A Reel Review: INDIANA JONES AND THE DIAL OF DESTINY

Indiana Jones has faced many challenges in his four cinematic adventures. He has battled Nazi’s, Russians, and evil cults. He’s been dragged behind a truck, dangled off a tank, been poisoned, shot, and punched. He’s avoided snakes, bugs, rats, and booty traps. For his fifth and final trek, he faces the greatest enemy of all: time. 

The year is 1969. Indiana Jones (Harrison Ford), is approached by his god-daughter Helena (Phoebe Waller-Bridge), to piece together the remains of Archimedes’ Dial; an ancient device with the ability to find fissures in time. Also seeking the device is former Nazi Dr. Jurgen Voller, who is looking to correct the mistakes of the past. 

Directed by James Mangold, DIAL OF DESTINY dutifully and faithfully checks off the boxes needed for an Indiana Jones film. We have an ancient relic sought after by the goddamn Nazi’s, several trips around the globe, fistfights, gunfights, and chases around cities. The plot revolves around the Dial, which is broken in pieces and must be recovered before the bad guys can get there first. Underneath that, DIAL OF DESTINY has a lot of fun with its characters. Helena’s family has a history with Indy, and she is his polar opposite; not in the game for the love of archeology but for the money…just seeking the relic to pay off her debts. It’s a hard contrast that gives the film a lot of character. 

While Indy is sparring with Helena and punching Nazi’s, he is also up against the brick wall of time. The concept of time and what it can do to us hangs heavily over the film. Indy is not the man he used to be no matter how hard he tries, and his place in the world which is passing him by is the opposite of his new enemy, Voller. Where Indy has succumbed to time, Voller is looking to change it. Mangold, along with Ford’s commitment to Indy’s age and mindset, finds new places for Indy to go as a character, and it is a grand refresh for a film franchise now in its 42^nd year. It’s a film about holding on too tightly to the past, and it works very well. 

Mangold has the immense pressure of taking over for Steven Spielberg, and does a decent job of it. Pacing is brisk and the banter is fun, and the action scenes range from okay to outright thrilling. Some scenes feel like they could have the tension ramped up more, and others feel like they need some breathing room. Pacing is a little un-even, but the film still moves along well and feels shorter than its hefty 154 minutes. John Williams’ score has new variations of Indy’s classic theme, and a new theme for Helena is excellent. 

Visual effects, a hallmark for an INDIANA JONES film, are un-even. The outstanding, extended prologue that takes place in 1944 features a digitally de-aged Ford. Some of the effects are breathtakingly great, others not so much. Similar to its predecessor, DIAL OF DESTINY still has way too much green-screen going on to fill in backgrounds and environments, and many of the exterior scenes have an artificial look to them; not the best look for a franchise that was built on authenticity. 

Harrison Ford puts in one of his best career performances here, taking Indy to some deeper, and surprisingly emotional places. Phoebe Waller-Bridge is a blast, and Mads Mikkelson is chilling. Boyd Holbrook comes in as Nazi henchman and is perfect. John Rhys-Davies reprises his old RAIDERS OF THE LOST ARK role and is a blast. Young Ethann Isidore appears as Helena’s sidekick, and although his acting is fine, the character is baggage. 

Like previous Indy adventures, the third act and finale goes into some wild places, with this one pushing the realm of what we are willing to buy into for an INDIANA JONES movie. It may blow away the rules of logic, but it delivers on the rules of entertainment. After the final resolution, DIAL OF DESTINY then settles into a whopper of an emotional finale, which is un-expected and very well executed by Ford and all parties involved. It’s a capper on a film that needed over 40 years of experience to make, and sends Indiana Jones out swinging. 

BOTTOM LINE: See it

 

A Reel Recap: The History of Indiana Jones

Indiana Jones. We always knew he would come walking back through our door. One thing made it inevitable: he is one of the most popular, iconic, beloved, and perfect-for-the-big-screen characters of all time, and this week he returns to those big screens with INDIANA JONES AND THE DIAL OF DESTINY. The fifth film in the franchise, which launched in 1981, is to be the final outing for the adventuring archeologist as played by Harrison Ford. With his final bow approaching, the time is right to look back on the cinematic history of Dr. Henry Jones, Jr. 

 

 

RAIDERS OF THE LOST ARK (1981)

 

The idea for Indiana Jones came from STAR WARS creator George Lucas, who pitched the character to his good friend Steven Spielberg in the late 1970’s. The idea was an adventuring archeologist who goes searching for the sacred and powerful Ark of the Covenant, and would be inspired by the serials of old. Indiana Jones would be created as a professor of archeology and an obtainer of rare antiquities, traveling the world with his fedora, bullwhip, trusty revolver, and battered leather jacket (along with a fear of snakes). His cinematic debut came in June of 1981 with RAIDERS OF THE LOST ARK. 

 

Harrison Ford would take on the role of Indy, Spielberg would direct, and John Williams would provide the score. Karen Allen would be his companion, Marion. RAIDERS would finish as the highest grossing film of the year, win five Oscars, and with the crack of a whip and a slapping right cross, become a permanent addition to pop culture. 

 

 

 

INDIANA JONES AND THE TEMPLE OF DOOM (1984)

 

After the fun and games of RAIDERS, Lucas and Spielberg decided to take the series to darker places. With both men going through breakups in their personal lives, INDIANA JONES AND THE TEMPLE OF DOOM was conceived as a tougher and more frightening film. Where RAIDERS trotted the globe, DOOM was largely confined to one place with child laborers, the extraction of a still-beating heart, and a fiery pit of hell where victims are lowered. Similar to RAIDERS, the artifact(s) Indy chases are based on real-life items, with a touch of the supernatural. 

 

The film was set two years prior to the events of RAIDERS, making it a “prequel” long before the term became common in the movies. Kate Capshaw would step-in as Indy’s love interest, and Ke Huy Quan would be Indy’s young companion. The darker elements of DOOM made it the first film to earn a PG-13 rating, but despite this, it would go on to earn two Oscar nominations (winning for Visual Effects), and finishing as the third highest-grossing film of the year. 

 

 

INDIANA JONES AND THE LAST CRUSADE (1989)

 

Indy would not return to the big screen for five years, but when he did, he brought along the best company for THE LAST CRUSADE. Sean Connery would arrive as Indy’s father, and the chiding, competitive, but loving relationship between father and son drives the film. This time the Holy Grail would be the coveted object, which would actually serve as a metaphor for Indy’s search for the father he never knew. 

 

CRUSADE would bring back cast-members from RAIDERS including Denholm Elliott and John Rhys-Davies, and Alison Doody would come in as a love-interest and double-agent. The late great River Phoenix would appear as a young Indiana Jones for the opening sequence. CRUSADE would finish as the highest grossing film of the year, and earn three Oscar nominations. For this Blogger, THE LAST CRUSADE is the perfect Father’s Day movie. 

 

 

 

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)

 

It would take nearly 20 years for Indy to come back to the big screen. This time, Indy would set out in search of a telepathic crystal skull with connections to extra-terrestrials (or as the movie tries to justify it, inter-dimensional beings). Karen Allen would return as Marion, and they would be joined by Shia LaBeouf, Cate Blanchett, Ray Winstone, Jim Broadbent, and the late great John Hurt. This would be the last INDIANA JONES film directed by Spielberg. 

 

CRYSTAL SKULL would receive mixed reviews from critics, but would be less well-received by fans of the franchise. Despite this, SKULL would finish as the second-highest grossing film of the year, and as the highest grossing film in the franchise. 

 

INDIANA JONES AND THE DIAL OF DESTINY (2023)

 

And that brings us to today, with THE DIAL OF DESTINY set to provide a final adventure for Indy. Harrison Ford reprises the role for one last time, and he is joined by Phoebe Waller-Bridge, Mads Mikkelsen, and returning cast members from RAIDERS making appearances. Steven Spielberg steps aside for James Mangold (LOGAN, 3:10 TO YUMA), but John Williams is back for the music.  

 

With the music ending for Indy, there is a hint of sadness that can’t be overlooked. For a generation that grew up in the late 1970’s into the 1980’s, there were three movies that defined them: JAWS (1975), STAR WARS (1977) and RAIDERS. To see Indy take a final bow represents the passing of era, and it hurts, but having lived through his stories has been the greatest cinematic adventure of them all. 

 

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DIAL OF DESTINY opens June 30th, with previews on June 29^th. 

A Reel Review: ASTEROID CITY

Over time, stylistic director Wes Anderson has decided that traditional storytelling isn’t enough. Starting with his magnificent, Best Picture-nominated THE GRAND BUDAPEST HOTEL in 2014, the quirky director has searched for multiple angles, perspectives, and layers to unspool his tales. For his 11^th feature, ASTEROID CITY, he pushes those new perspectives to even more places. 

In the fictional town of Asteroid City (a tiny settlement known for its famous asteroid strike years before), a junior Stargazer convention draws several strangers together, including a famous photographer (Jason Schwartzman) and his kids and father-in-law (Tom Hanks), a movie star (Scarlett Johansson), a military detachment (led by Jeffrey Wright), and a scientist at a local observatory (Tilda Swinton). After a strange visitor arrives, everyone is quarantined in the town for a week…

ASTEROID CITY does not have much by way of plot, and is mostly concerned with the several contrasting characters interacting; getting on each other’s nerves, falling in love, and occasionally breaking into song. Narration drives it, and here director Wes Anderson takes the film to another level. The events happening in the little town of Asteroid City are actually being performed in a stage play, and the film often cuts away from the town to a TV special (hosted by a Rod Serling-like character played by Bryan Cranston), where the creation of the play is documented. It’s bold, creative, and brilliant in places…but it is also jarring, and often we find the events within the play more interesting than what’s happening in the behind-the-scenes sequences. 

While Anderson is having fun throwing all these varying angles at us, he overlooks some of the things that we have come to love about his films. While the film is very funny in places, there is also a coldness to it; the charm and heart we are used from Anderson just isn’t there. Characters are distant and desperately need some heart. 

There is still plenty to enjoy in ASTEROID CITY. The humor is well-timed and the film looks gorgeous. Anderson’s trademarks of long tracking shots and precision framing are there and are excellent, and every frame is a painting. 

The cast is excellent despite everyone’s characters acting robotic. There is no traditional main character as it is truly an ensemble piece: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Willem Dafoe, Margot Robbie, Rita Wilson, Tony Revolori, and Jeff Goldblum. 

There is frustration to be had in ASTEROID CITY because the parts that work, really work…and just when we are settling in and getting in the groove, the film awkwardly cuts away and kills the energy and momentum. There is a little too much ambition here, and things may have worked better if just stuck to one place. This may age well and improve over time, but for now, ASTEROID CITY strikes just as much as it misses. 

BOTTOM LINE: Rent it

 

A Reel Review: ELEMENTAL

Pixar’s ELEMENTAL is the famed animation studio’s first release in theatres since 2019. The studio that has delivered timeless classics such as TOY STORY, UP, and WALL-E had the theatrical run of their ONWARD cut short due to the mishandled pandemic, and in the last few years have been releasing their films straight to parent-company Disney’s streaming service. It’s been a cold few years for Pixar, but here in 2023 they take a big swing at returning to big-screen glory. 

 

In a world populated by anthropomorphic elements of nature, Ember (Leah Lewis), a fire element, works with Wade (Mamoudou Athie), a water element, to prevent her father’s shop in Firetown from being flooded by a break in the city’s canal system. 

 

To say more of the plot would swim into spoiler waters, as ELEMENTAL is a packed film. Directed by Peter Sohn (who directed Pixar’s THE GOOD DINOSAUR), the film’s plot at first feels very familiar; find the source of the leaks and save the shop. The source of the leakage initially feels nefarious, and there’s an early chance that ELEMENTAL moves into a CHINATOWN-like plot of shady real estate happenings. But ELEMENTAL eventually takes an unexpected left-turn, moving the flooding issue to the background and focusing on a new, budding romance between Ember and Wade. The stakes are high as Ember’s family shop is under threat, even though she has higher dreams for her life other than working behind a counter…all while she’s trying to figure out her new romance. 

 

It's a romance that simply does not happen in this world (because fire and water), and it feels like another version of ROMEO AND JULIET, but ELEMENTAL surprises yet again here. The film’s world-building is key; social-divisions are present between the fire and water people (air and earth people are here too, as a middle-class). Privileged water people live in slick high rises, while the fire people are sequestered in Firetown…where their community reflects East Asian traditions. ELEMENTAL takes a hard look at how immigrants were (and sadly still are), treated in major cities. It’s a mature theme that provides a layered backdrop to Ember and Wade’s somewhat-forbidden romance, and it works. 

 

Also working is the stunning animation. ELEMENTAL is nothing short of gorgeous. Character-design is fascinating, and the design of the city breathtaking. Sequences such as a venture into a flooded tunnel and dancing on colored stones are thrilling and charming, and Thomas Newman’s score is excellent. The entire voice cast is also excellent. Leah Lewis and Mamoudou Athie shine here, and their work helps flesh out their characters.

 

By movie’s end, there will some tears flowing as ELEMENTAL throws an emotional punch that really lands. It’s the type of ending that we love from Pixar, capping a hot movie. 

 

BOTTOM LINE: See it 

 

 

A Reel Review: THE FLASH

No superhero film in our timeline has earned more press, good and bad, than THE FLASH. The first solo film for DC Comics’ famed speedster has been in production for nearly a decade, has been surrounded by controversy due to the legal troubles of lead actor Ezra Miller, and to top it off…the early screenings suspiciously had reactions running to call it the new greatest-ever. Enough is enough, and it’s time to put the yellow boots to the road…

 

The Flash/Barry Allen (Miller), despite being a famous hero with the Justice League, is still traumatized over the murder of his mother, which his father (Ron Livingston), is wrongfully sitting in jail for. Barry uses his powers to run back in time and set things right, which causes our reality to split into alternate timelines. 

 

Directed by Andy Muschietti, it is no great spoiler to print that Barry succeeds in his plan to rescue his mom from murder. But his actions cause reality to be wiped clean of superheroes, which leaves he and his younger self (also played by Miller), to seek the help of Batman/Bruce Wayne (Michael Keaton) …just as the Earth is under threat from invaders from Krypton (led by General Zod, reprised by Michael Shannon). 

 

THE FLASH starts with a strong emotional hook, intimate and palpable, and eventually moves into a save-the-world spectacle. The stakes are high on a personal and global level, and for the most part it works. The shift from Barry’s personal stakes to the wider picture is a little abrupt, and the film does a decent job of balancing the two. 

 

Nostalgia has been Hollywood’s new favorite toy in recent years, and THE FLASH leans in hard. The return of Keaton’s Caped Crusader (from his 1989 and 1992 films), injects the film with a tremendous sense of energy and joyous fan-service. Without it THE FLASH may not have been as fun, but it’s hard to poo-poo too much on a film that gives fans exactly what they’ve wanted for decades. THE FLASH is also packed with cameos from past cinematic DC heroes, some of which are rendered through some dodgy CGI. 

 

Speaking of CGI, for a film that cost over $200 million the visual effects are often crap. Rubbery-looking artificial characters (and babies) are cringe and can take us right out of the film. 

 

But all is not lost for THE FLASH. Despite the flaws the film is still a lot of fun. Action sequences are a blast, and the banter between characters, especially between the two Barry’s, range from strong emotional hooks to hilarious…although sometimes a little too goofy. THE FLASH also doesn’t forget what a superhero film should always do: save people at all costs. Pacing is tight and moves fast (it better, for a movie about the fastest man alive), and it packs in a ton in 144 minutes. However, logic is an issue here and there as the rules seem to shift, and Barry’s final solution to save his father from prison at the end contradicts everything he learned. 

 

Acting is superb. Ezra Miller has the task of playing two different characters and nails it. Michael Keaton amazingly recaptures the little ticks and mannerisms of the Bruce Wayne he played 30 years ago. Michael Shannon is excellent although his presence is more of an extended cameo. The show is stolen by Sasha Calle who appears as Supergirl. 

 

The biggest problem with THE FLASH is that the trailers gave away too much; there is a misdirection attempt with Supergirl/Superman that takes up a lot of time which we already knew the answer to. It’s becoming a common problem with studios desperate to cross that coveted $1 billion box office mark, and here it takes away what could have been a great surprise. Still, THE FLASH delivers what it sets out to do. It’s not the new greatest-ever, but it’s certainly not the worst-ever either. Walk, don’t run to see it. 

 

BOTTOM LINE: See it 

A Reel Preview: Everything you need to Know about THE FLASH

This week, one of the most anticipated, troubled, and controversial films of the year finally hits the big screen with THE FLASH. Here now in this preview is everything you need to know about the first solo film for DC Comics’ fastest superhero. 

What is this about? – THE FLASH follows Barry Allen, the fastest man alive, as he travels back in time to prevent the death of his mother’s death. His meddling in the timeline opens up a multiverse of alternate realities. 

Who is behind the camera? – THE FLASH is directed by Andy Muschietti, whose directing credits include the horror film MAMA (2013), and the two-film adaptation of Stephen King’s IT (2017, 2019). 

Who is in front of the camera? – The role of Barry Allen/The Flash is held down by Ezra Miller, who played the character in the two versions of JUSTICE LEAGUE (2017 and 2021). He has also starred in the three FANTASTIC BEASTS films. Miller is joined by Michael Keaton, who is reprising his role as Batman/Bruce Wayne from BATMAN (1989). Ben Affleck also reprises his role as Batman/Bruce Wayne. Also along for the ride is Michael Shannon (reprising his role as General Zod from MAN OF STEEL), and Sasha Calle (Supergirl). 

Random Facts – THE FLASH has been mired in controversy due to the many legal troubles surrounding lead actor Ezra Miller * THE FLASH has had many stops and restarts going back as far as the 1980’s. This version of the film was originally set for release in 2018 * The script is loosely based on the famous comic Flashpoint, but tells a different version of the story * With the multiverse in play, THE FLASH is promising to have many cameos from past DC Comics cinematic characters * Michael Keaton will be the oldest actor to play Batman in a live-action film, at 71 years old * Ben Affleck has now played the role of Batman four times on the big screen, more than any other actor * THE FLASH, along with AQUAMAN 2 in December, will mark a soft reboot for DC Comics on the big screen *

What to Expect - The bad news for THE FLASH is it's a DC film (produced by Warner Bros.), and they have been stuck in a pattern of one-step-forward, two-steps-back for a decade. Every hit they make gets followed up by two stinkers, and then those stinkers get remade a couple years later. The good news for THE FLASH is its coming off the heels of two DC bombs (BLACK ADAM and SHAZAM 2), so if the pattern sticks...THE FLASH will be alright. Also working in its favor is director Andy Muschietti, who has done decent-to-excellent work in his short filmography so far. THE FLASH also seems to be leaning heavily into nostalgia with the inclusion of Michael Keaton's BATMAN from 1989, and that can always go a long way when done right. The cloud in the form of Ezra Miller's legal troubles hangs over the film, but none of that should matter once the lights dim and the screen glows. THE FLASH has all the potential to be a real speedster. 

 

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THE FLASH opens Friday, June 16, with limited showings on the 15^th. 

A Reel 25: THE TRUMAN SHOW

 

“In case I don’t see you, good afternoon, good evening, and good night!” 

This month marks the 25^th anniversary of THE TRUMAN SHOW.

Directed by Peter Weir and based on a script by Andrew Niccol, THE TRUMAN SHOW told the story of Truman Burbank, a man living an ordinary life that (little does he know), takes place on a large studio-set populated by actors for a live television show about his life.

The idea for TRUMAN was born in 1991, when writer and director Andrew Niccol completed a one-page script called THE MALCOLM SHOW, which was set in NYC and was to be a sci-fi thriller. The treatment was picked by producer Scott Rudin and Paramount Pictures, and the search for a director began with names such as Brian De Palma and Tim Burton considered. The job would go to Peter Weir, who had directed acclaimed films such as WITNESS (1985), and DEAD POETS SOCIETY (1989).

Niccol’s original script was considered to be too dark, and nearly 20 drafts were done before settling on a final. For the fictional town Truman was living in, the master-planned community of Seaside, Florida was chosen. The paintings of Norman Rockwell and 1960’s postcards were inspirations for the film’s production design.

The role of Truman would go to Jim Carrey. Robin Williams had been considered for the role, but Weir chose Carrey after seeing his performance in ACE VENTURA: PET DETECTIVE (1994), saying that Carrey reminded him of Charlie Chaplin. The rest of the cast would be filled out by Laura Linney, Ed Harris, Noah Emmerich, Natascha McElhone, Paul Giamatti, and Harry Shearer.

THE TRUMAN SHOW was released in June of 1998 and received high critical acclaim. It would be nominated for three Oscars (Best Director, Screenplay, and Supporting Actor for Ed Harris), win three BAFTA’s (including Best Director for Weir), and two acting wins at the Golden Globes for Harris and Carrey.

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There are two common injustices that happen when the conversation moves to THE TRUMAN SHOW. The first is the dismissal of the film as a comedy due to its lead actor, Jim Carrey. While Carrey does get to flex some of his funny-ass chops, it is very much a dramatic role in a film that asks serious questions about the way we perceive our own reality along with being ahead of its time; its central plot device of a man being under constant surveillance pre-dates the eventual reality-TV era by several years.

The second injustice done to THE TRUMAN SHOW happened just a year after release. In 1999 the sci-fi thriller THE MATRIX exploded onto screens. With a similar theme (albeit in reverse), of how we accept our reality, along with land breaking, dazzling visual effects, THE MATRIX overshadowed (and does to this day), THE TRUMAN SHOW. While THE TRUMAN SHOW was certainly not the first film to try and explore these themes, it often gets buried by THE MATRIX. 

It would be pointless to debate which film did it better, but it is fair to say that THE TRUMAN SHOW does it quieter. By using real-world family dynamics and intimate, on-the-ground filmmaking, TRUMAN presents its ideas in a way that doesn’t dazzle but instead provokes thought. Its stunning closing shot of Carrey’s Truman, up against a solid wall made to look like the sky, represents us all when we come to a barrier that threatens our idea of reality. Do we smash through it, find a way around, or turn back? That is what THE TRUMAN SHOW is all about. 

“We accept the reality of the world with which we're presented..."

 

 

A Reel Review - TRANSFORMERS: RISE OF THE BEASTS

In 2007, everyone’s favorite director Michael Bay brought the TRANSFORMERS franchise to the big screen. Bay would helm four more of the spectacle-driven films before stepping aside for the kid-friendly, 2018 BUMBLEBEE spinoff, and despite dazzling visual effects and major box office hauls, the franchise has been bogged down by mixed-to-lousy receptions from critics and fans. Here in 2023, a prime opportunity arises to get things headed in the right direction with TRANSFORMERS: RISE OF THE BEASTS. 

 

In 1994, Noah (Anthony Ramos), a down-on-his-luck tech wizard, and Elena (Dominique Fishback), a down-on-her-luck artifact researcher, fall into the company of the Autobots to try and prevent the planet Earth from being devoured by the galactic threat that is Unicron. 

 

Directed by Steven Caple Jr., the plotline of BEASTS is very similar to what we’ve seen before in this franchise: find a secret and ancient whatchamacallit before the bad guys do to save the Earth. To do this, Noah and Elena are whisked across the world from NYC to Peru with the heroic Autobots, where they link up with the also-ancient Maximals; an advanced race of beast-robots who have been hiding out on Earth protecting those secrets. They are all pursued by the Terrorcons (thugs of Unicron), who are nearly indestructible. 

 

It's a simple plot with many moving parts, but what makes it work is that this time there is decent character work done to give the story some emotional draw. Noah is pulled into the war due to his desire to help his family, and even the heroic Optimus Prime is given an arc that actually works. Characters make this one tick, and it is a pleasant change of pace for a TRANSFORMERS film. 

 

But where BEASTS excels in character, it falls flat in spectacle. The action scenes are somewhat dull despite one or two stand-up-and-cheer moments, and much of the fighting isn’t as fun as it thinks it is. There is still some fat to be trimmed; the Elena character doesn’t offer much and feels like it could have been merged with Noah. 

 

Much like its predecessors, visual effects are dazzling. Director Steven Caple Jr. doesn’t quite seem to know what to do with all, and every frame is kinda ho-hum. Pop-music of the 1990’s is used heavily in place of a score, and it’s more annoying than fun. 

 

Anthony Ramos performs well in his first big-budget film, and Dominique Fishback does well with her thin script. The great Peter Cullen, who has now been voicing Optimus for over 30 years, sounds great as always. The voice-cast for the other robots is impressive, including Peter Dinklage, Ron Perlman, and Michelle Yeoh, but they are so modulated that they’re barely recognizable. 

 

The question everyone wants answered: Is it better than the Bay films? Yes and no. There’s a lot Bay did better (action, cinematography, spectacle), but there are things BEASTS improved on (character, plotting). On its own, BEASTS is all-right film (despite two mid and pre-credit tag scenes that are pretty stupid), and does set up an interesting future for the TRANSFORMERS. It’s a shaky re-start, but it is a start. 

 

BOTTOM LINE: Rent it 

A Reel War: Cruise v. Nolan

One of the biggest battles in the movies is about to unfold. Not Marvel vs. DC, and not streaming vs. theatrical…but Tom Cruise vs. Christopher Nolan in the Battle for Big Screen Supremacy. 

The battleground is IMAX theatres, with Christopher Nolan’s OPPENHEIMER and the Tom Cruise-led MISSION IMPOSSIBLE: DEAD RECKONING PART ONE the two warring sides. Cruise, who stars and produces the 7^th MISSION IMPOSSIBLE film (or MI:7), is reported unhappy with the IMAX plan for his film. 

MI:7 opens on July 12^th, with most of the super-sized IMAX screens in North America and elsewhere booked. Nine days later on July 21^st, Christopher Nolan’s OPPENHEIMER arrives and will take over the IMAX screens in a deal that will lock the film into the big-big-screen format for a guaranteed three weeks. This means MI:7 will be bumped out of IMAX theaters after just over one week. Cruise has been reported as “complaining loudly to Paramount executives…” about the situation. 

Both Cruise and Nolan have strong cases for having their films in IMAX theaters. Nolan has been an advocate for the IMAX format for years, with OPPENHEIMER entirely shot in the format and Nolan himself developing and inventing new technologies for IMAX that will undoubtedly move the industry forward. On the other side of the battle-lines, Cruise now has the new reputation as the man who saved Hollywood (his TOP GUN: MAVERICK brought cinema back from the brink of oblivion last year), and now has some of the heaviest punching-power and respect in the business. 

On the other hand, MI:7 is a film that was not shot for the format and will be embiggened for the mega-screen. But that doesn’t make OPPENHEIMER a clear favorite. The R-rated drama and its three-hour running time doesn’t really scream for the giant screen, which is normally reserved for action films…which is exactly what MI:7 is. Cruise can also make a case that MI:7 will likely outperform OPPENHEIMER at the box office: it’s a popular franchise, and again…full of action which is an easy draw. It’s also worth mentioning that Cruise has a lot at stake here: with a budget of $300 million (nearly three times the size as OPPENHEIMER), MI:7 will need those higher-priced IMAX tickets to turn a profit. 

In broad strokes, this is a good problem for theatres to have. Even before the mishandled pandemic nearly destroyed cinema, studios were releasing films far and away from each other, with major releases spread out weeks or even months apart. It’s refreshing to have two films from respected filmmakers that are highly anticipated competing for big screen space; we should have more movies fighting for IMAX screens. Think about the glorious year of 1982, when in that summer we had CONAN THE BARBARIAN, ROCKY III, STAR TREK II THE WRATH OF KHAN, E.T., BLADE RUNNER, POLTERGEIST, and THE THING all in theatres at the same time. Audiences like options, and options lead to more seats filled in the theatre. Whoever takes the battle between Cruise and Nolan…we still win.