TICK, TICK … BOOM! (2021)

November 18, 2021

Greetings again from the darkness. Success comes in many shapes and sizes. Sometimes it brings happiness, glory, and financial gain, while other times there is an emptiness or sadness. Who better than Lin-Manuel Miranda (of “Hamilton” fame) to direct the cinematic tribute to composer and playwright Jonathan Larson? You likely know Larson’s name from his long-running Broadway smash hit, “Rent”, but this is his autobiographical project based on his early struggles in trying to write the next great American musical. It has been adapted for the screen by Steven Levenson (“Fosse/Verdon”).

Opening in January 1990, a full (i.e., long) version of Larson’s “30/90” song kicks us off with singing, dancing, and choreography. It’s important to note that this was the era of AIDS raging through the New York arts scene – people were dying, and friends were frightened. Andrew Garfield leaps into the role of Jon, sporting Cosmo Kramer hair, and a boundless, frenetic energy that overshadows his friends and loved ones. Jon is in full panic mode as his 30th birthday approaches and he rushes to finish his futuristic rock-musical “Superbia”, which he expects will be his springboard to stardom. In the meantime, he works at the Moondance Diner while remaining committed and obsessed with his art.

Director Miranda adds a structural element with cut-aways to Jon (Garfield) performing his own musical onstage at New York Theater Workshop. However most of the run time is focused on Jon’s writer’s block associated with the final song he must write. His idol, the legendary Stephen Sondheim (Bradley Whitford) advised him of the importance, and we aren’t sure if the block stems from this or the fact that it’s the final missing piece. Garfield is exceptional as the self-absorbed, and obviously talented Jon. As his friend and roommate Michael (Robin de Jesus, THE BOYS IN THE BAND, 2020) has surrendered his dream of art for a well-paying advertising job, it’s clear that Jon still believes art can change the world.

Alexandra Shipp (LOVE, SIMON 2018) plays Susan, Jon’s dancer-girlfriend. She also is considering the reality of a teaching job versus the dream of performing, yet Jon is too immersed in his own work to take heed of her warnings. He is so against ‘selling out’ that he even cruelly debates Michael on the pursuit of creature comforts. Of course, much of this would eventually lead Larson to write “Rent”, but this film doesn’t cover that period. Vanessa Hudgens (HIGH SCHOOL MUSICAL franchise) and Broadway standout Joshua Henry perform much of the singing here, but Garfield holds his own on the musical and dance numbers.

Other supporting roles are filled by Judith Light as Jon’s agent, Rosa Stevens, and Richard Kind as a both-sides-of-his-mouth stage critic, while director Miranda makes a cameo as a short order cook at the diner. The challenges of New York City life in the art world are clearly shown here, and mostly this is a loving tribute to Jonathan Larson by his admirer Lin-Manuel Miranda … with an exciting performance from Andrew Garfield. It’s an entertaining production that never pretends to offer up inspiration or false hope to the dreamers in the audience.

Streaming on Netflix beginning November 19, 2021

WATCH THE TRAILER


BAD BOYS FOR LIFE (2020)

January 16, 2020

 Greetings again from the darkness. “Whatcha gonna do when they come for you?” In this third entry of the franchise, those song lyrics are what we are asking cocky and aging Miami detective Mike Lowery (Will Smith). An old case comes back to haunt him and a scorned lover comes back to hunt him, and he may or may not have his old reliable partner Marcus Burnett (Martin Lawrence) by his side.

It’s been 25 years since director Michael Bay introduced us to ‘Bayhem’ with his first feature film, BAD BOYS. It took another 8 years for the sequel BAD BOYS II, and now 17 years later, we get this long-anticipated third film. Only instead of Michael Bay (who is listed as a producer and makes a cameo), Belgian directors (and former film school buddies) Adil El Arbi and Billal Fallah are directing. Fans of the franchise need not be worried, as the two expected and necessary elements are present: partner banter and Bayhem action.

Detective Mike Lowery (Smith) is an old school bull with a badge, and Detective Marcus Burnett (Lawrence) is simply ready to ride off into the sunset of retirement as Pop-Pop with family, including his new grandbaby. Also back for his third run with the bad boys is stressed out Captain Howard played by Joe Pantoliano and the ever-present Pepto Bismol.

Isabel Aretas (Kate del Castillo) is sprung from jail in Mexico by her son Armando (Jacob Scipio). Mother and son have two missions: take back their drug cartel, and take revenge on those responsible for her arrest and the death of Isabel’s husband. Oh yeah, Isabel is part-witch and a former lover of rookie cop Mike Lowery. What a tangled web … and that’s without including another surprise twist. Their revenge checklist includes many Miami dignitaries … and a vow to make Lowery the last to die.

There is another surprise near the beginning of the film, and that motivates Lowery to get involved to help solve the string of murders – not yet aware that he’s on the list. Of course Detective Burnett is drawn out of retirement and they are forced to work with a new Special Forces team called AMMO. Surprisingly, neither of the ‘Ms” stand for Millennial, and instead it’s Advanced Miami Metro Operations. The team is led by Rita (Paolo Nunez), another former Lowery lover, and includes badass Kelly (Vanessa Hudgens), hulky computer whiz Dom (Alexander Ludwig), and wise-cracking Rafe (Charles Melton) as a verbal sparring partner for Lowery.

What follows is car chases, shootouts, fancy weapons, drones, and helicopters. And lots of one-liners at stressful moments. Lawrence is especially effective with the banter, and fans will be happiest when he and Smith are jabbing back and forth. This time, much of their grief towards each other focuses on mortality and growing old. The partners are close, but their life philosophies vary greatly. Of course we do get the fiery finale, and this one involves a helicopter and a stunning hotel that’s been left in ruins.

Chris Bremner, Peter Craig, and Joe Carnahan (originally slated to direct) wrote the script, and for the most part stays true to what the fans want – banter and action – while making note of the 17 years that have passed for these bad boys, “Ride together. Die together” always seemed like an absurd phrase for two cops, but the partner dynamics are in full force here, even though this movie (as well as the other two) are closer to live action cartoons than an actual police thriller. The end credits scene sets us up for BB4, and if they wait another 17 years, I calculate Will Smith will be 68 years old. Instead of a Porsche, he’ll be driving a Buick.

watch the trailer:


SUCKER PUNCH

March 29, 2011

 Greetings again from the darkness. I am actually a fan of director Zack Snyder‘s two most recent films: 300 and Watchmen. Because of those films, I was really looking forward to what he would do with his first original piece. Two things are now very clear. First, Mr. Snyder is a visual virtuoso with film. Secondly, he is not much of a writer.

I’ll start with the bad news. I was stunned at how lousy the story and script were. Some of the dialogue is so bad it comes across as purposefully dumbed down. If that is the intention, then I must ask WHY? It’s clearly not a movie for little kids, so most over aged 13 are quite capable of following a story. Therein lies the biggest problem. There isn’t even a story! The ending makes absolutely no sense and the road to that ending just makes you happy it’s over … no matter the dumb ending.

 The good news is that Mr. Snyder’s visual effects do not disappoint. There are some terrific battle scenes and one of the coolest on screen dragons you’ll ever see. The film is very dark and muted in colors (think Sin City) but that works for the dream sequences and the asylum interiors. Very little color is present other than just before the dance sequences. Speaking of, what’s with the dance sequences? If Baby Doll’s dancing is the key to the film, shouldn’t we get more than just a head-bob?

 The premise is that Baby Doll (Emily Browning) is cast away to an asylum by her step-father. She has five days to escape or she faces a lobotomy. Yes, really. She quickly discovers that her dancing has a mesmerizing effect on all those watching and she can escape into her fantasy world. While there, she meets a Wise Man played by Scott Glenn in a role that would have been perfect for the late David Carradine. The Wise Man tells her what to do to gain her freedom and she quickly enlists the help of some other inmates: Sweat Pea (Abbie Cornish), Rocket (Jena Malone), Blondie (Vanessa Hudgens)and Amber (Jamie Chung).

The asylum has an even darker side as run by Blue (Oscar Isaac). He forces Dr Vera Gorski (Carla Gugino) to teach the girls to dance so as to entertain “high rollers” who pay big bucks to Blue to spend time with the girls. Gugino plays her character like a rip-off of Natasha Fatale from the old Bullwinkle cartoons. Blue is just a weaselly bad guy who brings nothing to the film … and this film needed a top notch bad guy.

The actresses all seem like they really are into their roles and enjoy the physicality required for the fighting and action scenes. Cornish especially comes off well. Browning in the lead as Baby Doll brings no real baggage to the role as most won’t recognize her. Jena Malone has been an indie film favorite for years and Ms. Hudgens is trying to find a new audience after the High School Musical films.

 This movie was pitched as “Alice in Wonderland with machine guns”. I believe that is a slap to the face of Lewis Carroll. Watching this movie is like watching someone else play a video game … or a two hour music video of a terrible song. So if you must see it, enjoy the visual effects and don’t think too much about what the characters say or why they do what they do. And let’s all hope that Mr. Snyder’s visuals payoff for next year’s Superman movie … and be glad that Christopher Nolan is working on that script!

SEE THIS MOVIE IF: you live for special effects and video games on the big screen OR you want to see a really cool dragon fly around for about 3 minutes.

SKIP THIS MOVIE IF: non-sensical dialogue and a junior high script cause you to scream obsenities (it’s not worth getting arrested)