A Reel Review: ALL THE MONEY IN THE WORLD

The primary point of discussion about Ridley Scott’s true-life story about the 1970’s Getty kidnapping has been the 11^th-hour recasting of lead actor Kevin Spacey. With just over a month before release, Spacey, in the pivotal role of J. Paul Getty, was completely cut out of the film and replaced by Christopher Plummer. It was an unprecedented move for Ridley Scott or any other director, and besides completing the film on time (which they did), the question became if the reshooting and re-editing would be seamless enough to save the film.

Billionaire J. Paul Getty (Plummer), refuses to pay the ransom for his kidnapped grandson Paul (Charlie Plummer), and assigns his oil negotiator Fletcher Chase (Mark Wahlberg), to assist Paul’s mother Gail (Michelle Williams) in finding the boy.

ALL THE MONEY IN THE WORLD is a nice mashup of several genres of film; ranging from a caper, family drama, to global espionage. After the well-executed kidnapping scene, the film goes into extended flashback mode to detail the dynamic of the Getty family; exploring the rise to riches and the testy relationship J. Paul has with his son, daughter-in-law, and grandsons. It seems by the book, but this does great work in establishing J. Paul as a complicated man; rich but penny-pinching, and a want to keep family close not out of love but out of a desire to own things.

Once the backstory is out of the way and the film catches up with itself, Scott shifts gears into a globe-trotting exercise as things dizzyingly zip around from continent to continent, following Chase and Gail as they negotiate with the kidnappers with or without the money of J. Paul. After such great character work in the early goings, MONEY grows cold as those characters are kept at a distance in favor of the important events of history. The film ticks away from setpiece to setpiece, location to location, argument to argument…with very little character work done. There are few laughs and not many tears to be had here despite family being the center of things.

Still, Ridley Scott puts together a hell of a film. Tension is built beautifully; from the kidnapping, an escape attempt, and the white-knuckled climax with all interested parties converging nicely. Pacing is brisk with very few dull moments, and the film looks fantastic. The million-dollar-question of the Plummer edits is that for the most part, the editing is seamless. There is one shot where Plummer is superimposed via green-screen which looks really bad, and Spacey may actually be seen in one wide-shot, but everything else is perfect and impressively done.

Acting is excellent. Christopher Plummer puts in one of his best performances in his long and storied career. He’s ruthless and cold but complicated, and Plummer draws us in. Mark Wahlberg doesn’t get a lot of heavy lifting but is fine, and Charlie Plummer as the kidnapped kid goes through a lot and does very well. But the film absolutely belongs to Michelle Williams, who as the frenetic and heartbroken mother goes through every bit of emotion there is.

Anyone who is familiar with the true events of the kidnapping won’t be overly surprised at the third act or the finale (despite some major liberties taken), but the journey to get there is well worth it. ALL THE MONEY IN THE WORLD isn’t much of a character piece and certainly won’t warm any hearts, but it is a solid telling of an often forgotten part of history.

BOTTOM LINE: See it

A Reel 10: THERE WILL BE BLOOD

“I have a competition in me. I want no one else to succeed.”

This month marks the 10^th anniversary of Paul Thomas Anderson’s THERE WILL BE BLOOD.

Loosely based on Upton Sinclair’s novel Oil!, THERE WILL BE BLOOD follows a ruthless oil-man on his quest for wealth during Southern California’s oil boom of the late 19^th and early 20^th centuries. It was a tale of greed which led to a lust for power at all costs, even at the expense of family.

In 2007, writer and director Paul Thomas Anderson had already cemented his reputation as one of cinema’s most interesting filmmakers, existing on the fringes of mainstream Hollywood with finely crafted films with quirky characters…while exploring love, family, and the debauchery of the 1970’s. His films had elements of fun and zany while maintaining serious themes, but the world was unprepared for what was coming in December of that year.

A few years before, Anderson was working on a screenplay of his own about two warring families, but was struggling with the idea. He picked up a copy of Sinclair’s novel having been drawn by the cover art, and immediately fell in love with it. He began adapting the novel to the screen, and spent countless hours in museums researching the early workings of oil mining from the era. He wrote the script with actor Daniel Day-Lewis in mind, who, like Anderson, had cemented his reputation as one of cinema’s finest actors. The rest of the cast was rounded out with Ciaran Hinds, Kevin J. O’Connor, and Dillon Freasier. Paul Dano was cast in the role of twin brothers late into production.

It would take nearly two years for BLOOD to go before cameras, as studios did not feel the film had the scope of a major motion picture. Once financing was finally secured, filming began in 2006 in Texas and took three months. Daniel Day-Lewis, ever the method-actor, once again stayed in character between takes, and immersed himself in research by studying photographs, reading letters from actual oil miners and workers, and reading up on oil tycoons that the novel was originally based on. The score was provided by Johnny Greenwood of Radiohead.

The results were stunning. With Anderson’s layered storytelling and the breathtaking cinematography by Robert Elswit, THERE WILL BE BLOOD was a critical darling and Anderson immediately drew comparisons to past master filmmakers such as Stanley Kubrick, David Lean, and John Huston. It would appear on many top 10 best-of-the-year lists, and today on many best-of-the-millennium lists. It was one of the most nominated films during awards season, including eight Academy Awards…including Best Picture, and a Best Actor win for Daniel Day-Lewis, and Best Cinematography for Elswit. Day-Lewis would also win a Golden Globe and BAFTA Award. Today, it is among the highest-ranking 21^st century films in the British Film Institute’s Sight and Sound poll, and named the “Best Film of the 21^st Century So Far’ by The New York Times.

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Each person has at least one film in their life that changes the way they look at movies. For this Blogger, there have been five, and THERE WILL BE BLOOD is one of them. On the surface it is a tale of greed and aggressive capitalism, but deeper than that it is a story of a lust for power…with the characters belonging to Day-Lewis and Paul Dano taking on the roles of God and the Devil; locked in an immortal battle for the souls of everyone around them. It is also a piece of forgotten American history, where pioneers pushed out west in what is now a vanished frontier. With that, the film has endless staying power. When Reel Speak compiled a Best of the Millennium list in 2015 (HERE), choosing a masterpiece for the top spot was an easy one. This is a prime example of great cinema.

“I drink your milkshake!”

A Reel Review: DARKEST HOUR

The Second World War has provided cinema with endless stories for over 70 years, and in the past decade we have been treated with an unofficial “series” of films detailing the British involvement in the global conflict. These films have explored leadership (THE KING’S SPEECH), codebreaking (THE IMITATION GAME), and the battlefield (DUNKIRK). With director Joe Wright’s DARKEST HOUR, we are treated to a behind-the-scenes look at the hard decisions made during the uncertain early days of the war, mostly made by one man.

In 1940, as Hitler’s massive forces begin to close in on Europe, Winston Churchill (Gary Oldman) is named Prime Minister by King George VI (Ben Mendelsohn). As Churchill tries to organize the war effort, he is pressured by his own party to negotiate a surrender with Germany, while his own feelings tell him to fight for his country.

Franklin D. Roosevelt, who was the U.S. President during WWII, once said that “war is young men dying and old men talking”. DARKEST HOUR seems to hang its hat on this quote, as the bulk of the film is spent with politicians battling it out in dark war-rooms and conference halls, with very little war-time action shown. Far from the typical Hollywood biopic, the film focuses on Churchill’s struggles to earn respect from his own party and people, most of whom believe he was completely unqualified for the massive task of handling the war effort. A lot of tug-of-war is going on, with Churchill torn between going for negotiations or fighting on, with the former option possibly not in the best efforts of his country, and the latter guaranteed to cost many, many lives.

Churchill is front-and-center of it all, as he should be, and he is shown as a complex character who is loyal to king and country but seriously flawed. He’s blunt and oafish, drinks too much and is likely to insult everyone in the room. He finds support in his wife (Kristin Scott Thomas) and his personal typist (Lily James), and in the intimate moments where he lets his rough shielding down, he’s revealed as a man full of heart. He literally has the weight of the world on his shoulders, and we feel it all times.

Director Joe Wright does great work in keeping the pressure on, the clock ticking, and the constant feeling of isolation. The stakes are enormously high, and despite being a film with very little by way of action, it is always engaging. It is shot and edited beautifully, and Dario Marianelli’s score is excellent.

Acting is superb. Gary Oldman vanishes into the character and gives us the best performance of his career. The thick prosthetics he wears are no issue and he powers right through it. His character is funny, witty, and rude…but still a towering figure and an iconic performance. Kristin Scott Thomas, as Churchill’s loyal wife, is up to the task of matching up with Oldman, as is Lily James, who as a newcomer to her typist position, acts as an audience surrogate to guide us through the complexities of the time. Ben Mendelsohn makes the character of King George VI his own, and resists the temptation to mimic portrayals that have come before him.

A good bulk of DARKEST HOUR deals with the crisis on the beaches of Dunkirk, a situation in which nearly the entire British army was wiped out. It’s a pivotal part of Churchill’s time as PM, and the film gives us a behind-the-curtain look at what was going on in the war-room, making DARKEST HOUR a perfect companion piece to Christopher Nolan’s DUNKIRK of this year. Knowing that isn’t a requirement to enjoy DARKEST HOUR, but it is a slight enhancement, as this film does stand tall on its own as a unique and powerful entry into WWII cinema.

BOTTOM LINE: See it

A Reel 20: TITANIC

“I’ll never let go.”

This month marks the 20^th anniversary of James Cameron’s TITANIC.

In the early 1990’s, James Cameron had established himself as one of the most exciting directors in Hollywood; having wowed audiences and critics with THE TERMINATOR (1984), ALIENS (1986), THE ABYSS (1989), and TERMINATOR 2: JUDGEMENT DAY (1991). His experience in those films were part of his journey to Titanic; the most famous maritime disaster in all of history.

It was a fascination with shipwrecks which would lead Cameron on his own historic voyage. His experience with his ambitious film THE ABYSS, which was mostly shot underwater, sparked a fascination with shipwrecks within him, and with the RMS Titanic being the biggest in history, it was natural for the eager director to tell a story onboard that doomed vessel. The ship had claimed over 1500 souls, and to make the ugly disaster tangible for audiences, Cameron decided to focus on just two. And with those two characters, he injected classic sensibilities, and he pitched the project as Romeo and Juliet on board the Titanic.

Filming for TITANIC began nearly three years before production began, with Cameron himself capturing new footage of the actual wreck. Never one to be shackled by technical limitations, Cameron designed new camera housings and lighting rigs to capture some of the most stunning footage of the wreck at the time; an important element to capture, as the wreck of the ship is as famous as its history. With a close eye for historical detail, the original designers of Titanic were consulted, along with the original makers of Titanic’s china, glassware, fixtures, furniture, and decorations. Historians were hired, and a full-scale set of the ship was built; ballooning the budget to $200 million…which was unheard of at the time.

The important roles of Jack and Rose, the star-crossed lovers separated by class, were the most vital to the film. For the role of Jack, the poor boy, Cameron cast 21 year-old Leonardo DiCaprio, who ironically was famous for his role in the stylish ROMEO AND JULIET film in 1996. British actress Kate Winslet was cast as Rose, the rich girl…and the chemistry between the two young leads would drive the film. The rest of the impressive cast included Billy Zane, Frances Fisher, David Warner, Kathy Bates, Victor Garber, Bernard Hill, Jonathan Hyde, Bernard Hill, Eric Braeden, Bernard Fox, and Ioan Gruffudd. Bill Paxton would play a treasure-hunter in the modern day which bookended the film, and Gloria Stuart, who was 87 years old at the time, would play an elder version of Rose.

A combination of practical effects and CGI, which was in its infancy at the time, would be used to bring TITANIC to life. An enclosed 5,000,000 gallon tank was used for filming the flooding interiors. Cameron, who had a reputation for putting his actors through hell during production of THE ABYSS, was once again not afraid to go for realism. The score was composed by James Horner, who chose Celine Dion to provide vocals for the title track, My Heart Will Go On.

The on-screen results were stunning, and would put the world into a few-found interest in Titanic; a mania that had not been seen since the wreck was found in 1985. TITANIC would become the highest-grossing film of the year, and would be the highest grossing of all-time by 1998…and would remain so for 12 years before Cameron’s own AVATAR would overtake it in 2008. At the Golden Globes, TITANIC would win four, including Best Motion Picture-Drama, along with Best Director, Original Score, and Original Song. Its crowning achievement would come at the Oscars, where it would win 11 of its 14 nominations, including Best Picture, Director, Visual Effects, Dramatic Score, and Original Song. It would overall win nearly 90 awards from various award-giving bodies from around the world, and in 2017 was selected for preservation in the National Film Registry.

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This Blogger has fond memories of seeing TITANIC in 1997 with his group of friends. Not knowing what to expect, we were floored…not only by the grand scale and execution of the story, but by the overwhelming amount of emotion that it dug up. It was the rare film which made men cry, and its images and themes stuck with us long after the credits rolled. And in this Blogger’s long-list of lessons learned from the movies, this was the film that taught me never to consume an extra-extra-large drink during a three-hour movie which has a lot of rushing water. Never again.

Twenty years later, TITANIC still stands as James Cameron’s most complete work. Even though its scale and story are enormous, it has an intimacy with its characters which gives the film a lot of heart. Its statements on love, life, and social class stick true to this day. For a ship that had sunk in 1912, its legacy seemed to be set forever, but TITANIC the film added more to its legend. It was made in the spirit of the great Hollywood epics of a long gone age, and despite having an ending that was obvious, made the journey more worthwhile than the destination.

“She’s the largest moving object ever made by the hand of man.”

A Reel Review: THE SHAPE OF WATER

The 300-year-old fairy tale of Beauty and the Beast has been the inspiration for countless cinematic versions; from KING KONG to Disney productions, the story of two lovers who are separated by physical limitations and other forces working against them is irresistible and ripe for excellent drama. For visionary writer/director Guillermo del Toro, the challenge was telling the story in a way that feels new, and the solution was simple: it’s all about the setting.

During the 1960’s Cold War, Elisa (Sally Hawkins) is a mute cleaning-lady at a secret government facility. When an aquatic, half-man, half-fish creature is captured and brought to the facility by the ruthless Strickland (Michael Shannon), Elisa strikes a connection with the beast, and sets out on a mission to free it (him), with the help of her neighbor (Richard Jenkins), her cleaning lady friend (Octavia Spencer), and a scientist (Michael Stuhlbarg).

THE SHAPE OF WATER is certainly familiar territory, with two potential lovers from different worlds being held apart by every possible force in the universe. To change things up, Del Toro uses his old trick of picking a specific time and place for his version. The Cold War paranoia of the 1960’s is chosen and put to good use, with elements of the civil rights movement, the space race, and the possibility of Russian spies lurking about weaving around the film.

Del Toro winds up with a lot of plotlines to work with in what seems like should be a simple story of establishing the connection with the beast, breaking him out, and setting him free. The various narratives of bigotry and patriotism drive all the characters; most of these work, some feel like padding, but everything mostly blends together by movie’s end. It’s thick with story, and it works well.

The center of it all is the connection between Elisa and the merman. With Elisa speaking only in sign-language and the merman (never given a name) communicating only in grunts, we get a fascinating look at how two different beings can learn to communicate. A lot of the connection-building between the two seems to happen off-camera, and the falling-in-love happens quickly, but once the characters are there it still works. There’s genuine emotion between the two, and this voiceless pair somehow becomes a perfect couple.  

Del Toro keeps the film nice and tight despite all that he has going on; the pacing is brisk and the humor is well-timed. The set design of 1960’s America is stunning and welcome to see; from the living rooms to car dealerships, it is a comfort to take in. Del Toro’s love for old cinema and musicals is ever present, and the score by Alexandre Desplat is excellent. There are also some ventures into kinky territory which may come as a surprise to many.

Sally Hawkins, in the lead role, is a pure charmer, and always comes across as someone we’d like to hang out with. Richard Jenkins gets some great moments, as does Octavia Spencer and Michael Stuhlbarg. Michael Shannon serves as the villain of the story, who is committed to his job and family, but down deep has darker things going on, and Shannon rules the role with terrifying effect. Doug Jones, who has collaborated with Del Toro before in his past creature-features, is outstanding in the role of the merman. The suit is brilliantly designed (and looks amazing) and allows for a full physical performance that would have worked well in the silent era.

With all the plotlines and themes that THE SHAPE OF WATER has going on, the film still has a very straightforward, A to Z feel to it. Anyone looking for a big twist or misdirection may be disappointed, but on its own merits the film functions very well. The story may be as old as time, but it feels as original and fresh as spring water.

BOTTOM LINE: See it

A Reel Review: STAR WARS - THE LAST JEDI

Myths and legends are the elemental forces of all storytelling; building worlds, characters, and journeys that become so large they communicate with us on an internal level, and ultimately effect who we are. For the past 40 years, STAR WARS has thrived on the building of legends, and in the 8^th episode of the saga, THE LAST JEDI, writer and director Rian Johnson takes it all a step further, and beyond.

After the events of THE FORCE AWAKENS, new Force-user Rey (Daisy Ridley), travels to the remote planet where self-exiled Jedi Master Luke Skywalker (Mark Hamill) is hiding from the galaxy. Meanwhile, the evil First Order, led by Kylo Ren (Adam Driver), General Hux (Domhnall Gleeson), and Supreme Leader Snoke (Andy Serkis), pursues the remnants of the Resistance across the galaxy; led by General Leia (Carrie Fisher), Poe Dameron (Oscar Isaac), and Vice Admiral Holdo (Laura Dern).

THE LAST JEDI is split into two distinct storylines, with Rey trying to pull Luke off his remote island, and the Resistance fleet being relentlessly bombarded by the First Order. The storyline with the Fleet brings up the stakes considerably; these are the last true leaders of the good guys, and as their fates go, so goes the fate of the galaxy. This narrative eventually splinters off into a sub-plot with Finn (John Boyega) and ship-mechanic Rose (Kelly Marie Tran) heading off on a side-quest to enlist the help of a codebreaker (Benicio Del Toro) to help save the fleet. A lot of ground is explored here in the simple line of saving the Fleet, with characters coming to vehement and even violent disagreements over how exactly to survive. Right away, heroics are called into question which is new ground for STAR WARS.

The heart of the story lies with Rey and Luke. Rey is young and eager, and earnestly wants to help her friends and a galaxy in peril. Luke in the meantime is a broken man, wracked with guilt over his past failures. Writer and director Rian Johnson uses this time to completely deconstruct the idea of a legend and to explore the nature of what a hero really is. There is some deep work going on here, with a lot of digging into character and the lore of the Jedi. This is a film that explores what happens after the happy ending, and the self-reflection that the characters take on is a stunning move for a STAR WARS film.

Johnson has a thousand balls in the air all throughout THE LAST JEDI. He boldly explores themes that were established years ago in previous films, tearing them down to nothing and then building them back up again. Items and storylines from THE FORCE AWAKENS are picked up and taken to some brave new places, with a few cleverly saved for Episode IX. There are some major revelations made, a few well-timed twists, and film’s hefty running time is well-spent with each major character getting their due.

Pacing for the most part is brisk and the momentum is ever moving forward. Finn and Rose’s side-quest to a casino initially feels like a distraction from the bigger things going on, but those concerns are later disposed of by the time the finale rolls around and the trip is more-than justified. The film is beautiful to look at, with the on-location filming at Luke’s remote island breathtaking in every frame. There is a heavy amount of CGI work done here, perhaps the most in any STAR WARS film. Most of the effects look great, while a handful of them look rough and fake. The comic-relief bits and gags come in the most unexpected places, and the emotional touches are perfectly timed. The action sequences are a thrill, with a space battle or two done with the perfect amount of tension. John Williams returns to score his 8^th STAR WARS film and resurrects many themes from the past, but THE LAST JEDI doesn’t seem to have a new theme to call its own.

Acting is outstanding. Mark Hamill as Luke is fascinating, and he conveys more emotion in a single glance than most actors can in 60 minutes of work. Daisy Ridley is once again wonderful, as is John Boyega. Benicio Del Toro nearly steals the show as a stuttering oddball, Laura Dern gets some heavy lifting to do as Leia’s second-in-command, and the late great Carrie Fisher gets many moments to shine. Kelly Marie Tran is a blast and a welcome addition to the galaxy. Domnhall Gleeson and Adam Driver are also excellent.

Nearly all of us were introduced to STAR WARS as children, when the galaxy before us was wide open with possibility; fueled by imagination and dreams. By the time the smoke from the final battles clear, Johnson magically brings those old feelings back around for an emotional exclamation point and a nod towards the past and future of STAR WARS. By the end of this episode characters are in new territory, and whatever comes next is anyone’s guess. Rian Johnson has crafted a balance of thrills and character in THE LAST JEDI, and for the first time in a long time, makes myths and legends seen in a new light. That’s what great storytelling does, and most of all...shows that STAR WARS can still surprise us. 

BOTTOM LINE: See it 

A Reel Preview: Everything You Need To Know About THE LAST JEDI

This week, the most anticipated film of the year arrives in the form of the 8^th episode in the STAR WARS saga, entitled THE LAST JEDI. Here is everything you need to know before returning to that famed, far away galaxy…

What is this about? – THE LAST JEDI picks up right after the events of THE FORCE AWAKENS (2015), which was the first film in a new trilogy, directed by JJ Abrams. The new trilogy begins 30 years after the events of THE RETURN OF THE JEDI (1983), which was the final film in the Original STAR WARS trilogy. In THE LAST JEDI, the Resistance struggles to survive against the sinister First Order, while Luke Skywalker, the last Jedi in the galaxy, continues his self-exile.

Who is behind this? – Abrams has stepped aside, and in his place is writer/director Rian Johnson, who is mostly known for his sci-fi thriller LOOPER in 2012. This is the third film produced by Disney since they acquired the franchise in 2012.

Who is in this? – Reprising their roles that they started 40 years ago are Mark Hamill as Luke Skywalker, the late Carrie Fisher as Leia Organa, Anthony Daniels as C3P0, and Peter Mayhew as Chewbacca. Reprising their roles from THE FORCE AWAKENS are Daisy Ridley, John Boyega, Adam Driver, Oscar Isaac, Domhnall Gleeson, and Gwendoline Christie. Lupita Nyong’o once again provides voice-over and motion capture work for Maz Kanata, and Andy Serkis does the same for the mysterious and evil Snoke. Newcomers to the saga are Laura Dern, and Benicio del Toro.

Random Facts – Carrie Fisher, who passed away last year, assisted Rian Johnson in the writing of the screenplay * This will be Fisher’s final screen role * Benicio del Toro was originally cast to play Darth Maul in STAR WARS EPISODE I: THE PHANTOM MENACE (1999), but dropped out when most of the character’s lines were cut * John Williams returns to score the film, his 8^th in the series * This is the longest STAR WARS movie at 152 minutes * This is the first film in the series in which the late Kenny Baker was not involved in the portrayal of R2-D2. Baker passed away in 2016 *

What to expect? – The first thing to expect in THE LAST JEDI is the beauty of the film. As explored by Reel Speak in the review of the final trailer (HERE), all the footage we’ve seen looks gorgeous; perhaps the best-looking STAR WARS movie yet. Story-wise, we don’t know a lot of details about the plot, but considering the literal cliffhanger we were left with at the end of THE FORCE AWAKENS, we can assume that our characters, new and old, will be going through some hard times. Rian Johnson has proven himself to be a clever writer, and his knack for weaving characters around is excellent. Disney and Lucasfilm president Kathleen Kennedy have not made any major missteps with STAR WARS since day one, and this Blogger isn’t expecting one here.

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THE LAST JEDI opens with limited screenings on December 14^th, and in wide release on the 15^th. It will be available in 2D, 3D, and IMAX formats.

A Reel Review: THE DISASTER ARTIST

In 2003, eccentric oddball Tommy Wiseau wrote, directed, produced, and starred in THE ROOM…which since then has gone on to be labeled as one of the worst movies of all time. With its bizarre, unconventional storytelling, technical errors, and terrible acting, the film has moved into a cult-favorite status; so bad it’s great to enjoy, with midnight shows and drinking-party screenings reveling in its shittiness. The making of the film has been told in a book, and this is the basis for James Franco’s THE DISASTER ARTIST.

Greg (Dave Franco), is a struggling, wanna-be actor who meets Tommy (James Franco), who is an odd bird with quirky behavior, a hidden past, and a mysterious bottom-less pit of income. When the two fail to get their acting careers started, they set out to make a film on their own.

THE DISASTER ARTIST doesn’t focus on the making of THE ROOM as much as it does its two main characters; the baby-faced and new-to-the-world Greg, and the older yet on-his-own-planet Tommy. The film almost sets itself up as a veiled fairy tale, with Greg being guided though his journey by an otherworldly being in the form of Tommy. But the twist here is that the fairy godmother is as clueless as the child; Tommy has terrible social skills, speaks in broken English, and barely understands how the world works…let alone how to put a film together. Right away, the matchup between the two is a huge draw.

When the film moves into the production of THE GREEN ROOM, things get even weirder as Tommy, playing the role of lead actor and director, proves how far over his head he is with the venture. He shows up late, can’t remember lines, and frequently clashes with the crew. But beyond all that THE DISASTER ARTIST is really exploring the dreams of the dreamers; Tommy may be terrible at making movies but his efforts are very earnest and honest. The film explores the familiar question of what is art and who gets to say if it is or not…all while coming back to the area of the two best friends who have their ups and downs trying to make that art.

Director James Franco, who ironically is also wearing more than one hat here, keeps the pacing brisk and the humor in big doses. The film is extremely funny, but at the same time manages to really feel Tommy and Greg’s pain when the inevitable eventually happens. Dave Porter’s score is excellent.

James Franco is excellent in the role as Tommy, and it’s almost eerie just how much he looks and sounds like the man. When he acts like an ass, we hate him, and when he fails we suddenly feel sorry for him…and Franco sells it every time. By far this a role to remind us just how great Franco can be. His brother Dave is equally effective, and works well playing the fresh-faced newbie and showing frustration with Tommy’s wacky behavior. Seth Rogen drops in as a frustrated crew member who is just trying to keep the movie production going, and is very good, as is Alison Brie as Greg’s love interest.

The finale drives home the point of sticking with our dreams and with the people who help us get there. It’s a tad heavy-handed but it works, and THE DISASTER ARTIST turns into a very satisfying film experience. It may be based on something awful, but it lands as something wonderful.

BOTTOM LINE: See it

A Reel Opinion: Big Screen vs. Small

Earlier this week, the British Film Institute’s international magazine Sight and Sound released their annual critics’ list of the best films of the year, and one entry has not only raised eyebrows, but re-ignited a hot-burning debate over what exactly should be considered a film.

The list, which polls more than 180 critics, programmers, and academics from around the world, includes for the first time a TV series in the top ten; David Lynch’s TWIN PEAKS: THE RETURN, which was ranked second, behind Jordan Peele’s GET OUT. The inclusion of a TV series has added fuel to the fire to the argument that there is a supposed eroding line between film and TV in the last few years; a fire that was given some extra flame when last year’s 7.5 hour TV documentary series OJ: MADE IN AMERICA won the Oscar for Best Documentary Feature.

With Oscar season in full swing and entering its busiest time, the argument rages that productions from home-streaming services like Netflix and Showtime (which ran TWIN PEAKS), should be considered when the Academy starts voting in the next few weeks. It’s a point that was actually started in 2015, when Idris Elba’s role in Netflix’s BEASTS OF NO NATION was not recognized by the Academy…despite critical acclaim and many calls for his inclusion.

Why wasn’t BEASTS OF NO NATION considered for an Oscar, and should TWIN PEAKS be in the running? Why wouldn’t they (other than the obvious of both of them being made for TV), if the quality is there? The Academy will only pay attention to productions that actually play in a movie theatre; they’re old-school in that way, they want people to go to the movies, and seemingly believe that the big screen is the true home for a film. They probably think of themselves as the caretakers of the sanctity of cinema, and they would be right to do so; someone has to do it. Now, the Oscars have changed and evolved over the years; categories have been re-named, altered, and flat-out discontinued…but opening the door for a series that never saw the inside of a movie theatre is likely to never happen. Especially since a TV series is a completely different format than film; a series can take 10-12 hours to tell a story, where a film is confined to just 2-3 hours. And besides, the Emmys and the Golden Globes exist to honor TV shows.

The calls for Netflix productions like BEASTS OF NO NATION, and this year’s MUDBOUND to be honored by the Academy are getting louder, but this Blogger sees this as a trendy thing. Home streaming services are extremely popular, and rightfully so, but people need to quit acting like Netflix is the first home entertainment service to make their own movies; HBO has been doing it for decades without one goddamn Oscar nomination. Nothing has changed to make the line between TV and film disappear, with only popularity and easy accessibility as the driving force. Home-streaming is cool so therefore the thought is everything they do is better than anything else, and that’s not enough.

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See Sight and Sound’s complete list HERE

A Reel 25: A FEW GOOD MEN

“You can’t handle the truth!”

This month marks the 25^th anniversary of Rob Reiner’s A FEW GOOD MEN



Adapted for the screen by Aaron Sorkin from his play of the same name, A FEW GOOD MEN was a genre-setting, military-courtroom drama with influence that can still be seen today. Centered around two U.S. Marines charged with murder and their reluctant lawyer who defends them, A FEW GOOD MEN explored issues of law and order and military ethics in a clever mash-up.



Rob Reiner, fresh off the success of his film MISERY (1990), put together an all-star cast. It’s headliners were Tom Cruise, Jack Nicholson, and Demi Moore, along with an excellent supporting cast of Kevin Bacon, Kevin Pollack, Kiefer Sutherland, Cuba Gooding, Jr., and Noah Wyle…who would later go on to television fame in ER.



The film was a critical and commercial success, and would go on to receive four Academy Award nominations, including Best Picture and Best Actor for Jack Nicholson. Nicholson’s screen-time was limited to a handful of scenes, but his impact was immediate and memorable enough to rightfully earn that nomination, and also a ranking in the American Film Institute’s Top 100 Movie Villains. AFI would also rank the film in its Top Courtroom Dramas, and Top 100 Movie Quotes. Rob Reiner would go on to direct and produce the beloved THE AMERICAN PRESIDENT (1995), and Aaron Sorkin would become one of the most coveted screenwriters in the business; penning scripts for TV’s THE WEST WING, along with the feature films THE SOCIAL NETWORK (2010), and MONEYBALL (2011).



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As a former soldier and a sucker for court-room dramas, this Blogger has always had a high level of admiration for A FEW GOOD MEN. As a legal thriller it is tight and deep with the ability to explore the dusty old law books in a way that is interesting and engaging. The exploration of military ethics, from the age-old debate of soldiers following questionable orders, to the even older debate of what duty to country really means…raise questions that are still debated in classrooms, lecture halls, and Basic Training to this day. A FEW GOOD MEN is one of Aaron Sorkin’s best works, and Rob Reiner’s finest achievement in directing.



“You don’t need to have a patch on your arm to have honor.”

A Reel Review: THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

The stages of grief; denial, anger, bargaining, depression, and acceptance…are the series of emotions people experience after losing a loved one. These stages can last days, months, or years at a time, and perhaps the one that is the most emotionally charged is anger. This is the basis for director Martin McDonagh’s black comedy drama THREE BILLBOARDS OUTSIDE EBBING, MISSOURI.

Seven months after the brutal rape, murder, and burning of her of daughter, Midred (Frances McDormand), is infuriated with the lack of arrests and erects three billboards outside her small town shaming Sheriff Willoughby (Woody Harrelson). The billboards spark rage from the community, including officer Dixon (Sam Rockwell), her ex-husband (John Hawkes), and also affects her depressed teenage son Robbie (Lucas Hedges).

Emotional rage is the name-of-the-game in THREE BILLBOARDS. Midred has entered the rage stage and doesn’t seem to be letting go of it anytime soon. Although she gets some support from friends, her decision to start a very public war with the police has immediate ripple effects. Dixon, who is an unstable alcoholic prone to violence, lashes out in the only way he knows how, and poor Sheriff Willoughby has his own health problems and is effected by the shaming in more ways than one.

McDonagh does great work in the early goings of the film to establish his characters; Mildred is angry, Willoughby is inept, and Dixon is an asshole, but as the narrative moves forward things change. Mildred is portrayed as angry to the point of being unlikeable, Willoughby and his health issues, along with his loving family, are brought up front, and even Dixon manages to show his true worth. The audience’s allegiances will change often in THREE BILLBOARDS, and the magic of the film is that it’s hard to figure out who is in the right, and who, if any of them, are in the wrong.

The story has plenty of twists and turns to keep the mystery of the murder under cover, and also in the background as McDonagh spends his time in THREE BILLBOARDS with the characters circling each other, seeing who blinks first. There is a ton of emotional hurt going on, and it’s a fascinating watch to see where it’s going. Pacing is brisk, the dialogue is sharp and funny, and the score by Carter Burwell gives an atmosphere that nearly makes the film feel like an Old West yarn. The film looks gorgeous, although a peaceful scene with Mildred and a fawn is ruined by shitty, cartoonish CGI.

Acting is top-notch. Frances McDormand mostly shows a gruff exterior, but we get hints of just how torn up she is inside. Woody Harrelson has a lot of heavy lifting to do, and the show is stolen by Sam Rockwell who goes from contender of the Asshole of the Year Award to Hero in a blink. The rest of the cast is excellent, including Lucas Hedges, John Hawkes, Abbie Cornish, Clarke Peters, and Peter Dinklage.

By movie’s end, not all of the characters come out of the situation unscathed, and the ones who do aren’t quite in the clear, but at the very least they armed with tools to get through the next stage of grief they are likely to go through. There a few moments towards the end where it seems like McDonagh was running out of things for his characters to do, and they wind up doing some head-scratching moves, but it’s a minor head-scratcher in what is a superb film. This is an emotional gut-punch boosted by outstanding performances and guided by a steady hand. These billboards stand tall.

BOTTOM LINE: See it

A Reel Opinion: The INFINITY WAR Trailer

“There was an idea…”

For the past decade, Marvel Studios and parent company Disney have taken on an unprecedented cinematic journey. It began with the release of their first film based on Marvel Comics, IRON MAN in May of 2008. It was the first building block towards their heralded INFINITY WAR storyline, with each one of their connected films building towards the ultimate showdown between our heroic Avengers and the “Mad Titan” Thanos in his quest for the mysterious and powerful Infinity Stones. After a decade of 17 films, $13.4 billion in box office revenue, and spinoffs into television, we’re finally nearing the climax of the long-form story…and today Marvel gave us our first look.

Today on Good Morning America, the first trailer for AVENGERS: INFINITY WAR was released to the world, and minutes later online (HERE). Right away, something must be said about the extremely well thought-out strategy behind this unveiling. Timing is everything, and Marvel/Disney decided to release this first, much-anticipated look nearly a full week after Thanksgiving (no distractions), the day after their rival company DC finished up their epic (and very good) TV crossover series (no competition), and the day before their own AGENTS OF SHIELD starts up again on TV (cross-promotion). This was a perfectly executed, and beautifully thought-out plan.

The beginnings of the trailer brilliantly hark back to the early days of the franchise, with a variation of the iconic monologue from Nick Fury (Sam Jackson), explaining why the Avengers were originally assembled. The monologue trades off lines between Fury, Iron Man (Robert Downey, Jr.), Vision (Paul Bettany), Thor (Chris Hemsworth), and Black Widow (Scarlett Johansson). The familiar tunes of the theme from the first AVENGERS film (2012) is heard, which drives home the long history at work here. The tone is ominous, and a far cry from the zany fun that Marvel’s most recent film, THOR: RAGNORAK had. Marvel has always given us a great balance of seriousness and comedy, and that’s why fatigue or boredom has never set in with their films.

The trailer moves on with shots of our team slowly coming together, including Hulk (Mark Ruffalo), and Dr. Strange (Benedict Cumberbatch), with dialogue picked up by the expected arrival of Thanos (Josh Brolin)…whom we’ve only seen in glimpses over the last 10 years.

Some other highlights include Thanos punching out Iron Man, a bearded and world-weary Captain America (Chris Evans) leading a charge, Black Panther (Chadwick Boseman) calling for a new shield for Cap, a new suit for Spider-Man (Tom Holland), and that bastard Loki (Tom Hiddleston) with one of the important pieces to the puzzle…

And finally, the closing shots…Thor meeting our beloved Guardians of the Galaxy!

Overall the trailer shows some epic shots, and seems more than worthy of the buildup we’ve been witnessing. It hypes up the film without giving away very much of the plot. When it comes to long-form franchise building, this is how it’s done.

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AVENGERS: INFINITY WAR arrives May 4^th, 2018. It is directed by the Russo Brothers, who recently directed the Marvel films CIVIL WAR (2016), and THE WINTER SOLDIER (2014).  

A Reel Preview: The Year in Film 2017 - Episode XII

As it is with almost every December, the final month of the season opens the floodgates, with Oscar hopefuls and fan favorites finally arriving. Here are the notable releases for the month of December.

It all takes shape with…

THE SHAPE OF WATER – From director Guillermo del Toro (HELLBOY, PAN’S LABRYINTH), comes this fantasy/sci-fi tale in which a custodian at a secret facility befriends a captured sea creature. Stars Sally Hawkins, Michael Shannon, Richard Jenkins, Michael Stuhlbarg, and Octavia Spencer.

THE DISASTER ARTIST – James Franco plays the creator of the infamous film THE ROOM from 2003, considered to be one of the worst films ever made.

I, TONYA – Margot Robbie (THE WOLF OF WALL STREET) plays figure skater Tonya Harding in this sports drama. Allison Janney and Sebastian Stan (THE WINTER SOLDIER), co-star.

WONDER WHEEL – Director Woody Allen’s annual film is a crime drama in which the wife of a carousel operator and her husband’s estranged daughter pursue the same man. It stars Jim Belushi, Juno Temple, Justin Timberlake, and Kate Winslet.

TITANIC – Speaking of Kate Winselt, James Cameron’s Oscar winning epic about the doomed ocean liner returns to theatres in a limited run for its 20^th anniversary.

STAR WARS: THE LAST JEDI – The long-awaited, and much anticipated 8^th episode of the STAR WARS saga. Rian Johnson (LOOPER) directs, and he is joined by Daisy Ridley, John Boyega, Mark Hamill, Carrie Fisher, Adam Driver, Oscar Isaac, Laura Dern, Gwendoline Christie, Andy Serkis, Lupita Nyong’o, and Benicio del Toro.

GOTTI – John Travolta plays famous gangster John Gotti of the Gambino Crime Family.

JUMANJI: WELCOME TO THE JUNGLE – This adventure serves as a loose sequel to the 1995 films. Dwayne Johnson and Jack Black lead the cast.

THE GREATEST SHOWMAN – Hugh Jackman (X-MEN), hangs up his claws and steps into the life of P.T. Barnum in this extravagant musical. It co-stars Zac Efron, Michelle Williams, Rebecca Ferguson, and Zendaya.

DOWNSIZING – Alexander Payne (NEBRASKA), directs this sci-fi comedy in which people are miniaturized for a fresh start on life. It stars Matt Damon, Christoph Waltz, and Kristen Wiig.

ALL THE MONEY IN THE WORLD – Sir Ridley Scott directs this crime drama based on actual kidnapping events. It stars Christopher Plummer, Michelle Williams, and Mark Wahlberg. 

PHANTOM THREAD – The last time director Paul Thomas Anderson and actor Daniel Day-Lewis worked together, we got the magnificent THERE WILL BE BLOOD in 2007. This time around they explore the world of the fashion industry in the 1950’s.

MOLLY’S GAME – Based on the true story of the underground high-stakes poker ring in Hollywood. It stars Jessica Chastain, Idris Elba, Kevin Costner, and Michael Cera. It is the directorial debut of screenwriter Aaron Sorkin (A FEW GOOD MEN, THE SOCIAL NETWORK).

CALL ME BY YOUR NAME – This adaptation of the novel of the same name, which is one of the most acclaimed films out of Sundance this year, has a 17 year-old Italian boy (Timothee Chalamet), beginning a love affair with his father’s American assistant, played by Armie Hammer (THE SOCIAL NETWORK).

THE POST – Steven Spielberg directs this true-story adaptation about the role of the press in the revealing of the Pentagon Papers. The cast includes Tom Hanks, Meryl Steep, Sarah Paulson, Bradley Whitford, and Bruce Greenwood.

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Next month, Episode I previews the first month of 2018.

A Reel Review: COCO

For the past 20 years, the working relationship between Disney and Pixar Animation Studios have found success in the blending of traditional, human stories with fantastical elements and worlds; worlds populated by talking toys and cars, hairy monsters, and lovesick robots combined with classic stories of discovery and coming-of-age. For COCO, their 19^th feature film, Pixar decides to challenge themselves by not just playing with fantasy, but with exploring culture, art, myth, and belief.

12-year old Miguel (Anthony Gonzalez), dreams to be a musician, but is banned from playing music by his family which has a soured past with musicians. On the Mexican holiday Day of the Dead, Miguel stumbles into the Land of the Dead, where he tries to earn the blessings of his long-past family members to pursue his dream.

The Day of the Dead, a Mexican holiday, is a three-day event in which family gatherings pray for and remember friends and family members who have died. In a bold move, directors Lee Unkirch and Adrian Molina use that celebration and culture as the basis for world-building; it’s a brave move right away as they are locked into following hundreds of years of tradition, as opposed to having the freedom to just create any fantasy world they want. Instead, the filmmakers use the many traditions associated with the celebration as important plot points and rules which makes the fantasy world work.

Once Miguel is transported to that fantasy world, he meets members of his family and a trickster named Hector (Gael Garcia Bernal), who go back-and-forth in assisting him. The rules that are in place are used in great effect to drive the plot; when a person is forgotten in real life, they fade away from the Land of the Dead…and with Hector already beginning to fade, the clock is ticking to get Miguel back to the living where he can re-establish Hector’s memory. Miguel in the meantime has his own problems, having to navigate his family’s long-burning hatred for musicians. There are a few excellent twists and reversals to be had, and the many turns the plot takes keeps COCO fun and layered.

The animation from Pixar has never been better. The colorful landscapes are breathtaking with stunning detail, and the character design is excellent. The music is wonderful, the humor just right, and the entire cast performs their parts very well. The film also isn’t afraid to go into some dark territories; character deaths and murder…and the somewhat disturbing element of the dead fading away into nothingness.

Some may be able to see the finale coming from some ways off, but even those who do will be reaching for a hankie, because COCO wraps up with one of the most emotionally charged endings ever in cinema. It’s an emotional wallop that is well earned, and will have not just kids but adults talking about it for a long time. COCO offers great food for thought on family and tradition, and is Pixar’s bravest…and one of their very best.

BOTTOM LINE: See it

A Reel Review: LADY BIRD

One of the best types of tales to be told is the coming-of-age story; a tale which takes us along the journey of a young person as they go through an ordeal, which on the other side leads them to adulthood. Books, poems, plays, and cinema have been using that narrative for hundreds of years with great success, mostly because such a story is one that we can all relate to; it’s a very human and natural ordeal…and this is the root of Greta Gerwig’s LADY BIRD.

Christine (Saoirse Ronan), who re-names herself Lady Bird, is a senior at a Catholic High School in California who wants to go to the east coast for college, despite the wishes of her overbearing mother (Laurie Metcalf). Lady Bird goes behind her mom’s back to apply to east coast schools, while trying to catch a boyfriend (Lucas Hedges), and jockeying for popularity with her classmates.

LADY BIRD is a film which doesn’t try to break new ground or re-write the manual on how to turn a girl into a woman. It’s basic storytelling which doesn’t have much of plot, and instead focuses on the events in Lady Bird’s life over a year’s time (or so), as she applies to schools, tries to get a prom date, breaks up with boys, fights with her mom and brother, and befriends popular girls in place of her tried-and-true best friend.

Teen angst is at front-and-center of this tale, as Lady Bird is shown as a young girl who seems to dislike everything. That’s an approach that could go horribly wrong, as no one wants to spend an entire movie with an unlikeable character, but Gerwig has a strong handle on things. Lady Bird isn’t unlikeable at all, and is more of a misunderstood character than just misbehaving. There is warmth and outright sincerity to it all, and there are very few moments that Lady Bird is going through that we haven’t felt towards the final months of our high school years.

Gerwig films a very plain looking movie, and it often feels documentary-like. Pacing is brisk, and even the quieter moments tend to move. Gerwig also directs some very well emotionally-charged scenes between Lady Bird and her parents, which is (again), familiar territory and hard to watch. The film is also brilliantly set in 2002, which is a ways from the social media age and allows the teen characters to be teens, and also has the lingering fear of 9/11 hanging over the characters. Pop music from the time is used in all the right places.

Saoirse Ronan is magnificent as Lady Bird. Her Irish accent vanishes, and an outsider would never guess that she isn’t really a California girl. Ronan goes through all sorts of emotions and sells them; when she’s happy, elated, sad, or downright furious…it always works. Lucas Hedges is great as always, and Laurie Metcalf has a lot of hefty lifting to do as Lady Bird’s always-annoyed mom.

LADY BIRD deals mostly with the main character’s want to escape and start her life, and by the time she gets there, we don’t quite feel that her journey is over, but that she now has the tools with her to move forward. Gerwig has written and directed a clever, simple, and effective coming-of-age story here, one that can generate plenty of laughs and tears…and find something for us all to remember.

BOTTOM LINE: See it

Reel Facts & Opinions: JUSTICE LEAGUE Post-Mortem

This past weekend, JUSTICE LEAGUE, Warner Bros’. latest entry into their series of films based on classic superheroes from DC Comics, was met with surprisingly low box office numbers. The big team-up movie with iconic characters Batman, Superman, Wonder Woman, Flash, Aquaman, and Cyborg only grossed $96 million over the weekend, which was the lowest debut of the five films in the current DC series.

A gross of $96m would be just fine for a lot of movies, but JUSTICE LEAGUE had an estimated budget of $250m, plus a very large amount to cover marketing. It’s an embarrassing, and troublesome weekend for DC and Warners. How did this happen? How did what was supposed to be the crown jewel of superhero movies go bust? Here are some thoughts:

Their reputation preceded them – Prior to JUSTICE LEAGUE, a build-up of sorts was attempted with the so-so MAN OF STEEL (2013), the lousy BATMAN V. SUPERMAN: DAWN OF JUSTICE (2016), the shitty SUICIDE SQUAD (2016), and the magnificent WONDER WOMAN (2017). While WONDER WOMAN earned a lot of much-needed positive points with critics and fans, JUSTICE LEAGUE was a direct follow-up to DAWN OF JUSTICE; a clunky and joyless affair which many fans likely were still feeling disappointed and burned. Yes, DAWN does have its fans and supporters, but most people did not like it, and the low box office for JUSTICE LEAGUE proves it. With the exception of WONDER WOMAN, these DC films have not made much of an impact with the general public, and they are now staying away.

A history of bad press – JUSTICE LEAGUE took a long time to get here. The film was being planned as far back as 2007, and has had many stops and starts. Once things finally did get going, a collective groan was heard across the world when Zack Snyder, who helmed MAN OF STEEL and DAWN OF JUSTICE, was re-hired to direct JUSTICE LEAGUE. Why Warners decided to stick with a director who hadn’t come close to hitting a home run with these superhero films was a mystery to fans, and a sticking point. And if that wasn’t bad enough, Snyder wound up leaving the production to deal with a family emergency and was replaced by Joss Whedon. Although Whedon is more-than-capable and likely improved on the production, the media reports of extensive re-shooting and re-scripting had people doubtful that things could be salvaged.

They messed up Superman – This series began with Snyder’s MAN OF STEEL in 2013, and right away fans, and even non-fans could not connect with this version of Superman, who was portrayed as a glum stick-in-the-mud who acted like he didn’t even want to be a hero. This carried over into DAWN OF JUSTICE, where the character was basically an angry thug, and no one could care about him. On top of that, the decision was made to kill Superman at the end of DAWN OF JUSTICE, a move that did not earn one bit of an emotional response from anyone (who cries for a gloomy character?), and then they had the bright idea to keep him out of all the marketing for JUSTICE LEAGUE; like we couldn’t figure out he was coming back. Putting Superman at front-and-center of the film would have gone a long way to earn some positive points. But no, they had to be cute with it.

Bad release date – November isn’t really a month known for blockbusters; those fun and colorful films with fantasy and sci-fi elements and things that go boom, and rather for those quiet and serious Oscar contenders. Although Marvel’s THOR: RAGNORAK opened in the first week of the month to a very good box office haul, JUSTICE LEAGUE came later, less than a week away from Thanksgiving…when people are slipping into the busy holiday rush.

It just wasn’t that good – And this is the real bottom line. Review aggregator Rotten Tomatoes reports that only 39% of critics gave it a positive review (read Reel Speak’s review HERE). Now, JUSTICE LEAGUE was a vast improvement over DAWN OF JUSTICE in that they finally injected some fun into the storytelling, and course-corrected Superman by cheering his miserable ass up, but it also has serious flaws in editing, continuity, and basic storytelling logic. There was a lot of fun to be had, and yes it entertained, but it seems that critics and bloggers value the craft of filmmaking over entertainment, and that’s probably the way it should be. That 39% was earned, and people aren’t going to spend time and money on a film with lousy reviews, a bad history, directed by the same guy no one likes, and released during the busiest time of the year.

Come to think of it, a JUSTICE LEAGUE flop isn’t all that surprising.

A Reel Review: JUSTICE LEAGUE

JUSTICE LEAGUE; the 5^th entry in the series of films based on DC Comics’ “world’s finest” heroes, is a production that has seen a lot of turmoil behind the scenes. Original director Zack Snyder departed the project, and was replaced by Joss Whedon who not only finished the film, but re-wrote and re-shot several scenes. None of that really matters as an excuse or a justification for anything, and rather as important background…because the only thing that really counts is what we see on the screen.

After the death of Superman (Henry Cavill), Bruce Wayne/Batman (Ben Affleck), and Diana/Wonder Woman (Gal Gadot), recruit super-powered beings such as The Flash (Ezra Miller), Aquaman (Jason Momoa), and Cyborg (Ray Fisher), to help battle the evil Steppenwolf (voiced by Ciaran Hinds), who has arrived to Earth with his army of parademons to collect the three mystical Mother Boxes, in an attempt to destroy the planet.

JUSTICE LEAGUE does not have much by way of plot; find the boxes, defeat the bad guys, save the world. There’s nothing wrong with a simple plot, and for the most part it works here, so with such a thin narrative, weight must be put on the challenge facing the new team of super-friends. That weight falls on the shoulders of the main villain, Steppenwolf…who is visually presented here as a stiff, CGI creation. Beyond his appearance, he is one-dimensional and dull, and seems to get his ass kicked easily enough by just one hero, which makes the movie’s efforts to assemble the new team somewhat pointless.

Similar to the style of two of the preceding DC films, JUSTICE LEAGUE feels like it was edited by over-caffeinated monkeys. Scenes seem to start in mid-conversation, and ram through everything so quickly we’re out of the scene and into the next one before we can comprehend what was just discussed. There is a goddamn rush to everything and it takes away from the gravity of the situation, making the stakes feel very small, especially with the lack of any sort of build-up towards the final battle. There are also gaps in continuity (pieces of the movie seem to be missing), odd cuts, often feels patchwork, and an excellent opening flashback with Superman is never justified or closed. It’s an editing disaster.

But there is still a ton of fun and enjoyment to be had in JUSTICE LEAGUE. Every one of the heroes is perfectly written with a fair amount of personal narratives to humanize them. Their banter between each other is perfect and brightens up the film. The chemistry between them all leaps off the screen, they all get their moments worthy of applause, and the sense of fun drives the film. The (ahem) return of Superman, is welcome (although the method used to resurrect him is lazy and contradicts an earlier tease of his return), but most importantly, he finally, finally, FINALLY doesn’t act like a miserable mope. This is as close to classic Superman as we’ve ever seen on film and it is glorious. The action scenes are a thrill, and the conflict that arises within the group is very natural.

Visual effects are crap and drag the film down. When the film goes into the green-screen action where characters are in artificial environments fighting CGI blobs, the effects are so poor and cartoon-like that it’s reminiscent of an old Disney movie which cuts from live-action to animation. But the biggest issue involves poor Henry Cavill, who was called back to reshoot scenes after he had grown facial hair for another film role. The CGI used to digitally erase his mustache is so bad it looks like the crew smeared snots on the camera-lens to hide it. It’s shocking how an effect this bad, after 20 years of CG development, can find its way into a major release like this. Danny Elfman’s score is somewhat generic and lacks a central theme to rally around. He occasionally throws in a few of the classic superhero themes we’ve heard in the past, but not nearly enough.

Acting is excellent all around. Ben Affleck has really grown into the role of Bruce Wayne, even after only two films, and his portrayal of a world-weary hero is spot-on. Gal Gadot is magnificent and pretty much owns the movie. Ezra Miller and Jason Momoa are a BLAST, even though Aquaman’s importance in the film is a head-scratcher, as he doesn’t do much with water or the ocean during the final fight. Ray Fisher acts just fine despite being less of a character and more of a plot device. JK Simmons, Jeremy Irons, Amy Adams, and Diane Lane appear as extended cameos, with Adams and Lane getting some hefty, emotional moments which are very well acted. The great talent of Ciaran Hinds is wasted behind the CG mess of Steppenwolf. Henry Cavill is wonderful now that he finally gets to act like a hero.

As stated, there is very little build-up to the final showdown, and that adds to the feeling of a small-stakes adventure. The film very much feels like a TV episode that would be seen during Saturday morning cartoons; tight, fun, no consequences, and even a tune-in-next-time tease for further adventures. JUSTICE LEAGUE is very much split down the middle; the good stuff really works in fantastic ways, and the bad things are cinematic sins and outright awfulness. That sort of imbalance makes it fall just short of a high recommendation for the World’s Finest.

BOTTOM LINE: Rent it