A Reel Review: AQUAMAN AND THE LOST KINGDOM

Right up to release, AQUAMAN AND THE LOST KINGDOM, the 15^th and final film in the current run of DC Comics movies, has been earning attention for its off-screen issues. Numerous delays, reshoots, re-editing, and the near removal of one its lead actors just about scratch the surface of the tumultuous sea that DC has been known for. All that can finally be put aside, and we can judge LOST KINGDOM for what it does on the screen. 

 

Aquaman (Jason Momoa), must enlist the help of his banished brother Orm (Patrick Wilson), to combat the efforts of the vengeful Black Manta (Yahya Abdul-Mateen II), who wants to not only murder Aquaman and his family, but to accelerate Earth’s climate change.

 

Directed by James Wan, LOST KINGDOM starts and ends as a bewildering journey under the sea, over the sea, through deserts, jungles, caves, ice castles and probably a lot more inbetween. The race is on to grab some ancient Atlantean artifacts which have the power to grant Black Manta what he needs to kill Aquaman and to help the Earth on its way to doom (rising seas, melting ice caps). There is a ton of mythology at work as they hop from one location to another looking for the lost something of the someone. It’s confusing, messy, and hard to care about despite the take on a real-world problem. 

 

One of the main problems that the first AQUAMAN film had was that Black Manta was playing second fiddle to bigger happenings, and every time he showed up it felt like an intrusion. This time he is the driving force, but as a villain he is dead-fish boring; I want revenge and that is as far as it goes. The character might as well be a piece of the set. 

 

But there seems to be very little sets that were actually built, as LOST KINGDOM is overloaded with CGI. While the fantastical environments definitely could not be done without the tool, it just goes on and on: CGI faces on CGI bodes, CGI whales, CGI seahorses, CGI babies, CGI hair, CGI costumes, CGI flowers, CGI bugs, and CGI cockroaches barely begin to cover it. On top of that, it’s not even very good CGI. 

 

Action scenes are a blurry mess, the dialogue is dull, and most of the actors just yell and grunt at the camera. Moments of drama and humor fall flat. The music by Rupert Gregson-Williams is non-existent. 

 

Acting is all over the place. Jason Momoa is fun but he’s basically playing a version of himself. Patrick Wilson seems lost while acting against CGI blobs. Yahya Abdul-Mateen II just yells and grunts. Seasoned actors Nicole Kidman, Temuera Morrison, and Dolph Lundgren deserve better but do okay. Martin Short comes in to provide the voice of a fat sea-slug, and John Rhys-Davies provides the voice of a big lobster. Amber Heard amounts to an extended cameo. 

 

Films based on DC Comics usually have a tough sell. After all, their primary heroes are guys in super blue tights who fly, guys who dress as bats, and dudes who talk to fishes. The super and bat guys work because there is an element of reality to them, but in LOST KINGDOM, that’s not here and the entire thing plays out like a cartoon. And the final shot of the film, which is also the final shot of this DC universe before the big reboot, is Patrick Wilson eating cockroaches. Maybe that’s how this line deserves to end. 

 

BOTTOM LINE: Fuck it 

A Reel Opinion: REBEL MOON Cries More, More, More

Self-proclaimed visionary director Zack Snyder is back in cinema news this week. His newest film, REBEL MOON – A CHILD OF FIRE: PART ONE, is in limited release in theatres before debuting on Netflix this Friday the 22^nd. Thus far, the sci-fi, space-war film is being met with scathing reviews. Review aggregator website Rotten Tomatoes reports that only 20% of reviewers gave it a favorable review. 

 

But fear not, says Mr. Snyder, for some time in 2024 we will be blessed with a Director’s Cut, which promises a longer run time by an hour (it is currently 2 hours, 14 minutes), and would change the rating from its current PG-13 to an R. In an interview with the AP Wire, Snyder says his director’s cut is “…almost like a different movie”. The promise of a Snyder Cut of the film harks back to the messy situation we had in 2017, when Snyder’s version of JUSTICE LEAGUE was severely compromised. After Snyder left the production due to a family crisis, parent company Warner Bros. brought in Joss Whedon to reshoot and recut the film. That version was panned by critics, and after an annoying four-year campaign by overzealous fans, a four-hour JUSTICE LEAGUE: THE SNYDER CUT was released in 2021 to better reviews (same movie, just longer). 

 

Hollywood has a history of Director’s Cuts improving upon the original releases. In 2005, famed director Ridley Scott’s KINGDOM OF HEAVEN was butchered by Fox, who wanted 45 minutes cut out of it. That film was then butchered again by critics. Scott returned with his Director’s Cut, and that version is now considered to be one of his best works and one of the best films of this millennium. 

 

Snyder, however, is no Ridley Scott…and this move seems to be a calculated one by Netflix and Snyder himself…hoping to cash-in on the Snyder Cut wave that brought the new version of JUSTICE LEAGUE to life. It feels like a pointed effort to get attention, box office, and new streaming subscribers to see the same movie twice. This is not a case of Snyder having his definitive vision butchered by a meddling studio, but instead reeks of greed and is just an embarrassment to cinema. Not to mention causing mass confusion with audiences. 

 

Here's a thought: Get it right the first time. That’s what real visionaries do. 

 

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REBEL MOON - A CHILD OF FIRE: PART ONE (this version), is now playing in select theatres and will debut on Netflix this Friday the 22^nd. It stars Sofia Boutella, Djimon Hounsou, Charlie Hunnam, Ray Fisher, and Jenna Malone. PART TWO (that version), is set for release in April 2024. 

 

 

A Reel Review: WONKA

The character of Willie Wonka, created by the great Roald Dahl, has seen the big screen twice in the last 50-plus years. The first bite came in 1971 with the somewhat-beloved WILLIE WONKA AND THE CHOCOLATE FACTORY with the great Gene Wilder in the lead. The second came in 2005 with the ill-fated CHARLIE AND THE CHOCOLATE FACTORY, directed by Tim Burton and with Johnny Depp as Willie. Here in 2023, we get a fresh take with WONKA; a spiritual prequel to the 1971 film. 

 

Aspiring magician and chocolate maker Willie Wonka (Timothee Chalamet), arrives in a busy European city after years of traveling the world to find his fortune selling his amazing candies. After his efforts are thwarted by the ruling Chocolate Cartel (Paterson Joseph, Matthew Baynton, Matt Lucas), he becomes trapped as an indentured servant where he befriends young Noodle (Calah Lane), and hatches a plan to free her and realize his dreams. 

 

Directed by Paul King (director of the PADDINGTON films), WONKA serves as an origin story for Willie and how he would become the ruler of a chocolate empire. Before he gets there, he has some obstacles to overcome with the Chocolate Cartel getting in the way, and paying his debt to get out of slavery from the iron thumb of Mrs. Scrubitt (Oliva Colman). Along the way, Willie befriends fellow slaves (Jim Carter, Natasha Rothwell, Rakhee Thakrar, Rich Fulcher), and decides to help them get out of debt as well. 

 

There are familiar themes at work here in putting aside your own dreams to help others, and the chemistry between Wonka and Noodle give it some serious heart. As a movie about Willie Wonka, is does offer a lot that is fresh and new. This Willie is far from the Wilder and Depp versions who were content to watch a kid drown in chocolate. This one is bright-eyed and enthusiastic about life and his friends, and avoids the tired be-good-or-die thing aimed at children. 

 

The production design is fantastic, the musical numbers fun (although maybe only a few can get stuck in our heads), and the energy is upbeat. As an origin story it clicks off most of the boxes, but it does get off to a hot start: as the film begins Willie already has his trademark purple coat and top hat and knows how to make magical chocolate. While most of the how-he-got-there gets filled in via flashbacks, WONKA starts in a way that makes us feel like we missed the first half the movie. Still, director Paul King finds a lot of magic and fun to play with, and nearly every scene is a delight. 

 

Timothee Chalamet does a fine job with the character and handles the musical numbers very well. Calah Lane steals the show. Sally Hawkins appears as Willie’s mother in flashbacks and adds some hefty emotion. Hugh Grant comes in as an Oompa Loompa who has been following Willie around, but his role amounts to an extended cameo and barely makes an impact in the story. 

 

It is no great spoiler to say that by movie’s end, Willie finds the means to build his famed chocolate factory. What is not clear is how he eventually becomes the recluse that the classic books and 1971 film show us. It feels like a leap to get there, but in the meantime, there is a lot of sweetness in WONKA to bite into and savor. 

 

BOTTOM LINE: See it. 

A Reel 20: THE LORD OF THE RINGS - THE RETURN OF THE KING

“And the Fellowship of the Ring, though eternally bound by friendship and love…was ended.”

 

This month marks the 20^th anniversary of THE LORD OF THE RINGS: THE RETURN OF THE KING. 

 

Directed by Peter Jackson, THE RETURN OF THE KING was the third and final film in Jackson’s adaptation of J.R.R. Tolkien’s epic fantasy novels. The first film came in 2001 with THE FELLOWSHIP OF THE RING, and continued with THE TWO TOWERS in 2002. The third film and eventual Best Picture winner followed the quest to destroy the One Ring and rid Middle-Earth of the evil menace of Sauron. 

 

The journey to Middle-Earth began in 1997, when New Zealand filmmaker Peter Jackson overcame many starts, stops, and legal challenges to bring the books, his personal favorites, to the big screen. The original plan was to adapt the books into two parts, but upstart studio New Line Cinema committed to three. Along with screenwriters Fran Walsh and Philippa Boyens, and long-time Tolkien artists Alan Lee and John Howe, Middle-Earth and its fantastic characters and places began to take form. Filming for all three movies would begin in New Zealand and would last an entire year.

 

The cast of was a collection of well-established actors. Elijah Wood would take on the role of Frodo Baggins; the young hobbit who comes into possession of the One Ring. He was joined by Ian McKellen, Liv Tyler, Cate Blanchett, Sean Astin, John Rhys-Davies, Christopher Lee, Hugo Weaving, Orlando Bloom, Sean Bean, Ian Holm, Andy Serkis, Billy Boyd, Dominic Monaghan, Bernard Hill, Miranda Otto, David Wenham, Karl Urban, John Noble, and Viggo Mortensen as the future King. Visual effects would be a combination of practical and new techniques in CGI. Howard Shore would compose the score. 

 

THE RETURN OF THE KING would follow in the footsteps of its predecessors, opening in December to rave reviews and box office success. It would finish as the highest grossing film of 2003, and the second highest of all time at the time of its release. At the 76^th Academy Awards, it would win all eleven awards for which it was nominated, including Best Picture. Today, it is recognized as one of the greatest and influential films ever made. 

 

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One of the greatest moments in Oscar history came on Oscar night in February of 2004, when famed director Steven Spielberg announced the Best Picture of the year by saying: “It’s a clean sweep!”. The moment made THE RETURN OF THE KING the first fantasy film to take home the big prize, and for many fans of fantasy and sci-fi, it was moment of victory. In the long run, the film would pave the way for a new generation of big budget, multi-film storytelling, for in five years the Marvel Cinematic Universe would take cues from the RINGS trilogy and change cinema even more. 

 

Before that, in December of 2001, This Blogger and a group of friends gathered at the cinema to see FELLOWSHIP for the first time. We would all re-unite each December for the next two years and two films, and along the way we would discover our own Fellowship. The themes of loyalty; being true to each other despite challenges, time, and distance…resonated with us then and now. Three members of our Fellowship were in my wedding, and each December I run a day-long marathon of all three films; for my Fellowship, for the last 20 years, and for the next 20. Today the film stills stands tall as a perfect adaptation of a novel, and a cinematic avalanche of spectacle and emotion. THE RETURN OF THE KING was, and still is, a feat that still towers over all. 

“You bow to no one.”

 

 

 

A Reel Review: GODZILLA MINUS ONE

There are two things that must right away be known about GODZILLA MINUS ONE: the 37th film in the GODZILLA franchise that started way back in 1954. First, it has no connection whatsoever to the American-produced, Warner Bros. owned crap-tastic MonsterVerse franchise that has been stinking up theatres since 2014. MINUS ONE is a Japanese production by Toho Studios, who first created the big lizard 70 years ago. And second, it is the best GODZILLA film ever made. Here’s how: 

 

In 1945, near the end of WWII, Kamikaze pilot Koichi (Ryunosuke Kamiki), has an encounter with Godzilla which he barely survives. He returns home to a war-devasted Tokyo, where he befriends Noriko (Minami Hamabe), who is caring for an orphaned baby. As the two settle in together and try to rebuild, Godzilla emerges from the ocean and stomps his way towards Tokyo. 

 

Written and directed by Takashi Yamazaki, GODZILLA MINUS ONE avoids the two biggest pitfalls that big monster movies tend to fall into: either too many human characters that hog up the screentime or not enough humanity. A post-war Japan offers the film the chance to show the ground-level devastation of the war, where food is scarce, children starve, and everyone lives in shacks. The tragedy is compounded as just when things start to look up for the country, along comes Godzilla who stomps and burns it all down again. 

 

At the center of it all is Kochi, who returns home from the war in disgrace (Kamikaze pilots are expected to die, no exceptions). He is in a war that hasn’t ended yet, and is torn between finishing business with Godzilla or staying to care for his new family that he loves. There is a lot of heart here, and MINUS ONE finds ways to jerk the tears in many places. 

 

When the big guy does come, it is nothing short of spectacular. Godzilla’s rampages on land and sea are stunning with awesome visuals. Much of the happening devastation is shown from street-level and adds to the horror. Godzilla himself is frightening as all hell, and his battles with battleships and aircraft are a thrill a second. Director Takashi Yamazaki keeps the pacing tight, the emotional moments timed nicely, and the scale epic. The score by Naoki Sato is excellent. 

 

Acting is also excellent. Ryunosuke Kamiki goes through the emotional steps and carries it very well. The show is stolen by the beautiful Minami Hamabe. 

 

The final battle with Godzilla is big-screen greatness with the tension ramped up via some outstandingly staged set-pieces. When the dust settles, MINUS ONE goes for an emotional wallop, one that is very rare for a monster movie. The ending, the heart, and the spectacle all add up to a refreshing and welcome change for the GODZILLA franchise, and a towering film that will devastate for the next 70 years. 

 

BOTTOM LINE: See it 

 

A Reel Review: SALTBURN

In 2020, actress turned director Emerald Lilly Fennell shocked audiences with her acclaimed rape-revenge drama PROMISING YOUNG WOMAN. It was a film that had a lot to say and prove, and used its many twists and turns to help get her message across. Here in 2023, she ups her game in the shock department with SALTBURN. 

 

At Oxford University in 2006, scholarship student Oliver (Barry Keoghan), strikes up a friendship with Felix (Jacob Elordi), and secretly falls in love with him. At the end of semester, Felix invites Oliver to spend the summer with him at his family’s sprawling estate, called Saltburn…where Oliver stops at nothing to win Felix’s affections.

 

Written, directed, and produced by Fennell, SALTBURN begins as a love story, moves into a hang-out flick, and ends in nearly flat-out horror. At the overwhelming estate and imposing mansion staffed with maids and creepy butlers, Oliver parries with Felix’s gossiping parents (Rosamund Pike and Richard E. Grant), his sister Venetia Catton (Alison Oliver), and cousin Farleigh (Archie Madekwe)…all of which seem to get in his way of Oliver’s desire for Felix. At its hang-out stage, SALTBURN moves into teen-sex comedy territory, with everyone trying to fuck everyone at one time or another.

 

SALTBURN doesn’t have much by way of plot, and Fennell beefs things up with some pretty depraved shit. Twisted scenes such as full-frontal nudity dancing, menstruating sex, semen-licking, man-rape, and as close to necrophilia as we can get will have audiences squirming.  The purpose for all this is up for debate, and some of it seems to be there just for the sake of shock value. Shot mostly on one location, Fennell makes great use of the mansion, and it feels like a character in the film. The time period of 2006 is recaptured nicely. 

 

Acting is excellent. Barry Keoghan continues to impress and shows just how fearless he can be. Jacob Elordi and Alison Oliver almost steal the show. Richard E. Grant and Rosamund Pike are well-matched and are hilarious in a creepy sort of way. Cary Mulligan, who had the lead in PROMISING YOUNG WOMAN, appears in what amounts to an extended cameo and steals every scene she’s in. 

 

There’s a lot to be discussed in what Fennell is trying to say with SALTBURN. When the film moves into the third act and some even more twisted shit comes around, we leave the film realizing that we just spent 131 minutes with some very messed up people who would face no consequences for their actions. That, and the depravity would make SALTBURN a film to be discussed long after the credits roll. If that was Fennell’s goal, then mission accomplished. 

 

BOTTOM LINE: See it  

A Reel Preview: The Year in Film 2023 - Episode XII

The final month of the year is coming down the chimney, and it is tightly decorated with thrillers, family flicks, and Oscar hopefuls. Here now is a preview for the notable big-screen releases for December. 

 

 

 

 

GODZILLA MINUS ONE – This Japanese produced monster film arrives to U.S. shores as the 37^th film in the GODZILLA franchise. It is produced by Toho Studios, who created the franchise way back in 1954. 

 

 

POOR THINGS – Acclaimed director Yorgos Lanthimos (THE FAVOURITE), returns with this horror-comedy about a young woman (Emma Stone), who is brought back to life by her guardian. The cast includes Mark Ruffalo and Willem Dafoe. 

 

 

 

SILENT NIGHT – Legendary action director John Woo (FACE/OFF, MISSION IMPOSSIBLE 2), returns with this thriller about a family man (Joel Kinnaman), who goes into the underground to avenge his son’s death. It features almost no dialogue. 

 

 

 

THE ABYSS 4K – James Cameron’s 1989 sci-fi thriller gets a one-night big-screen release to mark the long-awaited 4K home release. 

 

 

 

THE CELLO – Darren Lynn Bousman (SAW), directs this horror film about a cellist who owns a cello which creates havoc. It stars Jeremy Irons and Tobin Bell. 

 

 

 

FAST CHARLIE – Pierce Brosnan stars as a hit-man in this thriller, which is also the final screen appearance of the late great James Caan. Morena Baccarin co-stars. 

 

 

 

WONKA – Timothee Chalamet stars as Willie Wonka in this origin tale about the famed, fantastical chocolate maker. It is directed by Paul King (PADDINGTON). 

 

 

 

AMERICAN FICTION – Jeffery Wright stars as a writer dealing with death, murder, and growing old. 

 

 

 

AQUAMAN AND THE LOST KINGDOM – The final film for DC Comics before the big reboot in the near future. Jason Momoa returns as the king of the undersea. 

 

 

 

MIGRATION – This animated adventure follows a flock of mallards taking a vacation of a lifetime. It is produced by Illumination Studios (DESPICABLE ME), and stars the voice talents of Elizabeth Banks, Awkwafina, Carol Kane, and Danny Devito. 

 

 

 

THE BOYS IN THE BOAT – George Clooney directs this drama about the U.S. rowing crew at the 1938 Olympics in Berlin. Joe Edgerton (WARRIOR), stars. 

 

 

 

THE COLOR PURPLE – Steven Spielberg produces this remake of his own 1985 film, which this time returns to its musical roots. It stars Fantasia Barrino, Taraji P. Henson, Danielle Brooks, Corey Hawkins, and Halle Bailey (this year’s LITTLE MERMAID). 

 

 

 

FERRARI – Famed director Michael Mann (HEAT, THE LAST OF THE MOHICANS), directs this biopic about the personal and professional struggles of the founder of the equally-famed Ferrari brand. It stars Adam Driver, Penelope Cruz, and Shailene Woodley. 

 

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Next month, Reel Speak previews the first month of 2024. 

 

 

 

 

A Reel Review: NAPOLEON

Every year, there arrives a film based on actual persons or events that gets bashed for not sticking true to history. This is always an unfair bottom-line critique, as all that should matter is what we see on the screen, and objectively, any viewer with zero knowledge of the history should be able to take it in without spending hours in a library doing background research. Such is the case for famed director Ridley Scott’s NAPOLEON. 

 

Napoleon Bonaparte (Joaquin Phoenix), rises from an artillery officer to eventual Emperor of France by way of his military plotting and victories. He weds Josephine (Vanessa Kirby), whom he hopes will produce him an heir. 

 

Directed by Ridley Scott, NAPOLEON covers nearly 30 years of the life of one of history’s most famous figures. With such a wide scope, the film moves briskly and checks off the encyclopedia chapters with moments of drama. There is no central plot from A to Z, and the film moves episodically, from Napoleon’s early victories to his major ones, to his political manuvering that eventually lands him a golden crown. 

 

One connecting thread throughout NAPOLEON is his fiery relationship with Josephine. Despite his many efforts in the bedroom (which are nearly comical), Josephine is unable to bear a child for him. This leads to the most drama of the film and their relationship is one of Napoleon’s central drives. His letters home to her during his campaigns serve as a narration and provide backdrop and summaries of his battles, and her presence hangs heavy over everything. NAPOLEON becomes more of a love story than a war film. 

 

Ridley Scott still brings the fire when the film does have to move to the battlefields. The scenes are stunning in scope and execution, and will have audiences ducking for cover when the cannons ignite. Many scenes are based on famous paintings of the man himself and are brought to life in magnificently. Scott never shies away from the thousands upon thousands of lives lost during Napoleon’s wars, providing a pointed perspective on what the man was doing. 

 

Joaquin Phoenix does a lot of heavy lifting here. He and Scott thankfully avoids any “short-man” jokes, and instead focuses on the (ahem), mental shortcomings of the man; his insecurities are not glossed over and Phoenix delivers them. Vanessa Kirby is flat-out amazing. 

 

At only 157 minutes, NAPOLEON doesn’t hit upon every single battle or victory in the man’s historical career (some are merely mentioned), and his military genius is often set aside for more dramatic, character-driven bits. Some of this may drive history buffs crazy, but if we are to look at this as a movie (checks notes, it is), there is a thrilling, engaging, and in-places breathtaking film that has a lot to say about little dictators that make it big. 

 

BOTTOM LINE: See it 

 

 

A Reel Review: WISH

Walt Disney Animation Studios is celebrating its 100^th anniversary this year (read Reel Speak’s blog HERE). The famed studio that has enchanted us with Mickey, Simba, and Elsa is marking the event by doing what they do best: an animated film. They do so in the form of WISH. 

 

In the kingdom of Rosas, 17-year-old Asha (Ariana DeBose), auditions to be the apprentice of King Magnifico (Chris Pine); a powerful sorcerer who gathers wishes from the people and decides which ones to grant…or deny. When Asha disagrees with the King’s methods, she wishes upon a star…which drops out of the sky and becomes her companion. 

 

Directed by Chris Buck and Fawn Veerasunthorn, WISH is a magical and enchanting film that feels right at home in Disney’s rich catalog of kingdoms, princesses, music, and childhood whimsy. When Asha’s new companion, a magical flying star, arrives at the kingdom, Magnifico sees it as a threat and looks to capture its power. This leads to some magical hijinks as Asha enlists her friends and family for help. Some wishes are granted across the kingdom, including animals suddenly being able to speak and other people’s true natures revealed. 

 

The plot is simple, but it is all held together by three strong elements. The first is the Disney nostalgia train. The film is peppered with and built on Disney’s history with characters, places, and objects inspired by their past films. Some of the references are really on the nose (a little too much in places), and others are very subtle and sneaky and can only be caught by the most educated in Disney lore. The second is the animation style which is a hybrid of Disney’s old hand-drawn animation and modern-day CGI. There is a new, yet familiar charm to it that works. And third, of course, is the music and songs which are spectacular. 

 

The voice-cast is very inspired, and everyone puts in their best. Ariana DeBose is a delight, and Chris Pine surprises as the King and does a decent job in singing. Alan Tudyk is a blast as always. 

 

WISH relies a lot on what has come before, and there is an argument to be made that without the easter-egg hunt, there wouldn’t be much of a film. But that would truly be missing the point of WISH: this is a celebration of Disney animation and all they have accomplished in the last 100 years. No other studio in history has earned the right to do a film like this, and on its own, it’s a wish come true. 

 

BOTTOM LINE: See it 

A Reel 20: ELF and BAD SANTA

This month marks the 20th anniversary of two films that have become holiday classics: ELF and BAD SANTA.

 

The first to come down the chimney was ELF. Directed by future Marvel and STAR WARS helmer Jon Favreau, ELF told the tale of a human raised by Santa’s elves, who discovers his true origins and heads to NYC to find his biological father.

 

The original script for ELF came from David Berenbaum way back in 1993. Jim Carrey and the late Chris Farley were considered for the role of Buddy the Elf. The original script had a dark tone, and Favreau changed things to be a homage to the old Rankin/Bass Christmas specials.

The role of Buddy the Elf would go to Will Ferrell in his first post-SNL film. The rest of the cast would be filled by James Caan, Zooey Deschanel, Mary Steenburgen, Ed Asner, Bob Newhart, Peter Dinklage, and Peter Billingsley. Upon release, ELF would be a critical and box office smash, and today it is considered to be one of the best Christmas films of all time.

 

Later in the month came the dark comedy BAD SANTA. Directed by Terry Zwigoff, BAD SANTA was about a department store Santa who was actually a professional thief, and a sex-addicted alcoholic.

 

The idea and original script for BAD SANTA was developed by film titans Joel and Ethan Coen. The brothers would eventually move to the role of executive producers. The script was described as crass and anti-Christmas and rejected by Universal Pictures. For those same reasons, it was picked up by Bob Weinstein of Miramax.

 

The lead role was won by Billy Bob Thornton, who beat out veteran actors Bill Murray, Jack Nicholson, and Robert DeNiro. The rest of the cast would include Tony Cox, Brett Kelly, Lauren Graham, Bernie Mac, and John Ritter. The film would be Ritter’s final role, and was dedicated to his memory.

 

BAD SANTA would be a box office and critical hit, and over the years has become standard viewing on holiday watchlists. 

 

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ELF and BAD SANTA were two holiday films that were released before Thanksgiving. This was done not only to get a jump on the season, but to avoid the box office juggernaut that would be THE LORD OF THE RINGS: THE RETURN OF THE KING which was set for December. Despite this, and the stark difference between the two films, they have both moved onto the status of holiday classics. ELF is loaded with heart, is clever, and carries an absolute fearless sense of humor. BAD SANTA is indeed crude and nasty, and not for everyone's holiday tastes, but even Scrooge is bound to get a hearty laugh out of it. This holiday season, sprinkle some candy on some pasta, curl up with a big bottle of cheer, and let the laughs fly like a reindeer. 

 

A Reel Review: THE MARVELS

When the Marvel Cinematic Universe (MCU), does a team-up film, a fair amount of backstory is required viewing. After all, every AVENGERS film is assembled of THOR, IRON MAN, and CAPTAIN AMERICA big-screen adventures. The 33^rd MCU film, THE MARVELS, also requires us to know a lot from the films, and for the first time…is tied directly to two MCU streaming shows: WANDAVISION, and MS. MARVEL. 

 

Carol Danvers/Captain Marvel (Brie Larson), has her powers entangled with her similar-powered counterparts Kamala/Ms. Marvel (Iman Vellani), and Monica Rambeau (Teyonah Parris), which causes the three of them to swap places when said powers are used. As they try to untangle with the help of Nick Fury (Samuel L. Jackson), the powerful Kree warrior Dar-Benn (Zawe Ashton), begins stealing resources from other planets to save her own homeworld. 

 

Directed by Nia DaCosta, THE MARVELS is an intergalactic adventure spanning locations across the galaxy in a head-spinning cosmic romp. The stepping-off point is Dar-Benn, who is looking to save her homeworld from extinction…which involves hijacking intergalactic jump-points (picture subways in space), and using them to transport atmosphere, oceans, and even solar-power from worlds tied to Danvers’ past. It’s a revenge tale, but the need to save her planet is a welcome change to the old Wrath-of-Khan plot. 

 

The real heart of the film is the team-up. The character dynamics of the new team of Danvers, Monica, and 16-year-old Kamala are very well done. Danvers and Monica have a history (as explored in CAPTAIN MARVEL from 2019, more homework), and Kamala is in fan-girl mode as she idolizes Danvers. The three together are great fun, and the body-swapping is a blast. 

 

As a cosmic adventure, THE MARVELS does not hold back in boldly going to strange new worlds. A planet where no one speaks but communicates via song lets the MCU dip into musical territory, and a small army of space-kittens provide some absolute howlers. It’s hokey in places, but it’s so much fun and handled well there’s not much to gripe about. 

 

The cast is excellent throughout. Brie Larson and her new co-stars have great energy together, and Kamala Khan just lights up the screen. Samuel L. Jackson is still a heavy-hitter as Fury. Kamala’s family from her streaming series makes the trek to the big screen (Zenobia Shroff, Mohan Kapur, Saagar Shaikh), and although they start off as too much sitcom, they earn their place and provide an emotional punch at the end. 

 

The real treat is THE MARVELS handles most of the backstory by some well-timed flashbacks and other clever ways to fill in the blanks, and anyone coming into the film without seeing the streaming series won’t be too lost. Once that is out of the way, there is a ton of fun to be had, and the consequences of this film have huge consequences going forward, with new X-factors entering the MCU. That makes THE MARVELS required viewing.

 

BOTTOM LINE: See it 

A Reel 20 - MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD

 

“This ship, is England…”

 

This month marks the 20^th anniversary of MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD. 

 

Directed by Peter Weir and adapted from three novels in author Patrick O’Brian’s 20-novel series, MASTER told a seafaring tale of adventure during the Napoleonic Wars, with Captain Jack Aubrey leading his ship on a long chase against a cunning French adversary. 

 

The film was a personal project of 20^th Century Fox executive Tom Rothman, who recruited Peter Weir to take the helm. Weir had commanded several acclaimed films, including WITNESS (1981), DEAD POETS SOCIETY (1989), and THE TRUMAN SHOW (1998). The screenplay was drawn from O’Brian’s books, but matched the events in no one novel. 

 

Only two years removed from his iconic, Oscar-winning turn in GLADIATOR, the role of Captain Aubrey would go to Russell Crowe. The ship’s surgeon and Aubrey’s closest confidant would be landed by Paul Bettany, and Billy Boyd from THE LORD OF THE RINGS (2001-2003), would also join the crew. James D’Arcy, with the MCU still in his future, came on board as well. 

 

Great lengths were taken for authenticity, and filming would take place at sea onboard an 18^th-century reproduction ship, and in a 20-million-gallon water tank at Baja Studios in Mexico, which had been built for the filming of TITANIC (1997). All of the actors were put through a “boot camp” in 18^th century naval life. The score was composed by Iva Davies, Christopher Gordon, and Richard Tognetti.

 

Upon release, MASTER would not earn the no.1 spot at the box office, coming in second behind the holiday comedy ELF. However, it would sail on to be a moderate hit, finishing the year as the 21^st highest earner worldwide. At the 76^th Academy Awards, it would be nominated for ten Oscars, including Best Picture and Best Director for Weir. It would win for Best Sound Editing and Cinematography. Weir would also win a BAFTA for Achievement in Directing. 

 

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In 2003, there were two sailing ships at sea on the big screen commanded by a Captain Jack. The later one in the year was MASTER AND COMMANDER with Crowe, and the early one was Disney’s PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL with Johnny Depp at the wheel. While MASTER would be the awards-season favorite, PIRATES would take home the loot (fourth-highest earner of the year). 

 

While MASTER AND COMMANDER was certainly overshadowed in 2003 by the rollicking, family-friendly adventure, over the years it has rightfully earned more respect. The film is gorgeous to look at, and the commitment to realism (very little CGI), can nearly be smelled off the screen. The character moments between captain, crew, and ship surgeon add a heavy heart, and the trials the crew go through are harrowing. This Blogger, and many others consider MASTER AND COMMANDER to be one of the best films of this millennium. Pirates may be fun, but this one commands a masterful adventure. 

 

“The simple truth is, not all of us become the men we once hoped we might be…”

A Reel Preview: The Year in Film 2023 - Episode XI

The biggest movie news around November doesn’t concern an upcoming release, but a non-release with Warner Bros. delaying the hotly anticipated DUNE: PART TWO into next year. Heartbreaking as that is, it might not be missed…as November is stuffed like a Fall turkey. Here is what’s on the table for the massive, second-to-last month of the year. 

 

 

 

PRISCILLA – Elvis returns to the big screen for the second year in a row, this time in a biopic based on the 1985 memoir Elvis and Me by Priscilla Presley. Cailee Spaeny stars as Priscilla, and it is directed by Sofia Coppola. 

 

 

WHAT HAPPENS LATER – Meg Ryan returns to the big screen, acting and directing in this comedy about two exes who are stranded together in an airport. David Duchovny co-stars. 

 

 

THE MARSH KING’S DAUGHTER – Daisy Ridley (THE FORCE AWAKENS), stars in this psychological drama about a daughter trying to outsmart her fugitive father. The cast includes Ben Mendelsohn and Garrett Hedlund, and it is directed by Neil Burger (LIMITLESS ).  

 

 

THE MARVELS – The 33^rd (!) film in the Marvel Cinematic Universe (MCU), which has Brie Larson reprising her role as Carol Danvers/Captain Marvel and teaming up with new powerful friends to stop a galactic threat. The cast includes Teyonah Parris (Marvel TV’s WANDAVISION), Iman Vellani (Marvel TV’s MS. MARVEL), and Samuel L. Jackson back as Nick Fury. 

 

 

THE HOLDOVERS – Paul Giamatti reunites with his SIDEWAYS director Alexander Payne in this comedy-drama about a disliked teacher at an academy who has to supervise students unable to go home for the holidays. 

 

 

DREAM SCENARIO – Nicolas Cage stars in this comedy-drama about an unremarkable professor who becomes a celebrity when he starts appearing in people’s dreams. 

 

 

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES – A prequel to THE HUNGER GAMES films which give us five entries from 2012-2015. Rachel Zegler (WEST SIDE STORY), leads the way. 

 

 

NEXT GOAL WINS – Taika Waititi (JOJO RABBIT), directs this comedy about a football/soccer coach (Michael Fassbender), sent to improve the American Somoa national team. 

 

 

THANKSGIVING – Eli Roth (HOSTEL), directs this slasher/horror film about a serial killer slashing away on Thanksgiving. Patrick Dempsey stars. 

 

 

TROLLS BAND TOGETHER – The third installment in the TROLLS movie franchise and a sequel to TROLLS WORLD TOUR (2020). 

 

 

 

NAPOLEON – Famed director Ridley Scott (GLADIATOR, ALIEN), helms this historical epic about the infamous French leader. Joaquin Phoenix leads the way with Vanessa Kirby. 

 

 

WISH – Walt Disney Animation studios delivers this musical fantasy about a young girl who senses something wrong with her kingdom’s ruler. The voice-cast includes Ariana DeBose, Chris Pine, and Alan Tudyk. 

 

 

MAESTRO – Bradley Cooper stars and directs in this sweeping biopic about famed composer Leonard Bernstein. Carey Mulligan co-stars. 

 

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Next month, Reel Speak previews the final month of 2023. 

 

 

 

A Reel Opinion: The Top 10 Best Films of Martin Scorsese

In 2019, This Blogger did a Top 10 ranking of the best films from famed director Martin Scorsese. With the man’s newest film, KILLERS OF THE FLOWER MOON, making critical and box office waves, the conversation has been renewed: what are his best works, and does KILLERS deserve to be mentioned among his best? Well, as far back as I can remember, I wanted to be a Blogger, so here we go…

 

The 80-year-old, New York City-born filmmaker has shown no signs of slowing down. In the last 20 years he has directed nine (9) feature films that earned high praise, won Oscars, and landed spots in our culture. Starting with his debut WHO’S THAT KNOCKING AT MY DOOR in 1967, he has examined tortured souls, explored American history, played with crime, and deep faith. As one of the major figures of the New Hollywood Era, his name has become synonymous with cinema, and even his misses can be considered marvels. Here now are Reel Speak’s picks for his Top 10 Best: 

 

 

 

 

 

10. CASINO (1995)

 

Making movies based on the lives of real-life gangsters has been Scorsese’s favorite thing to do, and CASINO was one of many. Based the non-fiction book detailing the mob’s involvement at a Las Vegas casino, the film re-united frequent Scorsese collaborators Robert DeNiro and Joe Pesci, and the result is an explosive story of trust and betrayal. Epic in its telling with a powerful punch, it is that cautionary tale of excess that Scorsese loves to tour. 

 

 

9. SILENCE (2015)

 

One of many late-career masterpieces. A long, grueling, and cerebral journey through 17th century Japan where two priests search for their missing comrade, SILENCE is a deep exploration of faith while going up against impossible odds…including death and torture. A slow burner, it takes a long time to unfold, and has the fingerprint of a filmmaker who has learned patience over the years. Andrew Garfield, Adam Driver, and Liam Neeson turn in excellent performances. 

 

8. THE AVIATOR (2004)

 

Howard Hughes: filmmaker, aviator, billionaire, playboy, and genius…gets his life story brought to the screen by Scorsese. This is more of a celebration of Hughes than a deep look at what made him tick, but that was probably the whole point. Hughes was a major celebrity in his time, one that Scorsese likely looked up to. Leonardo DiCaprio and Cate Blanchett are electric, and the film also serves as a love letter to a glamorous Hollywood age long gone. An Oscar contender in 2004, it had 11 nominations and won five, including Best Supporting Actress for Blanchett’s dazzling portrayal of Hollywood legend Katharine Hepburn. 

 

7. THE KING OF COMEDY (1982)

 

A journey through the mind of a wanna-be stand-up comic (DeNiro), who often confuses reality with his own fantasies. This film may show its age in places, but it stands as a relevant look at fame and how we treat our idols. DeNiro creates a likeable, yet messed-up character; one of many troubled souls that Scorsese would explore throughout his career. 

 

6. KILLERS OF THE FLOWER MOON (2023)

 

Scorsese turns his cameras towards the grisly, tragic, and revolting treatment of Native American women in 1920’s Osage Nation as they are murdered by their white husbands for their oil money. It may not seem like it on the surface, but this is a story that was perfect for Scorsese to tackle; it shows a loose organized crime group, uncovers an overlooked area of American history, and it is ripe for tremendous performances. The cast of Leonardo DiCaprio, Robert DeNiro, and most especially, Lily Gladstone, turn some of the best acting in a Scorsese film. It’s one of his longest films, but will have anyone staggering out of the theatre after its breathtaking final shot.

 

 

5. GANGS OF NEW YORK (2002)

 

After making so many movies about organized crime, it perfect made sense that Scorsese would make one about its origins. GANGS OF NEW YORK is a historical epic that looks at early immigration and a very violent America, while serving as a decades-long revenge story. The film is a feat in production design, cinematography, and acting…with Leonardo DiCaprio, Daniel Day-Lewis, and Cameron Diaz lighting up the screen. This Blogger’s personal favorite. 

 

 

4. TAXI DRIVER (1976)

 

Troubled souls who are one bad day away from causing more trouble has always been a favorite character-type of Scorsese’s, and he found his most iconic one in Travis Bickle…as played by Robert DeNiro. New York City is portrayed as the worst place on Earth, and when Bickle finally has his one bad day, it all comes crashing down in a way that is satisfying because everything that came before it counts, and counts hard. 

 

 

3. RAGING BULL (1980)

This has been a hard movie to love, as it is brutal and uncomfortable to watch…but maybe that’s what makes it so damn good. DeNiro bulks up to play real-life boxer Jake LaMotta, a tortured soul who isn’t happy unless he’s beating someone up or is getting his own brains bashed in. It is intense but stands one of the best dark character studies in cinema, with a monster of a performance by DeNiro and ruthless boxing scenes.

 

2. THE DEPARTED (2005)

Winner of four Academy Awards including Best Picture and Best Director for Scorsese. Leonardo DiCaprio plays an undercover cop looking to take down Boston’s leading gangster (a fantastic Jack Nicholson), while trying to figure out the identity of a rat (Matt Damon), in the Special Investigations. It’s the ultimate cat-and-mouse game on film, with plenty of twists and the enjoyment of watching cops and robbers go at it. Despite its tragic ending it is endlessly re-watchable and so much fun to take in. 

 

 

1. GOODFELLAS (1990)

 

This may seem like a lazy choice, but it’s hard to ignore a film that has become so absorbed into our culture; from its sharp one-liners (funny how?), the montage of dead bodies set to the back-half of Layla, the famous tracking-shot into the Copacabana Club, and iconic characters as played by DeNiro, Pesci, and Ray Liotta. Not to mention that without this film, there never would have been a SOPRANOS. One of the best mobster pictures ever made, it takes a young man who just wants to be a gangster and turns it into the American dream, and lets us know that some crooks absolutely love the lives that they lead. It would be unfair to say that Scorsese has “glamorized’ organized crime and mobsters over the years, because in GOODFELLAS, just like in all of his mob-films, none of these guys have happy endings. But despite that, Scorsese really makes us want to hang out with them…and he never did it better than here. It’s wildly entertaining, sharply edited, beautifully acted, and not shy to break our hearts when it needs to. This is the film that his name is the most often connected to, and for good reasons.

Reel Speak's Top 10 Best Films of Martin Scorsese 

1. GOODFELLAS
2. THE DEPARTED
3. RAGING BULL
4. TAXI DRIVER
5. GANGS OF NEW YORK
6. KILLERS OF THE FLOWER MOON
7. THE KING OF COMEDY
8. THE AVIATOR
9. SILENCE
10. CASINO