time travel movie with a personal twist. The script was co-written by Jonathan Tropper (“Banshee” creator), TS Nowlin (“The Maze Runner” franchise), and Jennifer Flackett (“Big Mouth”).

Twelve-year-old Adam (Walker Scobell in his first film) is the kind of wisecracking kid that attracts bullies at school. He lives with his mother (Jennifer Garner), and they are both still mourning his dad who died in a car crash. Ms. Garner is saddled with the film’s most obvious line when she lectures young Adam, “… the future is coming sooner than you think.” When adolescent Adam stumbles on an injured astronaut in the garage, it takes a while before he figures out that it’s actually his own self from the future (2050 vs 2022). When you have a wisecracking 12-year-old, it’s only perfect casting to have wisecracking master Ryan Reynolds play the older version. Despite some early friction, or maybe because of it, the two enjoy playing off each other with snappy one-liners and comebacks.

As with most time travel stories, things get a bit complicated, and the only solution involves taking a bigger risk and adding more complications. Not to give anything away, but the two Adams are forced to make a joint time-jump to find dear old dad, Professor Louis Reed (Mark Ruffalo). The purpose is not to save dad’s life, but for other personal reasons that involve Zoe Saldana as Laura, and Catherine Keener (miscast as the villain) as Maya, Professor Reed’s not so ethical business partner. It’s this section that offers the most action and tension, although the film is best delivering for the audience when the wisecracks are flying between Reynolds, Ruffalo, and Scobell).

Director Levy has constructed a charming film that proves quite entertaining for mainstream audiences, and he adds little touches like a family dog named Hawking, and classic rock from Led Zeppelin, Spencer Davis Group, Boston, and Pete Townsend. He even avoids the temptation to add a line of dialogue, “Hey Dad, wanna have a catch?” Outside of one sequence, the special effects are minimal considering it’s a time travel movie, and at its heart, it’s a story about coming to grips with family and who you are as a person.

Available on Netflix beginning March 11, 2022

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Posted by David Ferguson

THE BATMAN (2022)

February 28, 2022

Greetings again from the darkness. Riddle me this: does “The Bat, The Cat, and The Rat” sound more like an opening line to a joke or the title of a Dr. Seuss book? In fact, those are three core elements of this new, COVID-delayed, and highly anticipated film from writer-director Matt Reeves and co-writer Peter Craig. I’ll confess to being a huge fan of Christopher Nolan’s ‘Dark Knight’ trilogy (that concluded 10 years ago), and being a bit skeptical to a new version featuring Robert Pattinson in the titular role (I’m choosing to totally ignore the in-between portrayals in the “Justice League” movies). Knowing full well how important it is for fans to watch these films with fresh eyes and a clear head, this review is purposefully vague on what will surely prove to be some of the more popular and contentious discussion points.

Let’s start with a general description and the setup. The film is dark and gloomy and gritty and grimy. Gotham is a cesspool of corruption and crime, and we get no glimpse into the other side, assuming there is one. Billionaire Bruce Wayne (Robert Pattinson) is still in his second year as the Batman, often referred to as “Vengeance”. There is substantial backstory for Mr. Wayne, who lives in relative seclusion with his trusty manservant Alfred Pennyworth (Andy Serkis), while the Batman prowls at night in his efforts to clean up the city. Of course he is unable to keep pace with crime and corruption, even with the close alliance he has built with good cop, Police Lt. James Gordon (Jeffrey Wright). It takes Batman’s Poirot-like detective skills to solve a riddle left as a clue in a particularly high-profile murder case. Soon it’s obvious a serial killer is at work and he has purposefully drawn the Batman into his game.

The caped crusader proceeds to cross paths with Selena Kyle/Catwoman (a terrific Zoe Kravitz), Oswald Cobblepot/Penguin (an unrecognizable Colin Farrell), District Attorney Gil Golson (Peter Sarsgaard), and crime lord Carmine Falcone (John Turturro). As city VIPs begin showing up dead, it’s a masked Edward Nashton/Riddler (Paul Dano) who always seems a step ahead. All of the above receive their chance to shine on screen, and while none let us down, it’s not until the mask is ripped from Riddler, and Dano really shines, that we are left wanting more. It should be noted that Farrell (with his facial prosthetics and fat suit) is kind of a second fiddle here, but it’s surely intentional and meant to set the stage for more Penguin antics down the road.

Pattinson will certainly receive the most scrutiny. I found him to be an excellent Batman, with black eye makeup smeared by sweat under his cowl, maintaining the grungy tone. His whispery voice differs from Christian Bale’s gravely growl, but works for the character’s withdrawn nature and preference for detective work over than fighting. Staying true to the premise that this is only his second year, there is a significant shortage of “wonderful toys”, and the batmobile is less rocket ship and more souped-up coupe. The contrast to these is a batsuit that seems quite advanced (and looks cool). It’s Pattinson’s Bruce Wayne that didn’t work for me. I respect the reclusive billionaire aspect, but he mostly looks like someone on their way to a Nirvana gig, leaving us wondering how the heck could anyone not connect the dots between a creepy rich guy and a nearly identical creepy guy in a bat suit. It’s a minor complaint, but one that stuck with me.

Oscar-winning composer Michael Giacchino (UP, 2009) takes a more classical approach than the dramatics of predecessors Hans Zimmer and Danny Elfman. Giacchino has been a frequent Pixar contributor, and scored some well-known blockbusters in franchises like ‘Jurassic World’, ‘Star Trek’, ‘Planet of the Apes’, ‘Mission Impossible’, ‘Spider-man’, and ‘Star Wars’. His work fits nicely here. Adapting characters and stories originated by Bob Kane and Bill Finger, Matt Reeves and Peter Craig have found a way to put their own stamp on the work. Mr. Craig is Oscar winner Sally Field’s son, and his previous scripts include THE TOWN (2010), parts 1 and 2 of THE HUNGER GAMES: MOCKINGJAY, and upcoming high-profile projects in TOP GUN: MAVERICK and GLADIATOR 2. Director Reeves has previously helmed the excellent horror film LET ME IN (2010), as well as DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017).

This marks the first in a planned Batman trilogy, and a couple of the last scenes seemingly set the stage for what’s to come. Although this is an odd movie, here’s hoping the franchise maintains this tone and avoids the typical Marvel/DC overblown CGI approach. After all, the Batman is but one man, not a God of superpowers. This film is an unusual blend of noir-horror-detective-action-psychological thriller wrapped in a gray box with a black bow, and though it will likely be divisive among fans (isn’t everything?), this 3-hour epic leaves us anticipating the next ‘bat time’ and ‘bat channel’.

Opens wide in theaters on March 4, 2022

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Posted by David Ferguson

THE LAST DUEL (2021)

February 24, 2022

Greetings again from the darkness. This review comes a bit late in regards to last year’s release date, but one of the most fun things about the film was the veteran director’s response to it being one of the biggest box office ‘bombs’ of 2021. Ridley Scott’s blamed those of a certain age group, as he criticized millennials for being too attached to their cell phones to recognize an interesting, informative, and entertaining movie. Octogenarian Scott knows a bit about big budget films after directing such films as ALIEN (1979), BLADE RUNNER (1982), GLADIATOR (2000), PROMETHEUS (2012), and THE MARTIAN (2015), however we get the feeling that his reaction stemmed from ego, and overlooked the fact that older movie goers had not returned to the theater due to the ongoing pandemic.

Based on true events and Eric Jager’s 2004 bestseller, “The Last Duel: A True Story of Trail by Combat in Medieval France”, the script was co-written by Nicole Holofcener, Matt Damon, and Ben Affleck (the latter two being Oscar winners for their GOOD WILL HUNTING script in 1997). Damon and Affleck were initially set to co-star here, but scheduling conflicts forced to Affleck to take a lesser role, allowing for the addition of Adam Driver. The film opens in 1386 as Damon’s Jean de Carrouges and Driver’s Jacques Le Gris prepare for the titular jousting duel. We then flashback to a battle scene during the Hundred Year War featuring the two fighting alongside each other for France.

Utilizing a RASHOMON-inspired story structure, the film is divided into three “The Truth According to …” chapters: Jean de Carrouges, Jacques Le Gris, and Lady Marguerite. A sly use of chapter titles informs us which of these is considered the real truth, but this is 14th century history, so there’s always some doubt. And doubt plays a key role in the crucial conflict at the film’s core. Carrouges and Le Gris have a friendship initially, however where Carrouges is hard and withdrawn, Le Gris is more politically savvy – building a relationship with Pierre (Affleck), powerful cousin to King Charles VI. The friendship dissolves into a rivalry that culminates with Carrouges’s wife Marguerite (Jodie Comer) accusing Le Gris of rape. We see the three versions of this occurrence, leaving little doubt.

What stands out through most of the story is just how little power or standing women had during this time. It was a man’s world and women were treated as property, much the same as a plat of land. But the most ludicrous commentary on the times is the hearing that results in the King authorizing the Duel that will determine a verdict. If Le Gris kills Carrouges, then it is determined that Marguerite was lying and she will be burned to death. If Carrouges kills Le Gris, then his old friend will be considered guilty of rape. Either way is supposedly “God’s will”.

Harriet Walter is perfectly creepy as Jean de Carrouges’ mother, as is Alex Lawther as “The Mad” King Charles VI (age 15 at the time of the duel). I found Damon and Affleck to be distractions in their roles, but Ms. Comer was outstanding – believable in all aspects of the character. Ridley Scott delivered a realistic look to the film, and the brutality and visceral violence are true standouts, especially in the duel. Having the three perspectives worked well, and drove home the point of how delusional men were/are. Surprisingly, there is an undercurrent of contemporary attitude here, and for the most part, Mr. Scott was correct … it’s an entertaining film, even if it wasn’t technically the “last” duel.

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Posted by David Ferguson

CLEAN (2022)

January 27, 2022

Greetings again from the darkness. “The trash man wasn’t always a trash man.” Writer-director Paul Solet re-teams with his BULLET HEAD (2017) star, Oscar winner Adrien Brody, who not only has the lead, but also co-wrote the script, produced the film, and gets a “Music by” credit. Following in the cinematic footsteps of John Wick or most any recent Liam Neeson character, this trash man is the lone beacon of hope possessing a particular set of skills that he uses to escape peril, save the innocents, and generally rid the world of bad guys. He’s the avenging angel of Utica.

On the job, Brody’s character is referred to as “Clean”, and he’s so mechanically inclined that he often salvages items from his route, repairs them with parts he gathers from the junk yard where he feeds the guard dog, and then sells the refurbished goods at the pawn shop run by RZA. When he’s not working the garbage truck, Clean whitewashes the graffiti from the ramshackle homes in his hood, and brings homecooked meals to Dianda (Chandler DuPont), a local girl who lives with her grandmother. Now you might wonder how one man can accomplish so much, and the answer is that he barely sleeps. He’s haunted by demons of his own past via nightmares and flashbacks. It’s through these that we learn Dianda reminds him of the daughter he lost, and his past is one filled with violent images.

Clean attends group therapy sessions and has support from a “sponsor” played by Mykelti Williamson. Of course, as we’ve come to expect from this genre, past violence and efforts to redeem himself, won’t insulate him from modern day violence. In an early voice-over, a tormented Clean offers up a TAXI DRIVER-loner-style philosophy as he discusses the sad state of the streets, and a “sea of filth”. One particular good deed involving Dianda, places Clean in the deep end of that sea he finds so disgusting. It’s also a sea he masterfully maneuvers.

That good (and violent deed) finds Clean crossing paths with local drug kingpin Michael (a menacing Glenn Fleshler), who runs his operation through the fish market he inherited from his grandfather. Michael’s wannabe-gangster son Mikey (Richie Merritt, WHITE BOY RICK) doesn’t appreciate his dad’s “smell of success” and is the reason Clean and Michael square off. This also causes the big reveal in regards to Clean’s past life, and explains his proficient use of a screwdriver and pipe wrench.

For those familiar with this genre and its use of violence, you’ll notice many of the familiar and expected components. It’s really Mr. Brody’s expertise as a master mumbler, and his character’s (initially) low-key approach to improving the neighborhood, that provide the touch of difference making this watchable.

Opens on January 28, 2022

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Posted by David Ferguson

THE KING’S DAUGHTER (2022)

January 21, 2022

Greetings again from the darkness. It happens sometimes where the most memorable part of a movie is its setting. Plenty of non-descript westerns (and also some really good ones) took place in Monument Valley. MAMMA MIA! was fine, but that Greek isle of Skopelos was dreamy. Even those who aren’t big fans of Wes Anderson movies would likely agree that his sets and filming locations are something to behold. Somehow, director Sean McNamara surpasses all of these by filming inside and on the grounds of the Palace of Versailles, a truly gorgeous and historical setting.

As for the movie, the 1997 novel “The Moon and the Sun” by Vonda N McIntire has been adapted for the screen by a list of screenwriters including Ronald Bass, Barry Berman, Laura Harrington, and James Schamus. Since it’s told in a storybook format, with narration from the great Julie Andrews, one must fight the urge to label this as ‘heavy-borrowing’ from the 1987 classic, THE PRINCESS BRIDE, and instead view it as a historical-adventure-fantasy attempting to appeal to most everyone, while likely not satisfying any particular demographic … despite some worthy elements.

Pierce Brosnan stars as King Louis XIV (who became the longest ruling monarch between 1638-1715), known as The Sun King. He has just returned from a victorious battle when an assassin’s bullet reminds him of his own mortality, spurring a plan from the weirdo royal doctor, Dr. Labarthe (Pablo Schreiber). The plan involves sacrificing a mermaid during a lunar eclipse in order to capture the “light” from her heart and provide immortality to the King … for the good of France, of course. So the King sends dashing Captain Yves De La Croix (Benjamin Walker, ABRAHAM LINCOLN: VAMPIRE KILLER, 2012) to find the lost City of Atlantis and capture one of the famed mermaids.

At the same time, the King has sent for his illegitimate daughter Marie-Josephe (Kaya Scoderlario, PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES, 2017). She has lived her life in a nunnery, and now is to use her musical talent to takeover as the royal composer – whilst not knowing who her father is. Adding to the confusion is the King’s ulterior motive. The kingdom is in dire financial straits, and in addition to his own immortality, he also plans to have his daughter marry the son (Ben Lloyd Hughes, DIVERGENT, 2014) of the richest merchant in France. A dandy plan were it not for the independent-minded non-Princess falling hard for the swashbuckling Yves. Another complication arises when Marie-Josephe befriends the captive mermaid (Bingbing Fan), pitting the daughter against the father … a scenario many parents have experienced (only not typically with mermaids).

It’s only fair when discussing this movie to mention its own history. Filmed in 2014, the reasons for a delayed release are many and varied. No need to go into the studio and distributor issues, but you may have heard about Bingbing Fan’s (the mermaid) saga. She’s the biggest star in China, and in 2018 she disappeared for a few months after a tax evasion scandal. Fortunately, she’s back working. Another oddity, is that co-stars Kaya Scoderlario and Benjamin Walker met on this set, married a year later and now have two children. That’s how long ago this was filmed! Oscar winner William Hurt adds a touch of class as Father La Chaise, and the talented Rachel Griffiths makes a brief appearance as the Abbess. The film is plenty watchable, yet nothing really stands out as distinctive or memorable … of course, other than the breathtaking sights of the Palace of Versailles, including the stunning Hall of Mirrors.

Opening nationwide in theaters on January 21, 2022

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Posted by David Ferguson

THE MATRIX RESURRECTIONS (2021)

December 21, 2021

Greetings again from the darkness. One could view being number four in a trilogy as similar to being the ‘third wheel’ on a date. Or one could view it as a new beginning, with a familiar foundation. Your way of viewing will likely depend on whether you choose the red pill or the blue one. This time out, it’s only writer-director Lana Wachowski, without her sister Lilly. Their groundbreaking first film in the series hit screens in 1999, and it’s been 18 years since the last. Lana co-wrote this script with David Mitchell and Aleksandar Hemon.

There is a stunning opening action sequence that is so well done, most will feel like it alone is worth the price of a ticket. But it’s another of the early scenes that really caught my attention and had me laugh out loud and applaud the audacity. Keanu Reeves stars (again) as Thomas Anderson, a renowned game developer best known for his award-winning games (actually a trilogy) ‘The Matrix’ from 20 years ago. His work on a new game called ‘Binary’ is interrupted when he’s summoned to the office of his boss played by Jonathan Groff. Anderson is informed that Warner Brothers, their corporate owner, is not interested in his new game, but instead demands another game in ‘The Matrix’ series. This is either self-parody or Lana’s passive-aggressive revenge, either of which is a bit humorous.

Anderson regularly battles the blurring lines of reality and sees a psychiatrist (Neil Patrick Harris) who prescribes blue (of course) pills to help the patient deal with daily life. There is no way I’m going into the story lines that are tossed around here, but there will be fans who are happy and fans who aren’t. In fact, this one teases with so many elements that are left hanging, we aren’t sure whether Lana is setting the stage for more to come or merely having fun stirring the pot.

What does matter is that Neo and Trinity get the shot at a legitimate relationship/romance. The return of Carrie-Ann Moss is treated with all due respect. She shows off her acting skills, which, let’s face it, are far superior to the lead actor here. Together they make an interesting couple and we pull for things to work out. Jada Pinkett Smith returns as Niobe, and some new characters are introduced as well. In addition to Jonathan Groff and Neil Patrick Harris, the most intriguing of these is Jessica Henwick as Bugs (like Bunny). The newly imagined Morpheus is played by Yahya Abdul-Mateen II, and Priyanka Chopra Jonas scores a couple of scenes as Sati. Oh, and the answer is a definitive yes – we do miss Hugo Weaving and Laurence Fishburne (despite some of Lana’s creativity).

Neo and Trinity and special effects are the real draw for the series, and though this one is littered with self-parody, one of the most disappointing elements comes in the fight scenes which fall short of expectations. While I enjoyed the multiple story lines, even the partial bits, it’s the big finale action sequence that had me convinced the shark had officially been jumped. It’s drawn out far too long and repetitive at times, and with the 2 and a half hour run time, you have earned the right to question “The One”.

Opening in theaters and on HBO Max on December 22, 2021

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Posted by David Ferguson

THE MITCHELLS VS THE MACHINES (2021, animated)

December 11, 2021

Greetings again from the darkness. What would happen if human survival depended on the Griswolds (from the VACATION movies) battling the rogue robots programmed to take over the planet? Filmmakers Michael Rianda and Jeff Rowe answer to that scenario is hyper-active, frenetic, overly-busy visual chaos that attempts to blend apocalyptic science fiction, extreme action sequences, and dysfunctional family comedy-drama. It’s a lot to tackle, and for the most part, it works.

Katie Mitchell (voiced by Abbi Jacobson) is preparing to head to film school. Her nature-loving dad, Rick (Danny McBride) is concerned about how he and Katie have drifted apart over the years, and he’s also worried that her educational choice could lead to disappointment. Katie’s mom, Linda (Maya Rudolph) is mostly supportive and upbeat, and yet a bit saddened that the once close father-daughter duo no longer speak the same language. Youngest son Aaron (voiced by co-director Rianda) and family dog Monchi have their moments, and mostly this is a fairly typical dysfunctional family. In fact, dysfunctional family seems to be a misnomer since it describes most families, even the highly organized one that seemingly have their act together … represented here by the Poseys (Chrissy Teigen and John Legend).

Katie’s generation’s adoption and dependency on technology has widened the gap in connection with the previous generation … specifically the bond between father and daughter that was so strong when she was young, and now barely hangs on by thread. Dad is the generation of the supreme screwdriver, while Katie is all about creating memes and videos. He fixes things, while she creates things. Dad decides a family road trip to drop Katie at college is the solution to fixing the frayed relationship. This happens on the same day that mega-Tech guru Mark Bowman (Eric Andre) is introducing his next-gen PAL robot, which is smart technology on steroids. However, it turns out, software has feelings too, and the original PAL (Olivia Colman) seeks revenge for being replaced. An army of robots is sent to capture the entire human race.

A couple of quirky things leave the Mitchell family as our final hope against the robots, and as you might expect, saving the world can lead to reparations in the father-daughter relationship. Dad gains an appreciation for the creative skills of Katie, while she learns of his great personal sacrifice for family. It’s an unusual blend of two distinct stories, but mostly we are left exhausted after a nearly two hour run time. The screen is often cluttered and overloaded with distractions (including old school Furbys with a twist), and although there is a cool throwback look to some of the animation, it’s simply too much of a good thing. Younger kids may be mesmerized by the frantic action, but the story lines are not likely to be followed by most under 10 or so. This one has garnered a great deal of Oscar buzz, which makes sense as adults decide such things.

Streaming on Netflix

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Posted by David Ferguson

DUNE (2021)

October 21, 2021

Greetings again from the darkness. It’s been nearly 40 years since David Lynch directed DUNE (1984). The film received an Oscar nomination for Best Sound, and has since been a cult favorite, though not one I’m particularly drawn to. All these years later, Frank Herbert’s 1965 novel (there are 5 sequel novels) has been re-made by acclaimed writer-director Denis Villeneuve (ARRIVAL, 2016) and his co-writers Eric Roth (Oscar winner, FORREST GUMP, 1994) and Joe Spaihts (PROMETHEUS, 2012). The new version looks absolutely fantastic, even if the story is a bit convoluted and the characters don’t always make the best, or even logical, decisions.

The year is 10191, likely the most futuristic movie we’ve seen. Oscar Isaac is Duke Letto Atreides and Rebecca Ferguson is Lady Jessica Atreides, though the story mostly focuses on the son, Paul, played by Timothy Chalamet. The story revolves around the protection of spice, the most valuable resource in the universe/galaxy. However the real focus is on politics and power plays … so I guess not much really changes over the next 8170 years – except, of course, the colonization and travel between multiple planets (surprisingly, none of these planets is named Elon or Bezos). There is much talk of “the plan” with emphasis on whether young Paul is “the one” mentioned in their legends. Paul does have some special abilities, but Chalamet’s understated (and mostly monotone) portrayal makes everyone, even Lady Jessica, a bit unsure of whether he’s the leader they need.

The supporting cast is impressive and all do their part to drive the action and story forward. Jason Mamoa is Duncan Idaho, the warrior who humorously belittles Paul’s fragile physical frame. Josh Brolin is Gurney Halleck, the bodyguard to the noble family, and Charlotte Rampling plays the Reverend Mother (a creepy nun). Oscar winner Javier Bardem is under-utilized as Stilgar, while Zendaya shines as Chani, one who bonds with Paul. Of course the most outrageous role finds Stellan Skarsgard (with some heavy make-up and special effects) as the grand emperor of Harkonnen, with Dave Bautista as his brother, the Beast.

For me, the movie’s technical aspects are what stand out. It deserves awards consideration in multiple categories, especially Sound, Visual Effects, Cinematography, and Score. Oscar winner Hans Zimmer really delivers a score that compliments and enhances what we see on screen. Cinematographer Greig Fraser has been involved in numerous high profile projects, like ROGUE ONE: A STAR WARS STORY (2016) and the highly anticipated THE BATMAN (coming in 2022).  The effects are special and include the sandworms, as well as dragonfly choppers that are quite impressive. It was a bit annoying to see the desert sand blowing constantly, yet goggles and masks are hardly ever used. I guess these faces are too expensive to cover up!

Familiarity abounds as some bits recall MAD MAX, EDWARD SCISSORHANDS, STAR WARS, and THE MATRIX. Director Villeneuve shot the film in Norway and Jordan, and to answer the question from fans of the original … no, Sting does not make a cameo appearance. The film looks stunning and will likely satisfy the target audience. Whether it’s enough to expand the audience is something we will know soon enough. The film ends with “This is only the beginning”, and Mr. Villeneuve has Dune Part Two in the planning stages.

The film will be released October 22, 2021 in theaters, on IMAX, and streaming on HBO Max

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Posted by David Ferguson

NO TIME TO DIE (2021)

October 10, 2021

Greetings again from the darkness. Bond 25 is here, and it’s quite a curtain call for actor Daniel Craig. The film’s release has been postponed numerous times since September 2019, which has caused expectations and anxiety to build amongst Bond fans. It’s been almost six years since SPECTRE (2015), and this is Daniel Craig’s fifth and final turn as 007. This production faced challenges even before the pandemic hit. Cary Joji Fukunaga (best known for “True Detective” and BEASTS OF NO NATION, 2015) was hired to direct after Danny Boyle stepped down (or whatever happened), and Phoebe Waller-Bridge was brought in to spice up the dialogue on the script from Fukunaga, Neal Purvis, and Robert Wade (the latter two having been involved in writing all five Bond movies for Craig). Of course, it’s Ian Fleming to whom we stand eternally grateful for the original characters.

For those accustomed to the James Bond cinematic formula, you’ll notice quite a few differences – beginning with the opening scenes. Traditionally, breathtaking action kicks off the film; but this time a shift in tone and style serves up a tension-filled opening that occurs a few years prior to the rest of the story. It takes a few minutes before we get the first true action sequence. Of course, we must keep in mind that we are dealing with a “retired” James Bond (don’t worry, it’s not like “fat Thor”) … in fact, there’s already a replacement 007 and she (Lashana Lynch, CAPTAIN MARVEL, 2019) packs quite an attitude and skill set.

It’s his old CIA buddy, Felix Leiter (Jeffrey Wright), who draws Bond back into the espionage game, and of course, the reason is to save the world (what else could it be?). This year’s world-domination-seeking villain is the cleverly named Lyutsifer Safin, and he’s played by Oscar winner Rami Malek (BOHEMIAN RHAPSODY, 2018). Safin is a low-key baddie whose weapon is a DNA-altering chemical that’s probably a bit overly complex for a Bond movie, and it’s also a bit strange that Safin/Malek only has a few substantive scenes. For those who saw SPECTRE, you’ll recognize many of the faces, including Lea Seydoux as Madeleine Swann, Ralph Fiennes as M, Ben Whishaw as Q, Rory Kinnear as Tanner, and Naomie Harris as Moneypenny. Also back for a terrific scene is Oscar winner Christoph Waltz as Blofield. The new faces include the aforementioned Lashana Lynch as Nomi, Billy Magnusson as Logan Ash, and Craig’s KNIVES OUT co-star Ana de Armas as Paloma. Ms. de Armas brings a jolt of energy and some smiles to the proceedings, and it’s a shame her appearance is so short.

It’s unusual for a Bond song to win its Grammy before the movie is ever released, but that’s exactly what happened for Billie Eilish’s achingly somber title song. Oscar winner Hans Zimmer (THE LION KIING) delivers a wonderful score in his first Bond outing (you’ll hear how he incorporates the Eilish song), and the cinematography from Oscar winner Linus Sandgren (LA LA LAND) is everything we could hope for in the action sequences (there is no shortage of bombs), as well as the quiet moments.

Speaking of the quiet moments, this is undoubtedly the most sentimental and emotional of all Bond films. Sure, we get the amazing set pieces, the crazy stunts, the awesome Aston Martin (until it isn’t), the cool gadgets, the wisecracks, and the shootouts – but we also get Bond at his most reflective and personal. There is a line in the film, “Letting go is hard.” And it is … both for Bond and for us. So welcome back and adieu, Mr. Bond. Craig. Daniel Craig.

The film opens in U.S. theaters on October 8, 2021

WATCH THE TRAILER

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Posted by David Ferguson

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