ISLE OF DOGS (2018)

March 29, 2018

 Greetings again from the darkness. It’s referred to (sometimes affectionately, sometimes not) as Wes World. Many directors have their own style, though few are as immediately recognizable as a film by Wes Anderson. THE GRAND BUDAPEST HOTEL, MOONRISE KINGDOM, FANTASTIC MR FOX, THE ROYAL TENNEBAUMS, and RUSHMORE all share a tone and style … a cinematic personality, if you will, that places them squarely in Wes World. Beyond the similarities, there is also a level of innovation and creativity in each of his projects. He consistently delivers a “Wow” factor, or in the case of his latest, a “bow-wow” factor (my one and only pun, I promise).

Expanding on the stop-action animation he used in FANTASTIC MR. FOX, director Anderson also plays homage to Japanese filmmaking – especially the animation of Hayao Miyazaki and the cinematic legend Akira Kurosawa. The film’s prologue, “The Boy Samurai” is a Japanese fable and sets the stage for a futuristic Japan where the Mayor of Megasaki, Kobayashi (voiced by Kunichi Nomura), has decreed that all dogs should be banned from society due to dog flu, snout fever and canine saturation. Kobayashi (an embittered politician who looks eerily similar to Japanese acting legend Toshiro Mifune) even ships off his nephew’s beloved Spots (Liev Schreiber) to Trash Island. In Part 1 “The Little Pilot”, that nephew, Atari (Koyu Rankin) crash lands his plane on Trash Island while attempting to rescue Spots.

Part 2 (“The Search for Spots”), Part 3 (“The Rendez-Vous”), and Part 4 (“Atari’s Lantern”) break the story into segments, but the real fun here is in the visual effects and the banter amongst the dogs. The five main dogs we follow are Chief (Bryan Cranston), Rex (Edward Norton), Boss (Bill Murray), King (Bob Balaban), and Duke (Jeff Goldblum). Chief is a stray dog who is the group skeptic and doesn’t hesitate in greeting most anyone with “I bite”. We know this because director Anderson explains “Barks are rendered in English”.

While assisting Atari with his search, the five dogs alternate between gossiping and decision-making by committee … spouting one-liners that are consistently funny and incisive. Anderson co-wrote the script with Roman Coppola and his frequent collaborator Jason Schwartzman. Kunichi Nomura provided expertise to ensure the Japanese segments were accurately portrayed. The usual Wes-style droll humor is evident throughout, though viewers must make sure their hearing is fined tuned to catch some of the wise-cracks that almost seem like background noise at times.

In addition to the humor, political corruption and conspiracies are at the core of what could be described as an animated rescue adventure comedy. Narrator Courtney B Vance ensures we are following along with the story, although the artistic beauty of Trash Island – a garbage strewn wasteland – is enough to hold our interest. Keeping track of the homages is challenging enough, but we also get Haikus, Puppy Snaps, and Yoko Ono as a scientist. Greta Gerwig voices Tracy, an idealistic Foreign Exchange student who recognizes a corrupt politician when she sees one, and there are a couple of brilliant noirish scenes between Chief and Nutmeg (Scarlett Johansson). A recurring visual of dogfights in a cloud of dust harken back to the days of classic cartoons and the unbridled violence that we’ve always found so comical in animation.

It’s a dystopian tale … well it is if you happen to be a dog. Cat lovers probably view this as paradise. An all-star cast of voice actors keeps us interested even when the story bogs down at times, although the look of the film always seems to be priority one. It’s such an easy movie to respect, however, one that’s a bit more difficult to speak passionately about. This review doesn’t address the ever-present complaints from those looking to create a race or nationality based scandal. To me, the film is creative and appears to be against unkindness and discrimination and corruption. Perhaps that message overrides some easily ruffled feathers.

watch the trailer:

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Posted by David Ferguson

BLACK PANTHER (2018)

February 15, 2018

 Greetings again from the darkness. Adaptations of Superheroes, Comic Books, and Graphic Novels have been driving the movie theatre box office for a few years now. Where the financial success of a film was once measured in tens of millions, it’s now hundreds of millions. Beyond that, these enormous productions are pressured to make political and social statements … providing the hope of which real life leaders seem to fail. This latest from Marvel and director Ryan Coogler (CREED, FRUITVALE STATION), carries all of that plus the expectations of an entire gender and race. It’s a heavy burden for a comic book character, however it seems, regardless of one’s perspective, it’s likely the film delivers, satisfies, and … oh yeah … entertains.

The bar has been set so high for action sequences and special effects, that we take the great for granted and only speak up on those that falter. What allows this film to take its place among the best of the genre is a combination of story depth and the payoff for showing us a world we haven’t previously seen. The cultural aspects of the (mythical) African country of Wakanda are not only interesting, but the setting itself is breath-taking. An explosion of color, texture and technology blended with intriguing and multi-dimensional characters bring the film to life and draw us into this wonderland of tradition, culture and humanity.

It seems ridiculous to speak of a comic book film in these terms, but the number of talking points raised during its runtime are too many and too varied to discuss in this format. What we can make clear is that it’s cool to watch an entire movie where people of color and women are strong, confident, and intelligent. Chadwick Boseman has played Thurgood Marshall (MARSHALL), James Brown (GET ON UP), and Jackie Robinson (42), and here he takes on a fictional icon in King T’Challa/Black Panther. He perfectly captures the pensive nature of a King balancing tradition with the needs of his people to evolve and transition. His chief adversary “Killmonger” is played terrifically by Michael B Jordan (CREED, FRUITVALE STATION) as a man out for revenge and power. For most movies this head to head battle would be enough … but not this time.

Lupita Nyong’o (Oscar winner for 12 YEARS A SLAVE), Danai Gurira (“The Walking Dead”), and relative newcomer Letitia Wright play Nakia, Okoye, and Shuri respectively; a triumvirate of three of the strongest women you’ve likely ever seen on screen. Nakia is the love interest, but also carrying out her own humanitarian missions, while also proving to be beyond adequate as a soldier. Okoye is the ultimate warrior and absolutely loyal to her country, while Nakia (T’Challa’s sister) is a contemporary version of James Bond’s Q – the ultimate technology whiz, and one with the zippiest zingers. Any of these characters could be the basis for a standalone movie, but together they elevate this to something much more than a couple of dudes in sleek suits fighting.

Martin Freeman (THE HOBBIT), Daniel Kaluuya (GET OUT), Sterling K Brown (“This is Us”), Angela Bassett, and Forest Whitaker are all contributors, and Andy Serkis is a frenzied standout in an all-too-brief turn as Klaue. The strong cast delivers even in the few moments when the script lags. In fact, the only piece of this puzzle that didn’t seem to fit was the traditional hand-to-hand combat to determine the next king. Why is it that a nation so advanced still relies on primitive courses of decision-making?  Perhaps this is merely commentary on our society, though providing a more intellectual solution would have been in line with the rest of the story.

The world of Wakanda is stunning. The costumes are sleek, colorful and fascinating. The characters are multi-dimensional. The action sequences are top notch (armored rhinos!). The cinematographer is Rachel Morrison, who recently made history by being the first woman to receive an Oscar nomination for cinematography (MUDBOUND). It’s these factors that allow Mr. Coogler’s film to achieve the level of importance that most comic book films wouldn’t dare to strive for. On top of everything, it accomplishes the one thing I demand from these type of movies … it’s quite fun to watch!

watch the trailer:

 

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Posted by David Ferguson

PADDINGTON 2 (2018)

January 11, 2018

 Greetings again from the darkness. The sequel to the hit 2014 PADDINGTON movie reunites most of the cast, as well as the director Paul King and his co-writer Simon Farnaby. Unfortunately, Michael Bond, Paddington Bear’s creator and author of more than 150 affiliated books passed away in 2017, and was not able to see this most charming follow-up. The beloved little bear first hit UK bookstores in 1958 and has been part of the childhood of every generation of kids since. Now the movies have given life to the little bear with the red hat, blue coat and tiny suitcase.

The entirety of the Brown family returns: Sally Hawkins as Mary, Hugh Bonneville as Henry, Madeleine Harris as Judy, Samuel Joslin as Jonathan, Julie Walters as Mrs. Bird, and Jim Broadbent as Mr. Gruber. Also back are Imelda Staunton and Michael Gambon as the voices of Paddington’s “aunt” and “uncle”, and of course, Ben Whishaw returns as the familiar voice of the adored and oh-so-polite bear.

Most notable among the new faces are Brendan Gleeson as Nuckles (that’s with a capital N), and Hugh Grant as Phoenix Buchanan, this story’s two-faced (and maybe more) villain. You’ve likely never seen the usually reserved and proper Mr. Grant in a role quite so colorful and flamboyant. He seems to be having a devilishly good time.

As the movie begins, we are quickly assimilated into the community where Paddington has made such a difference. The core element to this bear is that he treats all with kindness and finds the best in each person. The results of this approach are clear in how his neighbors enthusiastically greet him each morning … it’s a reminder of the power of kindness. Only when Phoenix Buchanan’s dastardly deed and actions catch Paddington in the crossfire does the film take an abrupt left turn from his blissful life.

If the film has a flaw, it’s in a story that is likely too complex and intricate for the youngest viewers to follow. However, it’s that story that older kids (and grown-ups) will most appreciate and relate to. Younger kids may be lost at times, but there are enough visual pratfalls and bear hijinks to keep them oohing and aahing and laughing – I witnessed these reactions in a theatre that was about half-filled with kids.

This sequel will probably be viewed as an improvement to what was a pretty entertaining original. There is enjoyment for all ages, and it’s a rare combination of cuteness and charm with a strong message of kindness. If that’s not enough for you, stay for the credits and take in the Bollywood-style musical number that will erase any doubts you might have had about Hugh Grant’s commitment to the mission.

watch the trailer:

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Posted by David Ferguson

THE STRANGE ONES (2018)

January 4, 2018

 Greetings again from the darkness. Having been well received at film festivals throughout 2017, this film is journey of patience for both the characters and its viewers. Co-directors Christopher Radcliff and Lauren Wolkstein have expanded their 2011 short film into their first feature length film, and though some evidence of ‘stretching’ is present, so is a somber, moody style that provides an interesting look and feel.

It’s more mysterious and atmospheric than it is thriller, and at times it even has a “Twilight Zone” vibe. Nick (Alex Pettyfer) and Sam (James Freedson-Jackson) are traveling together as brothers, though we never really believe they are related. An impending dread hovers around each move they make, and the film tortures/teases us with unspecified relationships and connections. Nick and Sam are semi-desperate and clearly on the run, yet it’s not until the end when things somewhat come together.

Young Freedson-Jackson is the key to the film, and his facial reactions are critical. His astounding blank stares seem to hold meaning. It’s a bleak film with a gloomy tone, and while I’m all for slow and deliberate story-telling, the technique is usually more effective when there is a reason for it. This is a deep cut indie that lacks mass appeal, but for those patient enough to commit, the supernatural aura will likely keep you engaged for the run time.

watch the trailer:

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Posted by David Ferguson

COCO (2017)

December 26, 2017

 Greetings again from the darkness. Despite my two-decades long worshipping at the animated alter of Pixar, the trailer for this one just never struck a chord with me. Thank goodness there was a late night showing aboard my recent Disney cruise, or I might still not have caught this gem that ranks among Pixar’s best … and this is the studio that has gifted us the TOY STORY franchise, THE INCREDIBLES, UP, and INSIDE OUT – instant classics, each and every one.

Lee Unkrich and Adrian Molina team up as co-writers and co-directors for the 19th feature film from Pixar Studios. It’s the second Pixar film this year (CARS 3), but the first original (non-sequel) since 2015 (THE GOOD DINOSAUR, INSIDE OUT). This latest not only offers the most advanced visuals to date, it also features a complex story that touches on numerous topics: Mexican culture, family legacy, religious traditions, loyalty, following one’s own path, respect for the elderly, and remembrance of those deceased. If all of that sounds a bit too heavy-handed and deep for kids, keep in mind that Pixar charmed us with UP, the story of a man whose wife dies – yet, they kept us laughing with one word …”squirrel!”

The story focuses on young Miguel and his desire to sing and play guitar despite his long-standing family ban on music. Miguel is convinced he is related to the most famous Mexican performer in history, Ernesto de la Cruz, and he concocts a plan that corresponds to Dia de Muertos to convince his family that he must be allowed to play music. The film is respectful to this tradition as the living pay tribute to those who have passed. The deceased are invited back for this one night with beautiful flowers guiding them from the Land of the Dead to that of the living.

Miguel’s adventure is quite a wild ride as he navigates the path between the living and the dead. Somehow the film is even a visual step up from the colorful beauty of UP and INSIDE OUT, with the city and the unique flying creature being exceptionally stunning. The Pixar charm and personality are evident throughout – even in Dante, the ever-present dog. Many Mexican celebrities and historical figures (including Frida Kahlo) are noted, but at its core, this is the story of a boy pursuing his dream, no matter the obstacles.

Pixar fans will be relieved to know that the Pizza Planet truck makes an appearance, as does A113, and numerous other Easter eggs. John Ratzenberger keeps his Pixar streak alive, and though Anthony Gonzalez (Miguel), Gael Garcia Bernal (Hector) and Benjamin Bratt (Ernesto de la Cruz) all do fine work, this one is not so much about the voice acting as it is about the tremendous story and art work. Remarkably, Pixar has done it again … an animated masterpiece that is among its finest yet. Parents should note that the film is rated PG, rather than G. There are talking skeletons and a couple of scenes that could frighten young kids.

watch the trailer:

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Posted by David Ferguson

THE SHAPE OF WATER (2017)

December 8, 2017

 Greetings again from the darkness. Recent release JUSTICE LEAGUE is filled with superheroes, but filmmaker-extraordinaire Guillermo del Toro finds his league of misfits and outcasts to be much more interesting – as do I. The numerous possible descriptions of this movie are all accurate, yet alone, each falls short: a fairy tale, fable, monster movie, unconventional romance, sci-fi, cold war saga, and commentary on societal misfits. What is also true is that it’s a gorgeous film with terrific performances, and it pays lovely tribute to the classics.

A government research facility in 1962 Baltimore is the setting, and “The Asset” being secured and studied is an amphibian man that was captured in South America by a sadistic Richard Strickland (Michael Shannon) and his electric cattle prod. Now the military, and a 5-star General played by Nick Searcy, is in charge. The lead scientist played by Michael Stuhlbarg certainly has a different agenda than the military, whose focus seems to be more on preventing the Russians (closer than you think) from stealing the asset than in actually seizing the rare scientific opportunity for advancement.

While all the ominous and clandestine government operations are being conducted, a member of the nighttime cleaning crew – a mute woman named Elisa (Sally Hawkins) – makes a very personal connection with the fish man through nutritious snacks, Big Band music and sign language. This is the enchanting portion of the story and is admittedly (by del Toro) inspired by the 1954 classic CREATURE FROM THE BLACK LAGOON (a personal favorite of mine). Elisa and the amphibian man experience a romantic courtship not unlike what we have seen in many other love stories … that is, if you overlook the amphibious being that makes up half of this couple. In fact, “going with” the story is crucial to one’s enjoyment. Sit back and let the magic and wonder and fantastical nature of del Toro’s imagination sweep you away – just as it has done for Elisa.

There are many elements of the film worth exploring, and it’s likely to take another viewing to capture many of them. The band of misfits is comprised of the fish man (Doug Jones), Elisa (Ms. Hawkins), Elisa’s wise and wise-cracking co-worker Zelda (Octavia Spencer), and Elisa’s neighbor Giles (Richard Jenkins), a closeted gay graphics design artist. These are the nice folks/beings who make up the world that seems to be run by bullies and predators (sound familiar?). There is even a religious debate here as it’s mentioned that the creature was treated by a God in his natural environment, and a brief discussion is had over what might a God look like. All of the actors are superb, and Miss Hawkins delivers her second knockout performance of the year (the other being MAUDIE).

“The future” is a central theme of the story, though Elisa is most focused on now – how to find some happiness in a world that has been so challenging. Elisa realizes she and the creature are more similar than not, and she feels his pain each time the power-hungry Strickland (Shannon) pops him with the electric cattle prod. There is an ethereal beauty (and yes, sensuality) to the scenes with Elisa and the amphibian man, and it even leads to a terrific song (“You’ll Never Know” by Renee Fleming) and dance dream sequence. In addition, you’ll notice many nods and tributes to classics such as Mr. Ed, Dobie Gillis, Betty Grable, Bill “Bojangles” Robinson and Shirley Temple, and Carmen Miranda singing “Chica Chica Boom Chic”. It’s also no accident that the apartments of Elisa and Giles are located directly above a palatial old movie theatre that is struggling to make ends meet. All of these pieces are tied together as Mr. del Toro honors the art forms he so adores.

For those who enjoy such detail, it should be noted that the color green plays a huge role throughout the film … the water, the creature, the uniforms, the furniture, the walls – even the Jello, the pie and Strickland’s (teal) Cadillac. The use of color ties in the ever-present mythology, and the theme of meanness and power versus kindness and love.

Cinematographer Dan Laustsen adds to the magical feel with his camera work and lighting that perfectly complements the characters and tone. Oscar winning composer Alexandre Desplat delivers yet another spot on score that not only syncs with story, but also the numerous classic songs included. Guillermo del Toro is one of the most creative and inventive contemporary filmmakers, and though this one may fall a tick below his masterpiece PAN’S LABRYNTH, it is sure to dazzle and mesmerize those who give it a chance … and let’s hope there are many who do!

watch the trailer:

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Posted by David Ferguson

THE MAN WHO INVENTED CHRISTMAS (2017)

November 22, 2017

 Greetings again from the darkness. Most would agree there is only one Christmas story that surpasses the popularity and familiarity of Charles Dickens’ “A Christmas Carol”, and both have had numerous film and screen adaptations. Rather than offer up yet another film version of the Dickens novella, director Bharat Nalluri (MISS PETTIGREW LIVES FOR A DAY, 2008) instead uses the Susan Coyne screenplay adapted from the non-fiction work of Les Standiford to present the lively and entertaining tale of HOW Dickens wrote his iconic book.

Dan Stevens (BEAUTY AND THE BEAST, 2017) stars as the esteemed writer Charles Dickens, and he bounds from scene to scene like a moody and spoiled Energizer Bunny. Attempts to capture the process behind creative writing usually falls into one of two buckets: dry and boring, or outlandish and over-the-top. Mr. Stevens easily fits into the latter, but as a testament to the strength of the story and supporting cast, we viewers are nonetheless quite entertained.

It should surprise no one that Christopher Plummer steals each of his scenes as Ebenezer Scrooge. What a delight to behold the talented octogenarian as he leaves us wishing for even more of the grumpy and miserly old former partner of Jacob Marley. Jonathan Pryce also excels as Charles’ father John, a charming man who has never quite figured out the economics of life … and whose long ago debt sent young Charles to a work house mixing shoe black. Even as an adult, Charles had recurring nightmares of his time in child labor, and fortunately he was able to use those memories to create many long-lasting stories, each oblivious to generational change.

In 1843 London, the renowned Dickens is coming off three straight flops and experiencing financial woes that are exacerbated by his insistence on the finest materials for the large home he and wife Kate (Morfydd Clark, LOVE & FRIENDSHIP) are renovating. Dickens is in the midst of severe writer’s block, and only the quiet strength of his wife and never-wavering loyalty of friend/agent John Forster (Justin Edwards) are able to keep in from sinking to even lower emotional depths. Screen veteran Miriam Margolyes plays the housekeeper, and Anna Murphy is Tara, the Irish nanny who serves as a muse for Dickens.

Having the characters of the story appear on screen and interact with the writer is a terrific way to explain how the creative mind works, although at times, the sources of ideas, characters and key lines seem a bit too convenient. We often get the feeling that perhaps too much was crammed into the run time, what with the conflicts over money, renovations, family matters, and publishing. The best parts are also the easiest with which to relate – those involving the characters and the story slowly coming together.

Simon Callow plays John Leech, the famed illustrator of the finished novella, and Miles Jupp adds a bit of twisted fun as Dickens’ rival William Makepeace Thackery. There are some interesting lines that add color, such as, “People will believe anything if you are properly dressed”, and “blood of iron, heart of ice”. It’s these pieces that allow us to view this as a journey of self-discovery for the author, and not just a famous story being assembled. The overall trouble with the film stems from that title. It seems we could have expected more than a tease of what Christmas was at the time, and more specifically how “A Christmas Carol” inspired a revolutionary new approach to the holiday. We are left to connect many dots. In fact, Dickens didn’t so much invent Christmas as allow folks to re-imagine it.

Is “A Christmas Carol” the most famous Dickens story? Arguments could also be made for “Oliver Twist”, “David Copperfield”, “Little Dorrit”, “Nicholas Nickelby”, and of course, “A Tale of Two Cities”. What can’t be argued is the brilliance of the writer and the impact of his books. His passion is evident in his determination to self-publish at a time when such practice was a rare as it is commonplace today. The film is rated PG, but younger kids are likely to be confused with the frenetic approach; however, all ages will get a merry kick out of Mr. Plummer’s Scrooge!

watch the trailer:

 

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Posted by David Ferguson

THOR: RAGNAROK (2017)

October 30, 2017

 Greetings again from the darkness. The ultimate cinematic dilemma … how to make the next comic book movie stand out from the (many, many) others? The brilliant answer comes from director Taika Waititi and co-writers Eric Pearson, Craig Kyle and Christopher Yost – a screwball superhero action film that delivers not only the required alien war scenes, but also a campy villain for the ages in a movie that may be the funniest of the year.

For those who prefer their superheroes dark and brooding, this one will be a shock. Prepare for Jeff Goldblum as the Grandmaster – the most polite villain we’ve seen in awhile, and one who looks to be straight out of the 1960’s “Batman” series. Chris Hemsworth as Thor is one of many returning actors/characters, only this time he really gets to flash his comic timing on top of his Thunder God biceps. His love-hate, trust-no trust, see-saw relationship with brother Loki (Tom Hiddleston) is in full force, as is the Bruce Banner banter with The Hulk (Mark Ruffalo). It’s certainly more in line with GUARDIANS OF THE GALAXY than the previous movies for Avengers.

As much fun as Goldblum brings to the party, this is really Cate Blanchett’s show. She is the frightening (with a dash of camp) Goddess of Death, and long-lost sister of Thor and Loki, and daughter of Odin (Anthony Hopkins). With a headdress that puts everyone at the Kentucky Derby to shame, Hela’s enormous powers are such that she crumbles Thor’s mighty hammer with little effort – just to remind everyone that big sisters are renowned for messing up younger brother’s toys.

Of course, with that title, we know that the story revolves around what could be the end of Asgard. Joining in the fun are: Idris Elba who is back as Heimdall, Tessa Thompson as a master of one-liners Valkyrie, Karl Urban as Skurge – rewarded with a wonderful exit scene, Ray Stevenson returns as Volstagg, and rocky alien Korg who is voiced by director Waititi. Fans of the series will be happy to know other familiar faces pop up periodically – one especially magical sequence teaches Loki a quick lesson.

In addition to the main rescue story line, the powerful villains, and crazy aliens, there are numerous nods and tributes to previous versions (notably Planet Hulk, and Fantastic Four), and a hilarious early stage play with three cameos that make it clear, big time laughter is here to stay. It’s fun to catch the reunions from such previous projects as Star Trek, JURASSIC PARK and Westworld.

Special acknowledgment goes to director Taika Waititi for hilariously taking the comic book film world down a different path. He’s known for his comedic projects like HUNT FOR THE WILDERPEOPLE (one of my favs from 2016), WHAT WE DO IN THE SHADOWS, and his work on the brilliant but short-lived “Flight of the Conchords”. It’s still very much a Marvel movie, with visible fingerprints of Stan Lee, Larry Lieber, and Jack Kirby. It’s also a fantastic adventure film that sets the stage for next year’s AVENGERS: INFINITY WAR, while also featuring the best use ever of Led Zeppelin’s “Immigrant Song”. So get ready to rock, roll and rollick in a film that is just about as much fun as you can have in a theatre.

watch the trailer:

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Posted by David Ferguson

BLADE RUNNER 2049 (2017)

October 4, 2017

 Greetings again from the darkness. Ridley Scott’s original film was released in 1982 and based in 2019. The highly anticipated sequel from Denis Villenueve is being released in 2017 and based in 2049. So we have 35 years between films, and 30 years between story settings. Expect that to be the most complicated part of this review since we were mandated by the studio to follow many rules – write this, don’t write that. Such rules would normally be frowned upon (and even ignored by many), but in fact, this film does such a masterful job of paying homage to the first, while enhancing the characters and story, that we are eager for every viewer to experience it with fresh eyes and clear mind … no matter how tempting it is to talk about!

Obviously, the massive fan base that has grown over the years (the original was not an initial box office hit) will be filling the theatres the first weekend – even those who are ambivalent towards, or adamantly against, the idea of a sequel. The big question was whether screenwriters Hampton Fancher (maybe every writer should begin as a flamenco dancer) and Michael Green would be able to create a script that would attract new viewers while honoring the original film and source Philip K Dick novel, “Do Androids Dream of Electric Sheep?” The answer is not only a resounding yes, but it’s likely even those who usually shy away from science-fiction may find themselves thoroughly enjoying the nearly 2 hours and 43 minute run time (it doesn’t seem too long).

The cast is deep and perfectly matched, and there are even a few surprises (no spoilers here). Ryan Gosling is fun to watch as the reserved K, an expert Blade Runner who tracks and “retires” old model replicants – the Nexus 8’s have been replaced by the more-controllable Nexus 9’s. An early sequence has K in combat mode against a protein farmer named Morton (played by the massive Dave Bautista). With all that is going on in these few scenes, director Villenueve is training us to lock in and pay attention, lest we miss the key to the rest of the movie and K’s motivation for most everything he does from this point on. Robin Wright plays K’s icy Lieutenant Joshi, who administers “baseline” tests to him after every successful mission – just to make certain he is still under her control.

Jared Leto delivers an understated and mesmerizing performance as the God-like Wallace who not only managed to solve global hunger, but also is a genetic engineer creating new beings. Somehow, this is one of Leto’s most normal roles (which makes quite a statement about his career) and yet his character is so intriguing, it could warrant a spin-off standalone film. Wallace’s trusted assistant is the ruthless bulldog mis-named Luv, played by Sylvia Hoeks. Her scene with Robin Wright is one of the best onscreen female duels we’ve seen in awhile. One of the more unusual characters (and that’s saying a lot) is Joi (Ana de Armas), the Artificial Intelligence/hologram companion to K, whose presence is cued by Prokofiev’s Peter and the Wolf notes. Other support work to notice comes in brief but crucial roles by Hiam Abbas, Mackenzie Davis, Carla Juri, Barkhad Abdi and Lennie James.

Who is not listed above? Of course it’s Harrison Ford (as seen in the trailer), who reprises his Deckard role from the original. All these years later, he’s a grizzled recluse who doesn’t take kindly to home visitations. Mr. Ford offers up proof that he still possesses the acting ability that made him a movie star (even if his best piloting days have passed him by). It’s such a thrill to see him flash the screen presence that’s been missing for many years. And yes, fans of the first film will mourn the absence of the great Rutger Hauer, yet there is no need to dwell on one of the few negatives.

The story leans heavily on philosophical and metaphysical questions … just like every great sci-fi film. What makes us human, or better yet, is there a difference between humans and machines that can think and feel? Can memories be trusted, or can they be implanted or influenced over time? These are some of the post-movie discussion points, which are surely to also include the cutting edge cinematography and use of lighting from the always-great Roger Deakins, and the production design from Dennis Gassner that somehow fits the tone, mood and texture of both the first film and this sequel. The set pieces are stunning and sometimes indistinguishable from the visual effects – a rarity these days. My theatre did feature the “shaky seats” that work in conjunction with the sound design … a gimmick I found distracting and more in line with what kids might find appealing.

There was some unwelcome drama a couple of months ago as noted composer Johann Johannsson dropped out and was replaced with Hans Zimmer and Benjamin Wallfisch. The resulting score complements the film without mimicking the original. Ridley Scott, who directed the original BLADE RUNNER (and its numerous versions over the years), was involved as Executive Producer, and to put things in perspective, the first film was released the same year as TOOTSIE and TRON. Denis Villenueve was Oscar nominated for directing ARRIVAL, and he has proven himself to be a superb and dependable filmmaker with SICARIO, PRISONERS, and INCENDIES. He deserves recognition and respect for his nods to the original (Pan Am, Atari) and ability to mold a sequel that stands on its own … and in my opinion, is better than the first. Hopefully stating that is not against the Warner Bros rules.

watch the trailer:

 

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Posted by David Ferguson

CLOSE ENCOUNTERS OF THE THIRD KIND (1977) revisited

September 17, 2017

 Greetings again from the darkness. Despite my fascination and quasi-obsession with movies, the Science Fiction genre has never really appealed to me. Sure, there have been a few dozen exceptions over the years (and it depends how you categorize certain movies), but it’s the non-classics in the genre that just never seem to connect with my love of film. So when Steven Spielberg states that he doesn’t consider his beloved CLOSE ENCOUNTER OF THE THIRD KIND (CE3K) to be a “sci-fi” film, you won’t see me get offended, or even offer a contrary argument. Of course, the difference is that Mr. Spielberg makes his claim based on his belief of life “out there”, while I simply have no desire to defend the category label.

For its 40th anniversary, the film is making the rounds in selected theatres, and the big screen is a must for this gem. Released in the same year and just a few months after George Lucas’ groundbreaking STAR WARS, Spielberg’s follow-up to JAWS confirmed his status as a revolutionary filmmaker, and cemented 1977 as one of the finest movie years of all-time (including ANNIE HALL, SATURDAY NIGHT FEVER, A BRIDGE TOO FAR, JULIA). CE3K would become the first of 7 Best Director Oscar nominations for Spielberg (inexplicably only one win to date).

Spielberg is credited as the writer, though many contributors are “uncredited”: Hal Barwood (now known for video games), Jerry Belson (Emmy winner for “The Odd Couple” and his work with Tracey Ullman), and John Hill (QUIGLEY DOWN UNDER), and Matthew Robbins (CRIMSON PEAK). Paul Schrader and Walter Hill also contributed to the script, making this the veritable vegetable soup of screenplays. The film came at a time when Columbia Pictures was struggling, so in order to remain under budget, Spielberg had to make some compromises on the final version. In a highly unusual development in the movie industry, Spielberg was able to revise, re-edit, and add new scenes to a 1980 re-release of the film – realizing his original vision.

Richard Dreyfuss stars as Roy Neary, a blue collar family man from Muncie, Indiana. With an acting career spanning more than 50 years (many recognize his baby face in THE GRADUATE as he offers to call the cops), it was AMERICAN GRAFFITI that caused his career to take off, leading to JAWS in 1975, and his stellar 1977 with both CE3K and THE GOODBYE GIRL. He later overcame a severe drug habit to star in such crowd favorites as WHAT ABOUT BOB?, MR. HOLLAND’S OPUS and “Madoff”. His wife Ronnie in CE3K is played by Teri Garr, whose acting career also covers more than 50 years, including small roles in five different Elvis movies in the 1960’s and her best known roles in YOUNG FRANKENSTEIN and TOOTSIE (for which she received a Best Supporting Actress Oscar nomination). In recent years, she has had to turn her energy and attention to health issues.

Melinda Dillon stars as Jillian, mother to young Barry (Cary Guffey) who is abducted by the aliens. Ms. Dillon received her first (of two) Oscar nomination for her work in the film, and is still seen annually breaking a leg lamp in the holiday favorite A CHRISTMAS STORY, although she retired from acting ten years ago. Young Mr. Guffey is now 45 years old and hasn’t acted since 1985. Director Stanley Kubrick considered him for the role of Danny in THE SHINING, but ultimately decided on Danny Lloyd, another youngster who decided against remaining in showbiz.

 Francois Truffaut was an Oscar nominated director known for kicking off the French New Wave of Cinema with his all-time classics THE 400 BLOWS and JULES AND JIM, and it was quite surprising to see him cast in the role of UFO expert Claude Lecombe. It’s likely that cinephile Spielberg loved the idea of working with a peer whose work he so admired. Truffaut is a significant screen presence despite his challenges with the English language (which led to “dialogue cheat sheets” throughout filming). Bob Balaban, so familiar to “Seinfeld” fans, plays the translator, while Justin Dreyfuss (Richard’s real life nephew) is the noisy and obnoxious son during the hectic family scene. Roberts Blossom is the one in the film who admits to spotting Bigfoot, and is best known as Kevin’s neighbor in HOME ALONE and the braced-up car seller in CHRISTINE. He was also a well-respected poet before passing away in 2011. Other familiar faces include Lance Henrikson (ALIENS), George DiCenzo (BACK TO THE FUTURE), Carl Weathers (ROCKY), CY YOUNG (OK, more a name than a face), Bill Thurman (Coach Popper from THE LAST PICTURE SHOW), and gas mask salesman Gene Rader, who hails from Paris, Texas.

 Desert discoveries are a key here, and offer more insight into Spielberg’s attention to history. The “lost” plane is a tribute to real life Flight 19 which disappeared in 1945, and The Cotopaxi was a real cargo ship that sunk … both becoming part of Bermuda Triangle lore. Devil’s Tower in Wyoming is also significant here, and it’s Spielberg’s nod to John Ford’s frequent use of Monument Valley in his westerns. Spielberg has admitted to watching Ford’s THE SEARCHERS dozens of times while filming CE3K. Another tribute comes in the form of a wind-up monkey with cymbals. It was previously seen in REBEL WITHOUT A CAUSE, and can also be viewed as a precursor to the infamous clown in POLTERGEIST.

Spielberg acknowledges being inspired by President Nixon and the Watergate scandal. He wondered what else the government might be hiding from us. Remarkably, he gets his point across with a total absence of modern day cynicism. As opposed to what we usually see these days, the military isn’t trying to bomb the mothership and citizens aren’t retreating in a panic to bunkers. Instead, the military is working to keep the public safe (albeit through some sneaky strategy), the scientists are approaching communication through a protocol steeped in research and data gathering, and Dreyfuss and Dillon are trying to figure out why they were “chosen”. Spielberg delivers sweetness and warmth rather than a show of power and might. It’s such a pleasant viewing experience to watch people we like and to whom we can relate.

Some points of interest related to the film include a cameo from famed UFOologist J Allen Hynek, who is seen smoking a pipe as the abductees are released from the mothership. Mr. Hynek actually created the phrases Close Encounters of the First, Second, and Third Kinds. ABC news anchor Howard K Smith is seen since CBS would not grant permission for Walter Cronkite to appear. The film’s stunning visual effects come courtesy of Douglas Trumball, who also collaborated with Stanley Kubrick on 2001: A SPACE ODYSSEY. Of course, the Visual Effects Oscar that year went to STAR WARS, and that speaks to the contrast between the films. STAR WARS is clearly a special effects movie, while CE3K is much more of a character study … a study of human emotions.

 As for other Oscar categories, the film was nominated for 9 total, with the only win going to Cinematographer Vilmos Zsigmond, though it was also awarded a Special Achievement Oscar for Sound Effects Editing. Spielberg was nominated, but Woody Allen won Best Director for ANNIE HALL, and Richard Dreyfuss actually won the Best Actor Oscar that year for THE GOODBYE GIRL. The great John Williams was of course nominated for his iconic 5 note melody (following up his immortal JAWS theme), and he instead won the Oscar that year for … repeat after me … STAR WARS. A quirky note on the music – the “voice” of the mothership was a tuba, not an instrument that typically gets much publicity.

While Stanley Kubrick opted not to show aliens in 2001: A SPACE ODYSSEY, this film not only puts the aliens front and center, it reminds us to keep an open mind to those unfamiliar to us … a lesson that is still important today. The film was named to the National Film Registry in 2007, and seeing it on the big screen allows for the full impact of awe and wonderment. It’s rated PG and can be enjoyed by most ages. Spielberg only asks that you leave the cynicism at home.

watch the trailer:

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Posted by David Ferguson

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