TOP GUN: MAVERICK (2022)

May 22, 2022

Greetings again from the darkness. Heavy on melodrama. Heavy on cockiness. Heavy on fighter jets. Heavy on nostalgia. Check. Everything that we want and expect in the long-awaited sequel to the 1986 film is present. It’s a movie spectacle featuring one of the few remaining bonafide movie stars front and center, as well as breathtaking action sequences that beg to be experienced on the largest screen possible and with the highest quality audio available. Jim Cash and Jack Epps Jr are credited for the characters, while the new screenplay involved collaboration from Ehren Kruger, Eric Warren Singer, Christopher McQuarrie, Peter Craig, and Justin Marks. The original film’s director, Tony Scott, passed away in 2012 at age 68, and Joseph Kosinski (OBLIVION, 2013, also starring Tom Cruise) takes the helm.

Callbacks to the original are plentiful, and we get our first in the opening title card – the same one used in 1986 to explain the “Top Gun” training center. Of course, there is one reason we are here, and that’s Tom Cruise. He was only 24 years old in the original, and now lives and exudes the swagger of Pete “Maverick” Mitchell. When the film opens, Maverick is an extreme test pilot pushing himself and an experimental aircraft to Mach 10, and yes, this goes against the wishes and order of the program’s Rear Admiral in charge played by a curmudgeonly Ed Harris. It’s a shame that Harris only has a couple of brief scenes, but he is the one that informs Maverick of his new orders to return to Top Gun immediately. His new commanding officer is Beau “Cyclone” Simpson (Jon Hamm), who is none too happy about Maverick being back. However, the order came directly from Maverick’s old nemesis/friend, Tom “Iceman” Kazansky (Val Kilmer), now a highly decorated Admiral in failing health.

Maverick is disappointed to learn that he has been brought in, not to fly, but to teach a group of Top Gun graduates how to execute an extraordinarily dangerous mission involving extended high speeds at a low altitude, dropping bombs on the uranium enhancement plant protected by a mountain range, and then immediately elevating to a nearly impossible level to avoid a crash – all while being targeted by the enemies radar and defense system. The enemy goes unnamed so that the movie can remain timeless and avoid any type of political backlash. Plus, this film is about thrills and action, not a political statement.

Being back means Maverick crosses paths with Penny Benjamin (Jennifer Connelly), who was mentioned briefly in the first film as an Admiral’s daughter. She now owns the local bar, has a daughter, races sailboats, and still carries a bit of a torch for Maverick, although she’s quick to bust his chops whenever possible. However, it’s the pilots he’s charged with training that cause the biggest issue for Maverick. One of them is Bradley “Rooster” Bradshaw (Miles Teller). Rooster is the son of “Goose” (played in the original by Anthony Edwards), who flew with Maverick as his Radio Intercept Officer (RIO) and died in an ejection mishap. Rooster holds Maverick responsible and Maverick is still haunted by his friend’s death. Goose is seen in photos and via flashbacks, and Rooster emulates his dad at the bar’s piano. The conflict between Rooster and Maverick adds complications to the mission – and a bit of melodrama to the entire film.

The newbies (and the Navy) consider Maverick a relic of a bygone era, so of course, ‘instructor’ Maverick takes to the sky to strut his pilot stuff. In addition to Rooster, the standouts in the new group include Phoenix (Monica Barbaro), Bob (Lewis Pullman), and Hangman (Glen Powell), the latter of whom, along with Rooster, tries to recreate that symbiotic relationship we originally saw with Iceman vs Maverick. Teller and Powell are both solid, but this aspect never really clicks like the Rooster vs Maverick piece.

We can’t help but notice that the dramatic elements seem to be more of a focus this time around. The biggest impact comes from the scene where Mavericks visits Admiral Kazansky (Iceman) at his home. Despite his well-known physical limitations, Val Kilmer delivers a memorable performance, and the two actors seem to relish this opportunity. The situation is handled with grace, and we are appreciative of Cruise standing firm in his demand for Kilmer to appear in the film. As for the love story between Penny and Maverick, it had to be a bit frustrating for Ms. Connelly to work so hard on an underwritten role, while Jon Hamm’s constant furrowed brow and barking leaves him coming across as little more than jealous of Maverick.

Obviously it’s the fighter jets and aerial sequences that folks will come for, and spectacular and exhilarating are the best words I can find to describe what we see. I was fortunate to see his in IMAX, and if you have one near you, it’s certainly the preferred viewing format. Thanks to the Navy and the training and equipment received by the cast, there is an authentic feel that’s almost throwback in this day and age of CGI. We sense the speed and gravity pulls, even if we are never in peril. The aircraft carrier sequences are mind-boggling, though it’s jets in the air that provide the energy jolt.

Wise-cracking and heartstring-tugging moments fill the screen, and you can relax knowing Kenny Loggins’ “Danger Zone” is back, while Berlin is thankfully not. Sand volleyball has been replaced by some semblance of shirtless and sweaty beach football as a team-builder, and yes, we get the patented Tom Cruise sprints – three times: on a treadmill, during beach football, and in a forest. The familiar sounds of Harold Faltermeyer’s original score are back, this time enhanced by Hans Zimmer and an ending song by Lady Gaga. Those from the original who are absent this time are the great Tom Skerritt, James Tolkan, Kelly McGillis, and Meg Ryan (whose character is mentioned as having passed away). Producer Jerry Bruckheimer is back, though his partner on the original, Don Simpson, died in 1996 at age 52. Deserving of kudos are cinematographer Claudio Miranda, film editor Eddie Hamilton, and those involved with sound, visual effects, and music. For those feeling the need for speed, this sequel delivers; just embrace the cliches and familiarity, and predictability.

Only in theaters (as it should be) Friday May 27, 2022

Here is my link to my 2013 article when I revisited the original TOP GUN

WATCH THE TRAILER

Leave a Comment » | Action, Drama, Thriller | Tagged: , , , , , , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

HOUSE OF GUCCI (2021)

November 22, 2021

Greetings again from the darkness. I’ve never purchased or owned anything Gucci, but that didn’t prevent me from enjoying the heck out of Ridley Scott’s film that brings the longest, most expensive and dangerous real life episode of ‘Family Feud’ to the big screen. It’s co-written by Becky Johnston and Roberto Bentivegna, and is based on the 2001 book, “House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed” by Sara Gay Forden. Brace yourself for a (mostly) true wild ride, and for what is likely to be one of the year’s most divisive films – plenty of love and hate (just like the actual story).

What happens when a brand is so closely associated with a family name? The arguments begin on who ‘deserves’ to be a Gucci, who is a ‘real’ Gucci, and who should make the decisions that impact the Gucci family and business wealth and reputation. During the extended run time (2 hours, 37 minutes), we see many of the iconic Gucci items: the Flora scarf, the moccasins, the bamboo bag, and the watches. And though high fashion is always present, director Scott has delivered a spectacle of romance, family riffs, extravagance, greed, power, betrayal, revenge, and crime.

Lady Gaga (Oscar winner, A STAR IS BORN, 2018) stars as Patrizia, the newest Gucci. Hers is not blind ambition, but rather calculated and laser-focused. That she implodes a dysfunctional family is only a portion of the story. After marrying Maurizio Gucci (Adam Driver), Patrizia immediately begins manipulating her husband into reconciling with his family and taking on an active role in a business for which he previously had little interest. This is simply step two (the first was marriage) in her grand scheme to control the business and the money. Maurizio’s father Rodolfo (Oscar winner Jeremy Irons, REVERSAL OF FORTUNE, 1990) is ailing, so it’s Uncle Aldo (Oscar winner Al Pacino, SCENT OF A WOMAN, 1992) to whom Patrizia directs her attention. She plays it like a chess match – only this is more entertaining to watch unfold.

Also in the picture is Paolo Gucci (a truly unrecognizable Jared Leto, Oscar winner, DALLAS BUYERS CLUB), Aldo’s son, and a family outcast. Paolo is a wildly creative individual who tends to his pet pigeons and tries desperately to find his place in the family. Jack Huston plays Dominico De Sole, Rodolfo’s consigliere and the family attorney. Each of the characters is given their time in the spotlight, including a terrific breakfast scene with Pacino and Irons. Of course this is mostly Patrizia’s story, so it’s Lady Gaga’s performance that will attract much of the attention and commentary. I found her mesmerizing and twisted fun to watch as she proceeded with backstabbing and trickery. Driver’s quietly intense approach makes the perfect contrast to hers.

If you are familiar with the story, you know that Maurizio does eventually run the company, and he also tires of Patrizia’s family-crushing antics … which send him back into the arms of Paola Franchi (Camile Cottin, STILLWATER, 2021). This turns the campy and juicy melodrama factor up to 11 (on the Spinal Tap scale). Patrizia’s frequent trips to fortune teller and TV psychic Pina Auriemma (Salma Hayek) cause a massive tonal shift in the film, leading to the well-documented conclusion. If all this isn’t strange enough, Ms. Hayek is the real-life spouse of the CEO of Gucci’s present-day parent company, Kering. Reeve Carney (“Penny Dreadful”) has a small, yet vital role as up-and-coming fashion designer Tom Ford.

In this movie, it’s easy to describe some performances as hammy or over-the-top, but that’s likely to only hold as a first reaction. Leto’s characterization of Paolo sticks out so much from the others … but he was known as eccentric, and at best, was patronized by the family. It seems highly likely that his personality and approach stood in stark contrast to the old-school style of his father Aldo, or the more staid personalities of his Uncle Rodolfo and cousin Maurizio. Lady Gaga as Patrizia is cunning and shrewd in her calculated approach to re-structure the family and the business. She plays whatever games she must to get where she wants to be. I found her first half performance to be truly outstanding. Pacino is the actor who has trademarked hammy performances over the years, yet here, he fully grasps his role and character, and is a delight to watch.

Much of this is documented by history, though the Gucci family claims not all is or was how it seems. Whether the boost in counterfeiting/knock-offs went down in the 70’s and 80’s as it’s portrayed here, might be an area worth researching, but this is much less a case study in business principles as it is one in family dynamics. I’ll certainly understand those who argue against the story structure here, but the entertainment value proved to be enough for me. As the Gucci tagline goes, “Quality is remembered long after price is forgotten”, but the backstabbing and disloyalty is never forgotten – despite providing great theater (and fashion).

Opens in theaters on November 24, 2021

WATCH THE TRAILER

2 Comments | Drama | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

OSCARS 2019 recap

February 25, 2019

OSCARS 2019 recap

 The Academy missed their goal of a 3 hour presentation, but only by 17 minutes! Ratings were up (over last year) and diversity was on full display, so it seems most can agree that things went pretty smoothly without a host. Despite some recent bungled decision-making, followed by a social media outcry which resulted in decision reversals, the Academy deserves credit for a fine presentation that featured more diversity than ever before. The days of #OscarSoWhite seem to be over.

I trust you didn’t come here to read yet another rant about why a certain award proves how out of touch the Academy is. Nope, I like movies and prefer to view the Oscars as a celebration rather than a political statement. By the time the final envelope was opened, all 8 Best Picture nominees had won at least one Oscar. Additionally, two other excellent films, IF BEALE STREET COULD TALK and FIRST MAN, also won awards (Best Supporting Actress and Visual Effects, respectively). Spreading the major award love over 10 different films speaks not just to the diversity, but also the deep lineup of quality filmmaking during 2018.

As always, the ceremony provided some fun talking/debating/arguing points. Queen opened the show with Adam Lambert proving how remarkable Freddie Mercury’s voice was, while Brian May showed us he still plays a mean guitar. Best Actor winner Rami Malek fell off the stage after giving his speech. Fortunately, he wasn’t seriously hurt. Melissa McCarthy (and a puppet) and Brian Tyree Henry fully and elaborately committed to their duties as co-presenters of Best Costume. Despite not being present, the omnipotent Oprah made an appearance – via the montage of 2018 films (from her bomb A WRINKLE IN TIME), and we saw a live quasi-reunion of WAYNE’S WORLD with Mike Myers and Dana Carvey (sans wigs and head-bobbing). Spike Lee finally won an Oscar (Adapted Screenplay for BLACKKKLANSMAN), and then proceeded to bogart the microphone from his equally deserving co-writers, before throwing a tantrum when GREEN BOOK was announced as Best Picture.

 Of course, the most Tweeted about moment came when Bradley Cooper and Lady Gaga took the stage to sing their (now Oscar winning song) “Shallow” from A STAR IS BORN. It was a very intimate duet that, had there been one more verse, might have resulted in clothes being shed on stage. The aforementioned diversity resulted in the most presented Oscars for both African-Americans and Women, and with presenter Michael Keaton being the only white male to take the stage solo. Barbra Streisand (presenting BLACKKKLANSMAN rather than A STAR IS BORN) somehow escaped backlash after comparing herself to Spike Lee … see they are both from Brooklyn and like hats; although we aren’t sure if Babs greeted her superfan, nominee Richard E Grant. And poor Christian Bale – no way that room was ever going to vote for Dick Cheney, regardless of how remarkable his transformation and performance.

Olivia Colman (THE FAVOURITE) won the Best Actress Oscar over Glenn Close (THE WIFE). This was Ms. Close’s 7th Oscar nomination without a win, keeping her one ahead of fellow nominee Amy Adams (VICE). However, neither of them gained ground on songwriter Diane Warren whose nomination for “I’ll Fight” (RBG) was her 10th without a win. It should also be noted that Ms. Colman’s acceptance speech was the funniest, most charming and most heartfelt of the evening. In contrast to Ms. Close, Ms. Adams and Ms. Warren, Regina King was thrilled to win the Best Supporting Actress Oscar with her first ever nomination (IF BEALE STREET COULD TALK).  In a show of ultimate class, Congressman John Lewis presented Best Picture nominee GREEN BOOK, and we could be certain a man with his perspective and role in history, would not partake in any tantrum throwing.

 Mahershala Ali (GREEN BOOK) won Best Supporting Actor for the second consecutive year, and Alfonso Cuaron won 3 Oscars (Best Director, Cinematographer, Best Foreign Language Film) for his autobiographical masterpiece ROMA. Also winning 3 Oscars on the night were BLACK PANTHER (Costumes, Production Design, Score) and GREEN BOOK; however, it was BOHEMIAN RHAPSODY with 4 wins that walked away with the most statuettes. Even those who are upset by GREEN BOOK’s Best Picture win must agree that it was a much smoother end to the evening than last year’s debacle and mix-up.

***Note: although there were a few political barbs tossed in throughout the evening, President Trump’s name was never mentioned on the broadcast. This allowed the focus to remain mostly on the nominees and the films … and the plug for the under-construction Academy museum (opening someday). .

 

Leave a Comment » | Articles | Tagged: , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

A STAR IS BORN (2018)

October 4, 2018

 Greetings again from the darkness. This is the 4th iteration I’ve seen of A STAR IS BORN. First there was writer/director William Wellman’s original version in 1937 which won the Oscar for Best Original Story, had 6 other Oscar nominations (including Best Picture), and starred Janet Gaynor and Frederic March (he playing a veteran actor and she a starlet). Next came the 1954 remake with James Mason and the fabulous Judy Garland (he playing a veteran actor, she an upcoming singer/actress). Both were nominated for Oscars, and the film was directed by George Cukor (10 years later would win an Oscar for MY FAIR LADY). 1976 brought the second remake (third version), this one starring Barbra Streisand and Kris Kristofferson. It won a Best Song Oscar for Paul Williams, and was directed by Frank Pierson, known best for writing the oft quoted line “What we’ve got here, is a failure to communicate” from COOL HAND LUKE (he also won a Best Screenplay Oscar for DOG DAY AFTERNOON). So perhaps it’s understandable that 81 years after the original, Bradley Cooper chooses this familiar story for a generational update and his directorial debut.

When it’s announced that a new version of this story is being made, the obvious first question anyone asks is ‘Who did they cast?”  Many were surprised when it was learned that Bradley Cooper had cast himself, and that Lady Gaga would take on the female lead. Sure, we all know Bradley Cooper as an Oscar nominated actor from SILVER LININGS PLAYBOOK (2012), AMERICAN HUSTLE (2013), and AMERICAN SNIPER (2014) … but can he SING?  And yes, many had seen Lady Gaga in TV’s “American Horror Story”, but could she possibly carry a major film – sans heavy make-up and gimmicky stage gadgetry?

The audience reactions are in. Bradley Cooper and Lady Gaga blow away the 1976 version, and where they rank versus the other two versions, comes down to personal preference. Mr. Cooper delivers an odd, yet effective, performance as the boozy, aimless rocker Jackson Maine. Not only does he mimic Sam Elliott’s speaking voice and cadence, his performance seems purposefully close to that of Kristofferson from 42 years ago. The great Sam Elliott does play Cooper’s (much) older brother, so the oratory choice makes some sense … it’s just a bit off-putting at first. Cooper is believable as the rocker thanks to his stage presence and charm. We never doubt Jackson Maine is a rock star.

The most stunning and pleasant surprise here is Lady Gaga as Ally. For anyone who still thinks of her in terms of raw meat fashion at industry events, prepare yourself for astonishment. Her beautiful and powerful voice is on full display throughout the film. In fact, her songs and singing are the highlights of what is a terrific film that should have wide appeal. The first song she sings, “La Vie en Rose” (made famous by Edit Piaf) is quite simply jaw-dropping in its beauty.

Ally is a pretty grounded woman from humble means. She works as a waitress and sings whenever she can … having been held back from pursuing her dreams by a well-meaning father (Andrew Dice Clay) who says she doesn’t have the looks to be a star. Ally has a Carole King “Tapestry” poster on her bedroom wall, and we soon learn she could probably sing most any song from that classic album and make it her own. When Jackson and Ally meet, a complex romance and professional partnership forms. We know those rarely end well. As Jackson shuns his protective brother, battles an ever-worsening hearing issue and a self-destructive drinking problem, Ally tries to remain loyal to the man she loves … even as her own career explodes down a path Jackson barely recognizes.

In addition to the aforementioned Dice Clay (surprisingly subtle here), there is a musical duet with Marlon Williams (in the Roy Orbison tribute) and Presley Cash, and surprising supporting characters played by Dave Chappelle and Eddie Griffin. Probably not as surprising, Jon Peters is listed as a Producer on the film. If you are unfamiliar with Mr. Peters, he was once a hairstylist to celebrities and in the early 1970’s fell in love with Barbra Streisand. His first credit as Producer was for her film … you got it … A STAR IS BORN (1976).

Mr. Cooper does a nice job tackling such a large scale and familiar project for his first directing gig, and we are certainly appreciative of his avoiding inclusion of Streisand’s “Evergreen”, and instead showcasing the talents of Lady Gaga. It’s likely Lady Gaga will receive a bit more credit for her acting than is probably deserved (an Oscar nom is possible), but her impact on the movie cannot be understated. Bradley Cooper’s next project as actor/director has been announced as BERNSTEIN, where he will play the great composer Leonard Bernstein. Kudos to Cooper for dreaming big!

watch the trailer:

Leave a Comment » | Drama | Tagged: , , , , | Permalink
Posted by David Ferguson

OSCARS recap (2015)

February 23, 2015

oscars6 Greetings again from the darkness. “Stay weird and stay different” is the main takeaway from this year’s Oscars presentation. Not only was that the heartfelt and emotional plea to kids made by Adapted Screenplay winner Graham Moore (The Imitation Game), but it also describes Best Picture winner Birdman Or (The Unexpected Virtue of Ignorance).

The Academy seems to suffer from a multiple personality disorder in trying to decide what to do with the ceremony. Is it a formal and dignified event to honor the nominees? Is it a celebration of the artistic and historic sides of cinema? Is it an opportunity to entertain the tens of millions of TV viewers who tune in each year? Not knowing the objective makes it very difficult to be successful, which leads to a too-long mish-mash of all three approaches further muddled by the 30-second political statements offered up by millionaires whose words probably carry less weight than they believe, but more than they should.

As a movie lover, what draws me to the telecast is the celebration of cinema, so my favorite segments included: the brilliant opening number entitled “Moving Pictures” as performed by emcee Neil Patrick Harris, with an assist from Anna Kendrick, Jack Black, numerous costumed dancers, some terrific special effects, and clips from many iconic movies; the beautifully sung melody by Lady Gaga as a tribute to the 50th anniversary of The Sound of Music – with an appearance from Julie Andrews; and the first time ever that each movie nominated for Best Picture (all 8 of them) went home with at least one Oscar.

Of course there were also segments which I did not enjoy so much: an ultra-creepy John Travolta pawing at Idina Menzel’s face a year after butchering her name on stage; a lackluster Birdman parody by Neil Patrick Harris that paled in comparison to the recent work of Fred Armisen (Indie Spirit Awards) and Sesame Street (with Big Bird); the cut away shots to Michael Keaton chomping his chewing gum like a junior high kid; and the multitude of lame jokes (and absurd pre-show predictions) by Mr Harris that could have been excused if not for the poorly timed zinger directed at the dress choice of an award winner who had just moments before disclosed the suicide of her child.

Emotions always run high in a room full of artists, and the live performance of “Glory” from Best Picture nominee Selma was quite impressive … from the infamous bridge setting, to the vocals of Common and John Legend, to the dozens of folks who joined them onstage (Note: they were given much more time than the other live performances of nominated songs). Also registering high on the emotional meter were: Patricia Arquette’s call for pay equality, Eddie Redmayne’s pure joy at winning Best Actor, and the excitement, pride and perspective shown by Ida director Pawel Pawlikowski  towards his home country of Poland.  On the other end of the emotional spectrum, how does it make sense that sourpuss Sean Penn tries to crack wise with an ill-timed joke, while “comedian” Eddie Murphy reads the list of nominees like he is checking inventory at Home Depot?

On a personal note, my favorite film of the year was Boyhood, and while I am not upset that my second favorite film of the year won Best Picture, I do wish director Richard Linklater had received more accolades for his unique and extraordinary project. It was nice to see two screen veterans and professionals like Julianne Moore and JK Simmons take home their first Oscars, and I was ecstatic to see so many awards go to Wes Anderson’s beautiful The Grand Budapest Hotel and the frenetic Whiplash. We should all welcome the notice given to international talents like Emmanuel Lubezki, Alexandre Desplat and the previously mentioned Eddie Redmayne.

Alejandro Inarritu was the big winner of the night for his ground-breaking work on Best Picture winner Birdman Or (The Unexpected Virtue of Ignorance) and on one of his trips to the stage he articulated a point of which I fully agree. He talked about how in the world of art, “works can’t be compared”, and when he has completed a project, it is that moment when he feels like he has succeeded. That is the heart of why the Academy remains confused about how to treat this event. The work of one actor cannot be objectively compared to that of another. No movie can fairly be determined superior to another. By their nature, works of creativity and art impact each of us differently, and the real test is … were we moved? Were we touched? Did the work cause us to think? Each of these things is more important than a shiny statuette … unless it’s one of those Lego Oscars, which, regardless what was contained in the $160,000 swag bags, were the absolute coolest item given away at the Dolby Theatre!

oscars7

Leave a Comment » | Articles | Tagged: , , , , , , , | Permalink
Posted by David Ferguson