A Reel Preview: The Year in Film 2019 - Episode VIII

With August comes the final month of the Summer Movie Season. The air may still be warm, but those cool winds of Oscar Season are just around the corner. In the meantime, here are the notable releases for the coming month. 

It all revs up with…

FAST AND THE FURIOUS: HOBBS AND SHAW – This spin-off of the endless FAST AND THE FURIOUS franchise has Dwayne Johnson and Jason Statham reprising their characters from the main series…teaming up to face a super-powered threat played by Idris Elba. Helen Mirren and Vanessa Kirby co-star. 

THE KITCHEN – This crime drama, which is based on the Vertigo comic book mini-series of the same name, has the wives of Irish mobsters taking over organized crime operations after their husbands are arrested. It stars Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss. 

SCARY STORIES TO TELL IN THE DARK – This horror/monster film is based on the children’s book series of the same name, where a young tortured girl turns her life into a collection of scary stories. It is directed by Andre Ovredal (TROLLHUNTER), and produced by Guillermo del Toro (THE SHAPE OF WATER). 

THE PEANUT BUTTER FALCON – A young boy with Down syndrome runs away to become a professional wrestler, and is befriended by a drifter who helps him along. It stars Shia LaBeouf, Dakota Johnson, John Hawkes, Jon Bernthal, Bruce Dern, and Zack Gottsagen. 

DORA AND THE LOST CITY OF GOLD – A live-action adaptation and continuation of the Nickelodeon TV series. Isabela Moner plays the lead role. 

THE ANGRY BIRDS MOVIE 2 – The sequel to the 2016 animated hit. This time the birds and pigs form an alliance to combat a new threat. It features the voices of Jason Sudeikis, Josh Gad, Danny McBride, Leslie Jones, Bill Hader, Awkwafina, Sterling K. Brown, and Peter Dinklage. 

47 METERS DOWN: UNCAGED – The sequel to the 2017 horror film. This time four teen girls scuba-dive to an underwater city, only to be trapped in a labyrinth of caves surrounded by sharks. Johannes Roberts returns to direct. 

BLINDED BY THE LIGHT – Inspired by the true story of journalist Sarfraz Manzoor, who as a teen has his life changed when he discovers the music of Bruce Springsteen. 

ANGEL HAS FALLEN – The third film in the OLYMPUS HAS FALLEN series. This time, Secret Service agent Mike Banning (Gerard Butler), finds himself framed for an assassination attempt on the President (Morgan Freeman). 

DON’T LET GO – In this time-travel horror film, a man receives a call from his dead niece in the future, and he works to prevent her death before it happens. David Oyelowo (SELMA) stars. 

*

Next month, Reel Speak previews the month of September. 

A Reel 60: PLAN 9 FROM OUTER SPACE

“…Future events such as these will affect you in the future!”

This month marks the 60^thanniversary of Ed Wood’s PLAN 9 FROM OUTER SPACE. 

Often referred to as the worst movie ever made, PLAN 9 was the passion project of struggling actor and director Ed Wood, who had a reputation for making low-budget films quickly and cheaply. It was a film that combined two of his favorite genres; horror and science fiction, with a storyline of extraterrestrials who want to stop humanity from creating a doomsday weapon that could destroy the universe. The alien’s plan to stop this was to resurrect the Earth’s dead, and hope that the crisis would force humanity to listen them, or else be destroyed the aliens. 

The plotline was nutballs, but that was only the beginning. Wood secured funding for his film from the Baptist Church of Beverly Hills in their attempt to break into the motion picture business. Wood convinced church leaders to finance his film, and then use the “guaranteed” profits from its success to fund the church’s idea for a film about a famous evangelical Christian minister. Wood’s original title was GRAVE ROBBERS FROM OUTER SPACE, which the church objected to (go figure), and had it changed to PLAN 9 FROM OUTER SPACE. They also demanded that Wood and his crew be baptized, which they were at a Jewish swimming pool. 

With the corpses in the film becoming zombies, it was only fitting that the biggest name in the film would turn in a performance from the grave. Iconic horror star Bela Lugosi of DRACULA fame had passed away in 1956, just after shooting a few test reels with Wood for a planned comeback. After Lugosi died, Wood built PLAN 9 around the footage, which amounted to no more than five minutes. Wood would cast his wife’s chiropractor to play Lugosi’s part, a body-double, even though he looked nothing like him. 

The rest of the cast would be rounded out by a virtual island of misfit toys. Maila Elizabeth Syrjaniemi, also known as the 1950’s campy Vampira would be cast, along with Swedish wrestler Tor Johnson, and Jeron Criswell King, also known as Criswell…an entertainment personality known for making inaccurate predictions. Other cast members included Gregory Walcott and Mona McKinnon. 

Wood’s reputation for filming quickly was in full play during production for PLAN 9. Up to 20 scenes were shot in one day with only one take, and sets and props were done on the cheap. All this led to PLAN 9 looking and sounding exactly like it was: cobbled together. Interiors and exteriors didn’t match, and the film cuts from day to night scenes with no logic. With Lugosi dead and Vampira refusing to say Wood’s dialogue, much of the vital lines went to Tor Johnson, whose English was so bad, sounded like a garbled mess. Criswell provided an opening and closing monologue that contradicted itself and made no sense. 

Wood’s movie had a private preview in 1956 with its original title, but it did not see a full theatrical release until nearly three years later with its re-titled PLAN 9. It enjoyed a run as parts of double-features before landing on television where it really found its audience…not only as a cult favorite but with repeat viewings, more and more mistakes were found and marveled at. These mistakes included visible microphones and more continuity mistakes; such as an airline pilot describing an alien spaceship as “cigar-shaped”, but when it appears it’s a saucer. 

PLAN 9 played in TV obscurity for years, but then in 1980 authors Harry Medved and Michael Medved dubbed it the worst film ever made, and Wood and his film were posthumously given two Golden Turkey Awards for Worst Director Ever and Worst Film. PLAN 9 today has a strong cult following, and is the subject of documentaries and midnight showings. In 1994, Tim Burton’s loving biopic ED WOOD would win two Oscars. 

*

An ongoing question from all students and fans of cinema is if PLAN 9 FROM OUTER SPACE really is the worst film ever made. It is indeed, pretty terrible even by 1950’s standards. The bad acting, incomprehensible dialogue, and continuity mistakes alone make its unfortunate title earned. But PLAN 9 manages to have a legacy that’s noteworthy. It was a zombie movie decades before zombies became popular, and the mash-up of science fiction and horror predated ALIEN, which did the same blending, by over 20 years. Wood put a lot of the things he loved into the film, which was an approach that would be embraced by filmmakers like Quentin Tarantino and Kevin Smith decades later. PLAN 9 was a trailblazer, but it was a terrible one. 

“And now some of us laugh at outer space. God help us…in the future.”

A Reel Review: THE EMPIRE STRIKES BACK Live in Concert

Last year, this Blogger and his girlfriend were enthralled by STAR WARS: A NEW HOPE live in concert at the Mann Center in Philadelphia, where the 1977 film that became a world-changing cultural phenom was played on the big screen with the score conducted live by the Philadelphia Orchestra. At the end of that performance, the announcement came of THE EMPIRE STRIKES BACK getting the same treatment in 2019. And so, one year later…we were going back to see an old friend. 

Originally released in 1980, EMPIRE picked right up where its predecessor had left off. Where STAR WARS changed culture and the way films were made and marketed, EMPIRE set the template for all sequels. Where STAR WARS was a roller-coaster ride, EMPIRE dug in deep; putting its characters into trees and throwing stones at them with no end in sight. It was, and still is an emotional adventure, and carries the distinction of the best sequel of all time and perhaps even the best of the STAR WARS franchise. 

Much like the STAR WARS performance in 2018, this event carried a buzz in the air. The capacity crowd was energetic, enthusiastic, and full of positive energy. Adults and kids came in costume, and were more than happy to pose for photos. A lot has been said of STAR WARS fandom in the last few years (much of it deserved), and in recent weeks a lot has been said of adults spending time at kid-themed events and places like Disney (none of which is deserved), but anyone who attended this event could not take away from the atmosphere. This was a community enjoying what they enjoy, and nothing could stop them. 

At 8pm sharp, the lights dimmed and the show began. That familiar 20^thCentury Fox fanfare followed by the beloved BLAST of orchestra when the magnificent yellow STAR WARS logo appears before an endless sea of stars was performed perfectly. The orchestra sounded crisp and clear, and was right on cue throughout the film. After watching EMPIRE for over 30 years, fans know exactly when all the cues should hit. The orchestra knew that, and did not disappoint. 

Since it was still daylight at 8pm, the picture looked a bit dim for the first 40 minutes or so, but improved as the sun went down. The audio-mixing was a treat, as the orchestra was up-front more than we are used to…and that leads to a lot of hidden gems in that terrific John Williams score…and no one who attended this performance could ever listen and watch the film the same way again. An eye and ear opener for sure. 

The enthusiasm of the crowd carried over into the show, as people applauded the orchestra after some of their longer stretches, and cheered when fan-favorites like Yoda and Boba Fett first appear. Despite the many outbursts of applause and laughter, the crowd was very respectful…and resisted the urge to recite the dialogue word-for-word. 

It was overall another magnificent performance by the Philadelphia Orchestra. Selections such as the famed Imperial March, Han and Leia’s theme, and Yoda’s theme brought out all of the emotions, and the Battle of Hoth was a thrill. After 30 years THE EMPIRE STRIKES BACK still carries a powerful punch, and this night’s live performance made it all the more galactic. 

*

Read Reel Speak’s review on the 2018 STAR WARS performance HERE. 

A Reel Review: ONCE UPON A TIME IN HOLLYWOOD

Celebrated filmmaker Quentin Tarantino has always made movies for himself. His films are packed with his favorite things, almost to the point where we expect him to pop up and start pointing out every reference and wink. The beauty of this is that Tarantino is a cinema junkie, so any new project of his can be a delight for any fan of the movies. The often drawback is that all these winks and nods and homages can get in the way of his story, and in his 9^thfeature film, ONCE UPON A TIME IN HOLLYWOOD, the man finally comes around and finds a perfect balance. 

Hollywood, 1960’s. Aging television actor Rick Dalton (Leonardo DiCaprio), has a had a successful career on television but no-so-great in the movies. His career is tied closely to his best friend and stunt-double Cliff Booth (Brad Pitt), for as Dalton goes, Cliff goes. 

ONCE UPON A TIME IN HOLLYWOOD does not have much in terms of plot. There is no ticking-clock, shiny object, or place to get to…and it instead follows Rick and Cliff through three days of their lives in sunny Hollywood of old. Rick is busy filming TV pilots which may or not become a show, befriending a child actress, and resisting an offer from a bottom-feeding talent agent (Al Pacino), who wants him to go to Italy to film Westerns. Cliff in the meantime is causing trouble with his stunt coordinator (Kurt Russell), picking fights with Bruce Lee (amazingly played by Mike Moh), and somehow gets tangled up with a hippie group led by Charles Manson (Damon Herriman). Rick and Cliff’s stories are separate but equal, and they affect each other from a distance as they interact with characters that are tied together…all leading up to a bloody night (which Manson is responsible for), which involves the home of Rick’s neighbor, actress Sharon Tate (Margot Robbie). 

What makes it all work is the wonderful recreation of the world that is no more. Hollywood of the 1960’s is not only created in stunning detail, but also the culture. This is an era where TV is becoming more and more popular and competing with movie theatres (a curious statement on today’s home entertainment vs. movie theatres), and it boils down to kids loving TV while cinema is a place for adults…with Rick and Cliff stuck in the middle. Tarantino builds a fascinating world for these characters to play in, and it works beautifully. 

Building (or re-building) that world of yesteryear involves digging deep into the sixties; films, TV shows, and music of the era are dusted off and put in all the right places. This time around Tarantino makes all his favorite things work for him; TV shows and songs mirror or foreshadow events and characters in brilliant ways. The film looks amazingand the situations the characters find themselves in are gripping. One pulse-pounding sequence at a ranch occupied by Manson’s cult in particular is some of Tarantino’s best work. HOLLYWOOD however feels like it could have used another pass or two in the editing room. Many scenes go on for way too long and others don’t seem to serve any purpose at all. At over 160 minutes, HOLLYWOOD feels longer. 

Acting is tremendous. Leonardo DiCaprio goes way deep, and in having to play Rick and several different TV characters in one film, we can really see his range. Brad Pitt is equally good, and maybe even at his best. Margot Robbie is charming and just lights up the screen. Al Pacino is busy being Al Pacino. Damian Lewis pops in as famed actor Steve McQueen, and is an astonishinglook-alike. The rest of the massive and impressive cast including Emile Hirsch, Margaret Qualley, Timothy Olyphant, Austin Butler, Dakota Fanning, Bruce Dern, Kurt Russell, Zoe Bell, Michael Madsen, Scoot McNairy, Lena Dunham, Luke Perry, and Nicholas Hammond are all perfect. And keep an eye out for a few 1960’s celebrity cameos. 

Anyone who knows their history knows that HOLLYWOOD is destined to end in bloodshed, but in this Tarantino story…doesn’t go the way we would expect. What he does instead is offer us an alternate history; one that really pays off because the reasons for the deviations make sense and are meaningful. HOLLYWOOD is truly a fairy tale set in the past, and finishes as the best movie about 1960’s Hollywood since 1960’s Hollywood. 

BOTTOM LINE: See it 

Rutger Hauer: 1944 - 2019

Actor Rutger Hauer has passed away at 75. 

Born Rutger Olsen Hauer in the Netherlands to parents who were drama teachers, Hauer ran away from home at 15 and spent a year at sea swabbing decks on a freighter. Once back at home, he worked as an electrician while finishing his high school diploma at night. He attended the Academy for Theatre and Dance in Amsterdam for acting classes, with a brief interruption when he was drafted to serve as a combat medic for the Royal Netherlands Army. 

After joining an experimental troupe, he was later cast in the lead role of Paul Verhoeven’s 1969 TV series FLORIS; a Dutch medieval drama. The role made him famous in his own country. In 1973 Verhoeven cast him in TURKISH DELIGHT (1973), which as a box office hit elevated his star even more. He made his American debut in the Sylvester Stallone film NIGHTHAWKS (1981), as a psychopathic terrorist. 

The following year, he landed his most notable role in Ridley Scott’s BLADE RUNNER as the replicant Roy Batty; a villain known for his violent and eccentric ways. Hauer would improvise the film’s famous “tears in the rain” monologue, and the performance would earn him a Saturn Award nomination for Best Supporting Actor. 

In the 1990’s he was as well-known for appearing in Guinness commercials as he was for his low-budget films. In 1992 he was cast in the film version of BUFFY THE VAMPIRE SLAYER, along with several British and American TV productions. He played an assassin in CONFESSIONS OF A DANGEROUS MIND (2003), a villainous Cardinal in SIN CITY (2005), and a corporate crook in Christopher Nolan’s BATMAN BEGINS (2005). His other notable roles include LADYHAWKE (1985), THE HITCHER (1986), HOBO WITH A SHOTGUN (2011), DRACULA 3D (2012), VALERIAN AND THE CITY OF A THOUSAND PLANETS (2017), and THE SISTERS BROTHERS (2018). 

He was made a knight in the Order of the Netherlands in 2013. 

*

It’s tough to talk about Rutger Hauer without going back to BLADE RUNNER, which gave him his most memorable character. Long-time readers of Reel Speak already know that this Blogger has always had more respect for BLADE RUNNER than love for it, but there is nothing to be taken away from Hauer’s performance. He played crazy, yet somehow controlled…and it cemented his ability to play a formidable villain that was more than just twirling mustaches. His memorable monologue from BLADE RUNNER mentions moments that will be lost in time like tears in the rain, but its safe to say that Hauer’s moments will endure. 

Reel Facts & Opinions: Marvel's Marvelous Weekend

This past weekend, history was made when Marvel Studios’ AVENGERS ENDGAME, their epic conclusion to their 11-year run of superhero films, surpassed AVATAR as the all-time worldwide box office champion. Such news would normally be enough for one weekend, but leave it to Marvel and parent company Disney to top their own headlines. 

The event was San Diego Comic Con; the annual pop-culture exposition which has become a place for studios to showcase their upcoming projects. This year, Marvel dominated the event by revealing their plans for their next “phase” of films…as they continue to explore and expand their cinematic universe that began in 2008 with IRON MAN. Here now is a rundown of their upcoming films, occupying what they are calling Phase 4 of the series.

THOR: LOVE AND THUNDER

The news had come out earlier in the week that there would be a new solo film for our favorite God of Thunder, once again played by Chris Hemsworth, and that it would be directed by Taika Waititi, who helmed the third outing for Thor, RAGNORAK in 2017. But the first of many surprises came with the announcement that Natalie Portman would be returning to the franchise, not only as Thor’s love interest Jane Foster, but as a female Thor. The storyline is inspired by the latest comic storyline in which Jane becomes worthy to wield the power of Thor. To be released November 5^th, 2021. 

ETERNALS 

Marvel has always found a perfect balance in making sequels while launching new product, and this next phase will be no different. ETERNALS will arrive in November 2020, and will be based on the comic that centers on super-powered god-like beings called Celestials, and their rivals called Deviants. It will star Angelina Jolie, Richard Madden, Brian Tyree Henry, and Salma Hayek. 

SHANG-CHI AND THE LEGEND OF THE TEN RINGS

Another brand-new addition to the Marvel Cinematic Universe (MCU). This comic was inspired by the wave of kung-fu films in the 1970’s, and followed a fighting master who gains the ability to create replicas of himself. Chinese-American actor Simu Liu plays the lead role with Awkwafina co-starring. It is slated for release in February 2021. 

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS

Benedict Cumberbatch reprises his role as the mystical wizard Dr. Strange in his second solo outing. Promised to the first “scary film” in the MCU with elements of gothic horror. Elizabeth Olsen returns as the Scarlet Witch, with returning director Scott Derrickson behind the camera. The good doctor returns May 2021. 

BLADE

Marvel’s comic-con panel ended in a jaw-dropper. Two-time Oscar winner Mahershala Ali was announced as the new Blade. The sword-wielding, vampire-hunting hero was introduced in the comics in 1973, and had a short run of movies with Wesley Snipes in the role. No details were given about the storyline or a release date. 

…Other films announced were BLACK WIDOW, which is now filming with Scarlett Johansson reprising the role in an adventure taking place before the events of ENDGAME. There were also teases for BLACK PANTHER 2, GUARDIANS OF THE GALAXY VOL. 3, CAPTAIN MARVEL 2, and the long-awaited return of THE FANTASTIC FOUR…all films expected to start appearing by 2022 at the earliest. 

What does all this mean? This lineup looks smaller-scale compared to what we’ve seen from Marvel in the last five years, but after the emotional wallop that ENDGAME gave us, now seems like the perfect time to slow down and lay down some new tracks…as new characters enter the universe once defended by Captain America and Iron Man. In a way they are back to Phase 1, and it is exciting to see them start all over. Our beloved Avengers may be done, or maybe even on hiatus, but it seems this universe will always have space to explore. 

A Reel Review: THE LION KING

Disney’s photorealistic “live-action” remake of one of their biggest films of all time, THE LION KING, is their third such re-do of their animated classics in 2019. These second-tries with new skins have proven to be money-makers with varying degrees of critical success; earning dollars on name alone and occasionally offering something new or relevant to the story for old fans and newcomers. It’s been an interesting study of form and content, with filmmakers trying to find that right balance. 

Simba (Donald Glover and JD McCrary), a young lion crown prince of the Pride Lands, flees his homeland after the death of his father Mufasa (James Earl Jones), which was engineered by his uncle Scar (Chiwetel Ejofor). Simba finds a new home and new friends Timon the meerkat (Billy Eichner), and Pumbaa the warthog (Seth Rogen), before being found by his childhood friend Nala (Beyonce Knowles-Carter)…and is torn between staying put or returning to the Pride Lands to face his destiny. 

Neither audiences or filmmakers seem to know exactly what to do with these live-action remakes. Stick to close to the original, and it becomes pointless. Take some risks and make a whole lotta changes, and it’s considered to be a betrayal to the original. Director Jon Favreau, who helmed Disney’s recent, most-excellent live-action version of THE JUNGLE BOOK, chooses to take a low-risk, low-reward approach. For the most part, THE LION KING is a shot-for-shot take on the original. The iconic opening sequence is identical, and the plot-points are as well. There are changes here and there in dialogue, a few place-settings, and many scenes are truncated or cut from the old version…but for the most part it is indeed the old story (which functions perfectly), in a new skin. 

And this new skin is astonishing. Created with digital imagery and virtual reality techniques, the animals and environments, ranging from jungles to deserts…are breathtakingly real. The fine details down to the dirt, bird feathers, and lion’s manes make it seem like a Nat-Geo documentary. There’s also an eye-popping amount of depth to the environments that actually improves on the original. It’s the most convincing CGI we’ve ever seen and is a leap forward for the tech. It’s stunning to see, but it also works against the film. The commitment to realism is so high that the animals simply do not emote. They can’t smile or frown, or show anger or joy, and it sucks the soul out of the story. Even the musical numbers suffer, as no animal is allowed to really dance as they are locked down in reality. Despite this, the movie is still very funny and joyful; Timon and Bumpaa are a blast, and watch out for a fantastic Disney surprise near the climax. 

The musical numbers are mostly note-for-note of the old songs, with Elton John returning to rework his old compositions. Beyonce tosses in a new song titled Spirit which feels out of place. The reworkings of Circle of Life, and Can You Feel the Love Tonight are highlights, and both Hakuna Matata and The Lion Sleeps Tonight is guaranteed to whip the entire theatre into sing-along mode. 

The voice-cast is decent but mostly ho-hum. Donald Glover is a surprise with his singing voice, and Beyonce sounds great. Chiwetel Ejiofor is one of our finest actors but he simply does not sound sinister enough for Scar. Seth Rogen and Billy Eichner are well-cast, and John Kani as Rafiki the shaman/monkey is also very good. James Earl Jones reprises his role as the mighty Mufasa, but he simply does not sound right in places. 

When THE LION KING roared in 1994, it was a step forward for animation, and this version is as well. It would be difficult to find a film that looked more beautiful and jaw-dropping, but it looks so real that the expected and needed “magic” that we need from cinema is missing. That is the thorn in the paw of this film which can roar but has a limp. 

BOTTOM LINE: Rent it 

A Reel 20: THE BLAIR WITCH PROJECT

“I’m scared to close my eyes…”

This month marks the 20^thanniversary of THE BLAIR WITCH PROJECT. 

It was the first of its kind to hit mainstream with the “found footage” technique of filmmaking. Three student filmmakers; Heather (Heather Donohue), Josh (Joshua Leonard), and Mike (Michael C. Williams), hike to the Black Hills of Maryland to film a documentary about a local legend called the Blair Witch. The three vanish, but their footage is discovered a year later…and the recovered film is the movie the audience sees. 

The idea for THE BLAIR WITCH PROJECT was born in 1993, when student filmmakers Daniel Myrick and Eduardo Sanchez were inspired by documentaries on paranormal phenomena which they found to be more scary than traditional horror films. They conceived of a film that combined documentary and fictional horror films, intending to film in wooded areas with improvised dialogue. 

Filming began in 1997 in Maryland, with local townspeople appearing in the film. Realism was the key to making it work, and the three actors were given crash-courses in hand-held-camera techniques as they would be doing all the filming themselves. Myrick and Sanchez were going for real reactions, and didn’t tell the actors about events that would be happening. For example, when one of the students vanish without a trace, it was done without the knowledge of the remaining two…earning  genuine fearful performances. The directors moved their actors a long way through the woods, harassing them by night and depriving them of food. Total filming took only eight days, with 20 hours of footage to be cut down to two-and-a-half-hours. 

Prior to release, THE BLAIR WITCH PROJECT had a unique marketing technique, and it is one of the first to be showcased via the internet; it was “viral” long before the term would become common. The film’s official website stuck to the realism attempt; showing “missing” posters and newsreel-style interviews….which had many people (including this Blogger), believing that the footage was real. So real that Heather Donahue’s mother received sympathy cards from people who believed her daughter was dead or missing. 

The efforts paid off. After a premiere at Sundance and plenty of buzz about “a record of real events”, THE BLAIR WITCH PROJECT would earn $248 million total, over 4,000 times its original budget. It would be the 10^thhighest grossing film of year and would earn the reputation as a sleeper hit. It would draw positive reviews from critics with the found-footage technique earning universal praise, and would instantly a create a new sub-genre of horror. 

*

The good news about THE BLAIR WITCH PROJECT is that when it arrived and was met with great popularity, it instantly gave the horror genre something new to play with. It was 1999 and the genre was feeling stale, with the slashers gone out of style and not much else to look forward to. THE BLAIR WITCH began a new era of found-footage movies, and that’s where the bad news comes in. 20 years on Hollywood and indie filmmakers are still cranking out films using that style to varying degrees of success, almost to the point where it’s become stale and lazy…and many blame THE BLAIR WITCH for it all. It’s unfair to do so, because on its own it is still an effective thriller. It has convincing performances, is very scary, iconic imagery, and with the JAWS-like decision of never seeing the monster…drives our imaginations wild with terror. 

“You gonna write us a happy ending, Heather?”

A Reel Opinion: Casting Controversy

In the past couple of weeks, the world of cinema has erupted in controversy over casting decisions from two separate film productions; controversy that has enraged fans, fueled debate, and perhaps even deepening the current racial divide in America. 

The first blow-up came earlier this month, when 19-year-old singer and actress Halle Bailey was cast in the role of Ariel for Disney’s upcoming live-action remake of their 1989 animated classic, THE LITTLE MERMAID. Bailey, who is half of the band Chloe X Halle and has toured with Beyonce, has been nominated for two Grammy’s, and has been a regular in the Freeform series GROWN-ISH. She can act and sing, which are two vital talents needed for the role, but her skin-color drew out the pitchforks from fans of the original film…as Ariel was originally drawn as white with red hair. Not all the backlash was racially motivated; most long-time fans of the original just want to see the Ariel they grew up with, which is a perfectly legit complaint. The hashtag #NotMyAriel was all over social media with fans saying that the casting move is not true to the character. But others out there couldn’t help but to play the race card. Bailey has had her defenders; with Freeform and original Ariel voice-actress Jodi Benson releasing statements in her support. 

The second firestorm came just this past weekend from the now-filming and untitled James Bond film (currently being referred to as Bond 25 until they pick a title). The Daily Mail reported that actress Lashana Lynch, who appeared in this year’s CAPTAIN MARVEL in a supporting role, will appear in the film as 007. It seems that the film will begin with James Bond (reprised by Daniel Craig), in retirement, and his 007 codename has been passed on to a new character…the one that will be played by Lynch. The report points out that Lynch is not expected to replace Craig in the franchise in the future, and the change-up is merely setup for the film’s events. The explanation makes sense, but that didn’t stop fans from breaking out the pitchforks and quickly going after Lynch’s skin color. 

Both controversies have acted as a snapshot of the current state of racial affairs in America. After all, this is a country where the President fires off racially insensitive tweets, which intentional or not, empowers the loudmouth racists out there; loudmouths who seem to be just waiting for casting decisions like this as an excuse for their uneducated tirades. If they would look deeper they would find that there is sound movie-logic at play here and not an agenda. In the case of 007, it makes perfect sense that the code-number would be passed on after a retirement; the MI6 isn’t like a football team that would retire your number. The fact that it would pass onto a black woman is irrelevant, because there’s no reason why it can’t. 

The case of Ariel is trickier, as no one really seems to know what they want from Disney’s live-action remakes. If the film is made exactly like the original then the effort becomes pointless. If they make changes so it can be its own thing, then fans go into rebellion mode. While it is true that we’re not getting the Ariel we were expecting in looks, the fact is we’re talking about a fictional character of a fantasy species, not to mention Ariel’s super-red hair doesn’t exist in nature in the first place. Art should never have restrictions, and character is more important than skin color. 

It would be easy to say that we should just wait and see how all this plays out when the movies are released, but what we see on the screen can calm things down. Actress Zendaya was in the gunsights when she was revealed to be Peter Parker’s crush MJ in the new SPIDER-MAN movies, as she did not resemble the MJ in the comics…who coincidently, also had super-red hair. But then she lit up the screen in this year’s Spidey film FAR FROM HOME, and even the most critical of her casting were silenced. The productions of Bond 25 and THE LITTLE MERMAID have definitely earned some attention, but now they have to come through and make their decisions work. 

*

THE LITTLE MERMAID comes ashore in 2021. 

Bond 25 arrives April 8, 2020. 

A Reel 25: FORREST GUMP

“Life is like a box of chocolates…”

This month marks the 25^th anniversary of Robert Zemeckis’ FORREST GUMP. 

Fresh off the success of his immensely popular BACK TO THE FUTURE trilogy of films, director Robert Zemeckis film FORREST GUMP was loosely based on Winston Groom’s novel. The story unfolds several decades in the life of Forrest Gump, a dim-witted and somewhat slow native of Alabama, who witnesses and sometimes accidently influences some of the defining moments in the latter half of the 20^th century. 

The role of Forrest, who despite a slow IQ was athletically superior and fiercely loyal to the people he loved, was first considered to be filled by John Travolta and Bill Murray. The role went to Tom Hanks, who at the time of the film’s release was the reigning Oscar winner for Best Actor; having won the previous year for his role in PHILADELPHIA. The rest of the excellent cast was rounded out by Gary Sinise, Robin Wright, Sally Field, Mykelti Williamson, and a very young Haley Joel Osment. 

Director Robert Zemeckis shot the film in and around authentic locations, and by using the most-excellent services of Industrial Light and Magic, was able to create the eye-popping and landmark visuals of Hanks’ character interacting with famous figures in history. A comprehensive soundtrack of pop and rock hits helped to pinpoint specific time periods throughout the film, and Alan Silvestri added a touching score. 

The film was a major success. FORREST GUMP would earn over $677 million worldwide during its theatrical run, and would eventually win Best Picture at the Oscars…along with Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing. As icing on the cake, Tom Hanks would win his second consecutive Best Actor award; becoming only the second actor at the time to accomplish the feat. The film would be selected by the Library of Congress in 2011 for preservation in the United States Film Registry, and it appears on many of the American Film Institutes’ Top Lists. As a film saturated in American culture of the past, FORREST GUMP would ironically become a part of pop culture…eventually inspiring a themed restaurant (Bubba Gump Shrimp Company) which would expand to multiple worldwide locations. The soundtrack of rock and pop hits would become one of the top selling albums in the United States. 

*

There are a lot of elements to admire about FORREST GUMP; so many to choose from that it is no wonder that the film is able to reach so many people. The look at history, the music, the technological innovations…for starters. But what really makes the film succeed is that the life story of Forrest Gump, as told on film, unspools like a folk hero out of legend; the type of stories that you tell your children or around the campfire. FORREST GUMP is heavy on the nostalgia, but it is also heavy on heart, which brings us one of the most endearing characters in cinema history. 

“…You never know what you’re gonna get”.

A Reel Review: MIDSOMMAR

There is a philosophy in filmmaking that says it is better to confuse your audience for five minutes than to let them get ahead of you for one minute. In 2018, director Ari Aster took that approach with his supernatural horror film HEREDITARY, which kept us all guessing right up until the shocking end. Here in 2019, Aster returns with another horror movie, MIDSOMMAR, which takes that same approach to the extreme. 

Dani (Florence Pugh), and Christian (Jack Reynor), are two college students whose relationship is on the outs. When a terrible family tragedy happens, Jack invites Dani to come with him and his classmates/friends (William Jackson Harper, Will Poulter, Vilhelm Blomgren), to his previously planned trip to Sweden to attend a remote festival that only happens once every 90 years. 

Similar to HEREDITARY, MIDSOMMAR is a horror flick that also explores intrapersonal relationships. Where HEREDITARY looked at family dynamics, this time around Aster looks into the unraveling of a relationship. It’s all about Dani and Jack; Dani is deeply traumatized by her family tragedy and can break down hysterically at any minute, and Jack couldn’t seem to care less. The environment they find themselves in; a festival run by what seems to be a remote, nature-loving, cult-ish commune, is used to reveal the true characters of Dani and Jack. As Dani becomes more fascinated with the cult, Jack grows even further away. 

The well-constructed environment of the cult is what really drives the film. The cult members at first seem harmless; dressing in white free-flowing clothing with simple food, language, dances, and a harmony with nature. Eventually their more extreme ways come out; members who reach the age of 72 give their lives via suicide, mating is done in rooms full of naked people, drinks are passed around that cause the senses to go awry, and incest helps the commune survive the centuries on their own. As a horror film, MIDSOMMAR doesn’t rely on cheap jump-scares and loud noises, and instead builds an atmosphere of uncomfortableness. There’s always a feeling of something beingoff, and it shows off Aster’s talent for getting under our skin. 

And Aster’s talent really shines here. Pacing is a wonderful slow burn and the plot reveals itself in subtle hints. As horrific as things get, the film is very funny as our students find themselves in one awkward situation after another. The film looks gorgeous and the cult’s remote dwelling looks real and feels lived-in. The score by The Haxan Cloak is outstanding. 

Acting is tremendous. The film belongs to Florence Pugh. Here character goes through some serious trauma and she is asked to cry and wail in extreme pain…and she pulls it off marvelously. 

MIDSOMMAR is packed with WTF moments that seem to be building towards something significant, and although the ending is horrific and very well crafted, the film fails to offer any context to what the hell we just watched. No explanations, no background, and no reasoning is given to tell us why our college kids eventually find blood. After all, anyone who has ever seen a movie before knows right away that things are not going to go well for our students in this strange place, and they certainly don’t…but without any context the film ends with a “that’s it?” feeling. It’s a letdown, as the film is perfect until that point, and knocks it down a few notches from a must-see. 

BOTTOM LINE: Rent it 

A Reel Review - SPIDER-MAN: FAR FROM HOME

SPIDER-MAN: FAR FROM HOME, the 23^rdfilm in Marvel Cinematic Universe series of superhero movies, has a tough act to follow. It is the first Marvel film to arrive after their grand and emotional farewell to the Avengers in ENDGAME, which was only three months ago. But for director Jon Watts the solution was simple; don’t try to top ENDGAME, and instead bring things back to ground-level. 

Peter Parker (Tom Holland), goes on a class trip to Italy where his only goal is to tell his crush MJ (Zendaya), how he feels about her. But his trip is hijacked by Nick Fury (Samuel L. Jackson), who has teamed up with a superhero from another dimension, Mysterio (Jake Gyllenhall), to prevent a new threat from wiping out the Earth. 

FAR FROM HOME has a lot going on. Poor Peter is eager to put his superhero work as Spider-Man on hold for a while, just so he can work on his crush and feel like a kid again. In the meantime, he is still mourning the loss of his friend and mentor Tony Stark, along with dealing with an overbearing Fury who wants him to step-up and be the next Iron Man. Toss in another world-ending threat, and Parker has a lot on his plate. 

The threat that the world is facing is taken on with great reluctance by Peter, who is aided by yet another hand-me-down from Stark that adds to his pressures. Things get nuts in a hurry when the threat is revealed to be only the beginning of the problems, as a mid-film twist turns the entire story on its head. What follows next is the revelation of a hidden villain who has the power to project different realities. It messes with our minds and keeps us guessing as to what is real and what isn’t; a game that audiences will certainly lose as there is one surprise after another. It’s a blast to see unravel, and its secrets stretch way back into Marvel’s film history and add even more layers of intrigue. 

One of the reasons why Marvel’s films have clicked so well with audiences is that they cross-breed superhero adventures with other genres of film. Here, director Jon Watts infuses this Spidey-story with teenage crushes and drama, and it works very well. These are just kids facing the beast, and the film does great work in keeping that up-front at all times. Despite a worldwide threat, the film sticks with its characters and things feel grounded and palpable. Great work is also done in catching us up with the world after the events of ENDGAME, with society still adjusting to losing five years and with no more Avengers to save them. Action sequences are a blast, Michael Giacchino’s score is excellent, and Spider-Man looks great swinging and jumping into action. 

Acting is excellent. Tom Holland has really stepped into his role as Peter Parker and the work he has to do as a conflicted 16-year-old really pays off. His chemistry with Zendaya leaps off the screen, who is also very good. Marvel veterans Samuel L. Jackson, Cobie Smulders, Jon Favreau, and Marisa Tomei are great as always, although Tomei is very under-used. Jake Gyllenhaal is awesome as the mysterious Mysterio and has a lot to work with. 

If there is any dent in this Spider-Man its that it goes out of its way to remind us that Tony Stark is gone and Peter has to deal with that one way or another. There’s a lot of redundancy, but there are also some bits of nostalgia that more-or-less make up for it; be prepared to shed a tear or two. The finale to the film offers even more surprises, and two mid-credits scenes are stand-up-and-cheer worthy…and lets us now that after 23 movies, Spider-Man and Marvel still have a lot to offer. 

BOTTOM LINE: See it 

A Reel Preview: The Year in Film 2019 - Episode VII

July may be the first full month of Summer, but it also marks the half-way point of the year. But before we start working on those Oscar ballots, we still have two full months of Summer fun in the theaters. Here now is a preview for the notable releases of the month. 

It all swings in with…

SPIDER-MAN: FAR FROM HOME – The second solo adventure from our new friendly neighborhood Spider-Man takes place right after the events of AVENGERS: ENDGAME, and sees Peter Parker/Spidey mourning the loss of his mentor and father figure while taking on a new, mysterious threat. Tom Holland reprises his role as Spider-Man, and he is joined by Samuel L. Jackson, Cobie Smulders, Jon Favreau, Marisa Tomei, Jake Gyllenhall, and Zendaya. 

MIDSOMMAR – Director Ari Aster, who brought us the hit horror-film HEREDITARY last year, returns with another movie set to terrify us; this time following a group of friends who travel to Sweden for a festival that happens every 90 years. 

STUBER – Dave Bautista (Drax from GUARDIANS OF THE GALAXY), hires an Uber driver to help him with an arrest operation. Kumail Nanjiana, Natalie Morales, Mira Sorvino, and Karen Gillian co-star. 

CRAWL – During a hurricane in Florida, a young woman finds her father in the crawlspace of their flooded home, and have to escape while avoiding hungry alligators. Kaya Scodelairo and Barry Pepper (SAVING PRIVATE RYAN) star. 

ARMSTRONG – Just in time for the 50^thanniversary of the first Moon landing. Using restored archival footage and film never before seen, this new doc explores the steps taken to one of America’s finest moments. Harrison Ford narrates. 

THE LION KING – Jon Favreau (IRON MAN), directs this photo-realistic computer-animated remake of the 1994 Disney classic. It stars the voices of Donald Glover, Seth Rogen, Chiwetel Ejiofor, Beyonce, and James Earl Jones. 

ONCE UPON A TIME IN HOLLYWOOD – Quentin Tarantino (KILL BILL, PULP FICTION), brings us this comedy-drama that has an aging action star (Leonardo DiCaprio), and his stunt-double (Brad Pitt), trying to keep their careers going. It co-stars Margot Robbie (I, TONYA), Emile Hirsch, Timothy Olyphant, Dakota Fanning, Bruce Dern, and Al Pacino. 

*

Next month, Reel Speak previews the final month of the Summer Movie Season.