A Reel Review - THOR: RAGNAROK

It has been well-documented and accepted that one of the many reasons Marvel’s series of films work so well is that they transcend standard superhero tropes by crossbreeding with other genres of film; elements of the techno-thriller, espionage, war-film, and even horror have found their way into their stories of heroes and villains decked out in capes, helmets, and armor. For THOR, playing with fantasy and sci-fi has been the natural way to go, but for his third solo adventure, sub-titled RAGNAROK, two genres were simply not enough.

Thor (Chris Hemsworth), and his estranged brother Loki (Tom Hiddleston) set out on a search to find their missing father Odin (Anthony Hopkins), just as the Goddess of Death Hera (Cate Blanchett) descends upon their homeworld of Asgard to claim the throne. Thor and Loki are captured by the Grandmaster (Jeff Goldblum) and Valkyrie (Tessa Thompson), where prisoners are required to compete in deadly battles for their freedom, which re-unites them with Bruce Banner/The Hulk (Mark Ruffalo).

Most of RAGNAROK is composed to two distinct storylines, with Thor, Loki, and Hulk spending their half of the film trying to escape imprisonment, and the other half belonging to Hera as she ruthlessly takes over Asgard. As expected, these two storylines come crashing together in the end, but what is not expected are the turns taken before we get there. Hera as the villain has a deep, personal connection to Asgard which gives her a mighty, and palpable axe to grind, and our heroes have their own work to do with each other before finding freedom.

Director Taika Waititi has a lot to juggle here, with every character, right down to the minor ones having their own arc to get through. Waititi seems to know that grounding is needed, so crossbreeding the film with other genres give us something familiar in this fantasy flick, which is packed full of monsters and way-out-there creatures. These genres range from cheesy 1980’s sci-fi, buddy-cop, family drama, jailbreak, heist, good old-fashioned gladiator fighting, and plenty of Norse mythology. There are a lot of familiar things going on and anyone can find something to latch onto.

Waititi keeps the pacing brisk with an outstanding sense of energy; there is always the feeling of forward motion and there’s rarely a dull moment. There is a lot of comedy going on and the film can’t seem to go more than 30 seconds without a gag, and it almost seems too much, but when the film does slow down for a necessary pause, those pauses are very effective. Visual-effect wizardry is everywhere and constantly gives us something to look at. Mark Mothersbaugh’s score is a wonderful mix of 1980’s techno and traditional, with a certain Norse mythology-inspired rock song making some clever appearances.

Acting is a blast not only because of the stellar cast, but because of the remarkable chemistry everyone has with each other. Hemsworth and Hiddleston, now in their fourth film together as battling brothers, light up the screen and both show great comedic timing. Tessa Thompson nearly steals the show, and Jeff Goldblum is well-cast in the role of an eccentric weirdo. Mark Ruffalo gets a lot of heavy-lifting to do here, and as a bonus, his Hulk finally becomes a true character. Idris Elba is very effective, Anthony Hopkins is excellent as always, and Cate Blanchett is fantastic. Karl Urban comes in as a reluctant henchmen to Hela and is very good, and Benedict Cumberbatch returns as Dr. Strange in a small, yet very vital and effective role. There are also some whopper cameos here and there with name-worthy actors new to the Marvel series; it seems everyone wants in on the party.

There are some bold choices made with RAGNAROK; several major character deaths and other things happening that change the landscape of the Marvel series for good. This is not only a vital entry in the series, but as a standalone is a thrilling adventure with high entertainment value; bursting with the ability to prompt laughs, tears, and arm-raising cheers. That’s what all genres do best.

BOTTOM LINE: See it.

A Reel Preview: The Year In Film 2017 - Episode XI

The glorious winds of Fall are starting to roar, and the second full month of the season has one of the most diverse selection of films of the year; superheroes, comedies, Oscar hopefuls, and animated family films. Here are the notable releases for the month of November.

It all rocks in with…

THOR: RAGNAROK – The 17^th entry into Marvel’s connected series of films also serves as the third solo adventure for the God of Thunder. Thor (Chris Hemsworth), is imprisoned while his homeworld is under siege by Hela (Cate Blanchett), the goddess of death. The ensemble cast includes Tom Hiddleston, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Anthony Hopkins, Benedict Cumberbatch, and Mark Ruffalo reprising Bruce Banner/The Hulk.

MY FRIEND DAHMER – A biographical drama about serial killer Jeffrey Dahmer, based on the graphic novel of the same name. Stars Ross Lynch, Alex Wolff, Dallas Roberts, and Anne Heche.

LADY BIRD – Saoirse Ronan leads this comedy-drama which has nothing to do with the former First Lady. Ronan plays a nurse struggling to keep her family together after her husband loses his job. It is directed by Greta Gerwig.

LBJ – Woody Harrelson plays former President Johnson in this political drama taking place after the JFK assassination. It co-stars Richard Jenkins, Bill Pullman, and Kim Allen, and is directed by Rob Reiner (A FEW GOOD MEN).

LAST FLAG FLYING – Richard Linklater (BOYHOOD) directs this comedy-drama about three Vietnam Vets who reunite after one of their sons is killed in Iraq. It stars Steve Carell, Bryan Cranston, and Laurence Fishburne.

MURDER ON THE ORIENT EXPRESS – Kenneth Branagh stars and directs this mystery film, which is the fourth adaptation of the famed novel. The ensemble cast includes Penelope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Derek Jacobi, Michelle Pfeiffer, and Daisy Ridley (THE FORCE AWAKENS).

THE KILLING OF A SACRED DEER – Colin Farell and Nicole Kidman headline this psychological horror film in which a fatherless teen upsets their household. 

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI – Frances McDormand (FARGO) plays a grieving mother who raises billboards in her hometown to seek justice for her murdered daughter. It co-stars Woody Harrelson, Sam Rockwell, and Peter Dinklage. Directed by Martin McDonagh (IN BRUGES).

JUSTICE LEAGUE – The fourth film in DC Comics’ connected series of films is the first team-up of their classic heroes; Batman (Ben Affleck), Superman (Henry Cavill), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Flash (Ezra Miller), and Cyborg (Ray Fisher). The rest of the massive cast includes Amy Adams, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, and Ciaran Hinds. It is directed by Zack Snyder (DAWN OF JUSTICE), and Joss Whedon (AVENGERS).

WONDER – Julia Roberts and Owen Wilson play parents of a boy with a facial deformity.

ROMAN J. ISRAEL, ESQ. – Denzel Washington plays a liberal lawyer in this legal drama. Colin Farrell co-stars, and it is directed by Dan Gilroy (NIGHTCRAWLER).

MUDBOUND – Veterans of World War II return home from the war to deal with racism and PTSD. Stars Carey Mulligan, Garrett Hudlund, Jason Clarke, Jason Mitchell, and Mary J. Blige.

I LOVE YOU, DADDY – In this comedy-drama, Louis C.K. plays a TV producer who tries to prevent his teenage daughter (Chloe Grace Moretz) from falling for a 68 year-old filmmaker (John Malkovich).

COCO – The newest offering from famed animation studio Pixar is inspired by the Mexican holiday of Dia de Muertos (Day of the Dead), and follows a 12 year-old boy who sets off a chain of events leading to a reunion of long-past family members.

DARKEST HOUR – Gary Oldman (THE DARK KNIGHT), plays Winston Churchill in this war drama during his early days as Prime Minister. Co-stars Ben Mendelsohn and Kristin Scott Thomas, and is directed by Joe Wright (ATONEMENT).

CALL ME BY YOUR NAME – Based on the novel of the same name, two young men (Armie Hammer, Timothee Chalamet), develop a passionate relationship.

THE CURRENT WAR – Benedict Cumberbatch (THE IMITATION GAME) plays Thomas Edison, and Michael Shannon (TAKE SHELTER) plays George Westinghouse in this true-story about the battle to determine whose electric system would power the world.

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Next month, the final Episode of 2017.

A Reel Five: The STAR WARS & Disney Anniversary

Five years ago today, the movie world was given the surprise of a lifetime when the announcement was made that famed studio Disney would be purchasing the equally-famed LucasFilm and the STAR WARS franchise. Series creator George Lucas would be retiring, handing the reigns over to long-time producer Kathleen Kennedy, and remaining as a creative consultant for future STAR WARS films, beginning with EPISODE VII in 2015. It was an announcement that sent shockwaves through the long-time fanbase and the industry itself, and debate over the success of the sale rages on today. This Blogger has always said that time is the best test of any film, or films, so on this fifth anniversary of the re-birth of STAR WARS, it is worthwhile to take a look at what’s happened since that October day in 2012.

A long time ago (five years), in a galaxy far, far away (Hollywood), it was a somewhat dark time for the STAR WARS franchise. The galactic, industry-changing series of films, which had branched out into other media and merchandise, was like a sleeping giant…nearly dormant and just waiting for a wakeup. It had been seven years since Lucas’ Prequel Trilogy; three films which take place before the events of the Original Trilogy; A NEW HOPE (1977), THE EMPIRE STRIKES BACK (1980), and RETURN OF THE JEDI (1983), and in those seven years casual and diehard fans were still festering over the not-so-good Prequels and the edits that were made in the 1997 re-issue of the Original Trilogy. By 2012 the franchise was quietly coasting with sales from merchandise ranging from books to video games to an animated series (the very good CLONE WARS), and while the giant slept, the lasting memory fans had of their beloved STAR WARS was in the last three films, for the inside of a movie theatre is really where the giant lived.

All that changed with the announcement of the sale, and a new hope was lit. Disney already had a historic reputation over decades of beloved family films, with recent success with Pixar and Marvel. New LucasFilm president Kathleen Kennedy had a series of hits of her own, including most of Steven Spielberg’s films and the INDIANA JONES franchise. The sale included Lucas’ outline for episodes 7-9 (he has since stepped down from his creative consultant role), and STAR WARS seemed to be coming full circle; bringing back the beloved legacy characters such as Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), and Carrie Fisher (Princess Leia), while fulfilling Lucas’ 40-year dream of a nine-episode saga.

With Disney at the controls, the results have been spectacular. The first film, THE FORCE AWAKENS, which serves as the 7^th episode in the saga, was a critical smash, box office monster, and earned seven Oscar nominations. Although criticized in some circles for being too similar in structure to A NEW HOPE (so what), the film returned the energy, fun, and whimsy to the saga that the Prequels had left out. And perhaps more importantly, introduced us to new characters who instantly became pop culture icons; lovable droid BB-8, big-bad villain Kylo Ren (Adam Driver), and heroes Rey (Daisy Ridley), Finn (John Boyega), and Poe (Oscar Isaac). The giant had been awakened and was ready for more.

And more came just a year after THE FORCE AWAKENS, when the first spin-off film in the saga arrived in the form of ROGUE ONE. Taking place in-between episodes III and IV, ROGUE ONE was, by admission, an experiment to see if a spin-off film could work. The experiment succeeded by being accepted by box office, fans, and critics, and again, created new iconic characters to be permanently added to history; such as heroes; Jyn (Felicity Jones), Chirrut (Donnie Yen), and K-2SO (Alan Tudyk). The December release dates (the previous six movies were traditionally released in May), allowed the fun of the season to grow; home for the holidays now included new STAR WARS in the theatre…making for re-bonded friendships and new relationships.

The past is prologue, and if the last five years are any indication, then the future, despite always being in motion, is bright for STAR WARS. The first two films from Disney (and the outstanding STAR WARS REBELS animated TV series) have brought the franchise back to the basics that its always thrived on; fun, adventure, and characters, and revitalized the giant for a new generation. In the immediate future we have THE LAST JEDI, serving as EPISODE VIII, coming in December, and next year another spin-off film with SOLO, which will explore the backstory of our favorite smuggler and scoundrel, Han Solo. If these films are done with the same amount of tender loving care that we’ve seen so far from Disney, then the next five years will be like stepping into a much larger world.

A Reel Review: JIGSAW

In 2004, director James Wan had his killer cinematic debut with SAW, in which the notorious Jigsaw placed victims in deadly “games” designed to teach a morality lesson about the value of life. It was a well-needed refresh of originality that the horror genre had been needing. Six convoluted sequels later, and seven years after the supposed final chapter, we come the eighth film in the franchise, JIGSAW.

Ten years after the death of the Jigsaw Killer, a group of victims (Mandela Van Peebles, Laura Vandervoort, Brittany Allen, and Paul Braunstein) with shady pasts find themselves trapped in a deadly maze of horrific traps, designed to force them to confess their sins. As they fail their tests, their bodies are found and investigated by two detectives (Callum Keith Rennie and Cle Bennett), and two coroners (Matt Passmore and Hannah Emily Anderson), and the trail leads them to believe that Jigsaw may not be dead after all…

JIGSAW is a film with two distinct storylines. The first spends its time in the deadly maze, where the group of victims, handpicked because of their sins, make their way through the house of horrors. The second is a police procedural with cops and coroners on the trail of the bodies, with the mystery if Jigsaw really did die five movies ago the connecting thread between the two narratives.

Long-time fans of this franchise will be happy to know that this has all the trademark strengths of a SAW movie, with horrific traps, amputations, bloodshed, misdirection, and plenty of twists and turns. But it also comes with its traditional weakness in one-dimensional characters. As usual, the victims are scummy people who probably deserve their grisly fates, so who cares about them…and the cops/good guys are unlikeable grumps who also deserve a saw-blade to the neck. It’s no fun to be around anyone in this film. As for the famed traps, this time they are bigger (a giant meatgrinder), lazier (a silo filling up with grain and pointy objects), and downright stupid (laser beams). The realm of believability gets hacked up within the first 10 minutes.

Directed by the Spierig Brothers, JIGSAW builds its narrative around misdirection and guess-work. The film may be going one way before veering off to another, and while there are some good surprises, it all feels very basic and been-there-done-that. There are a lot of elements borrowed from previous entries, and the long-awaited big twist ending comes with a shrug. Pacing is brisk and the 92 minutes fly by, and for an R-rated film the gore is on the light side. For a horror movie there is zero atmosphere, no tension building, and is very bland.

Acting is ho-hum. Laura Vandervoort and Hannah Emily Anderson get the heaviest lifting and handle their parts very well, and Mandela Van Peebles (son of Mario) is also very good. Everyone else just grumbles and screams.

It’s no real secret that the Jigsaw Killer does indeed show up and is once again brilliantly played by Tobin Bell, with the mystery of how he’s still appearing the real draw of the film. The ultimate explanation, again, borrows too much from previous films, and there is a lot that could have been wrapped up a lot tighter. This is a needless chapter in an already tired series, which as a film is lazily constructed, and as a horror flick doesn’t offer one goddamn scary moment. And besides the filmmaking flaws, it adds nothing to the overall series. Dumb and pointless.

BOTTOM LINE: Fuck it

A Reel Opinion: The Top 10 Horror Films

Horror movies are not for everybody. Not only do some people dislike being scared, but the genre as a whole often asks us to buy into some high-concepts, most of which border upon ridiculous. This Blogger has always been neutral on the genre; neither a disbeliever or a die-hard fan…but on occasion we get a great film that can transcend its horror obligations and work as true cinema. And like any other film, a horror flick can be judged by story, characters, acting, and technical merit…with a few added factors such as scariness and re-watchability.

Now, do you want to see something really scary?

This list is a combination of objectivity and of this Blogger’s favorites over the years, and that opens the creaky door for WITCHBOARD (1986). A story about a woman who gets obsessed with a spirit (or two) connected to a Ouija Board, this film scared the pants off me when the ultimate evil baddie, called Malfeitor, shows up out of the shadows in the form of a creepy old guy with a white beard, followed by a bowel-moving evil laugh. Mostly forgotten and basically obscure, WITCHBOARD is a night-terror for me and an easy entry into this Top 10.

Rob Zombie’s THE DEVIL’S REJECTS (2005), is also an easy entry into this list because it is one of the few horror flicks that makes it into my annual October rotation. A gritty throwback to the brutal and bloody 1970’s era of blunt filmmaking and backed by classic southern rock tracks, REJECTS tells the story of a family of serial killers who spend the film becoming some of the most despicable screen-villains in history. And then, in a genius move, the finale suddenly finds a way to make us feel sorry for them. It’s a flip-flop that is effective and makes the film memorable and noteworthy. And the closing scene is the best ever usage of Free Bird in a movie.

M. Night Shyamalan’s THE SIXTH SENSE (1999) gets a little too much attention for its big-wow twist at the end which turns the entire viewing experience upside-down. It’s great, but it often overshadows how good of an old-fashioned ghost story it really is. Heavily influenced by the great Alfred Hitchcock, M. Night creates plenty of scares, and most of all, a mystery…which keeps the audience engaged at all times.

It may not be the scariest film ever made (although it has its moments), but Francis Ford Coppola’s adaptation of BRAM STOKER’S DRACULA (1992) has a lot of strong points as a film. It is visually stunning, beautifully scored, has an iconic look in Gary Oldman’s Count Dracula, and as a Dracula/vampire story it draws heavily and faithfully from the book while also pulling material from nearly aspect of the vampire legend; Coppola did his homework here and it shows. Above all, it serves as a love story…which makes it one of the most unique entries in the genre.

Isolation is a scary thing. But what’s even more scary is being isolated with a killer beast hunting you. And what’s even more scary is being isolated with that killer beast in a place where there is nowhere to run or hide…and that’s makes Ridley Scott’s ALIEN (1979) a perfect horror flick. A nice mash-up of sci-fi and Horror, ALIEN brought about some of the most memorable scares and blood-splashing scenes in history.

Prior to 1984, there was Dracula, Frankenstein, the Mummy, and the Wolfman…and then the late and great Wes Craven introduced Freddy Krueger to the world in A NIGHTMARE ON ELM STREET. A killer who only exists in people’s dreams, Craven capitalized on the isolation factor, while inserting some real scares (Freddy’s creepy stretching arms and the body bag moving on its own scared the shite out of this Blogger) and a character which stands the test of time.

Alfred Hitchcock’s PSYCHO (1960) is the great-granddaddy of horror films. Based on the best-selling book, Hitchcock solidified his legend as the master of suspense with some chilling scenes involving a staircase and a shower (simple things masterfully turned frightening), and is the earliest example of the slasher-genre. Coupled with a mystery and some shocking twists and turns, PSYCHO is a scare-fest and an exquisitely crafted movie.

Stanley Kubrick’s adaptation of THE SHINING (1980) often gets criticized for not being faithful to Stephen King’s book of the same name and for having an ending which Horror fans and cinema buffs debate to this day. These criticisms don’t mean much, because Kubrick creates an atmosphere which creeps those shivers down the spine at all times. From a creepy little kid, ghostly twin-girls, spectral bartenders, a gut-twisting score…and a performance by a young Jack Nicholson, who exerts pure evil with just one glance, THE SHINING is a finely crafted film which still has a presence in pop-culture.

Pop-culture may have been forever altered by Steven Spielberg’s JAWS (1975) as well, but that’s not the only reason this film, about a killer shark which terrorizes a resort town, makes the list. JAWS is often overlooked as a Horror movie because it takes place during the bright summer and doesn’t involve slashers or any supernatural elements. But the scares are genuine. In 2015 this Blogger celebrated the film’s 40^th anniversary by seeing the film on the big-screen, and the crowd, which contained many newcomers, jumped out of their seats in all the places Spielberg intended 40 years ago. JAWS hasn’t aged a day, and longevity is the best test of any film in any genre.

Having grown up in a religious family which truly believed that the Devil existed and could arrive at any moment, this Blogger was not allowed to watch William Friedkin’s THE EXORCIST (1974) as a child, and that was probably a good thing. THE EXORCIST, which tells the tale of a young girl possessed by the Devil and does battle with two priests, taps into that primal fear deep inside…that feeling and knowledge that pure evil does exist. The film takes that feeling and gives it a body, a face, and a voice…making for a frightening experience as good tries to do battle with the ultimate evil. Faith is shaken, beliefs are tested, and pants are pissed in as the scares come in doses. Friedkin somehow creates a film in which even during the quieter times, there is always a feeling of something being off, of something being wrong. It is un-nerving, disturbing, and gets everything right in horror and in film. THE EXORCIST is the top of terror.

REEL SPEAK’S TOP 10 HORROR MOVIES

1. THE EXORCIST
2. JAWS
3. THE SHINING
4. PSYCHO
5. A NIGHTMARE ON ELM STREET
6. ALIEN
7. BRAM STOKER'S DRACULA
8. THE SIXTH SENSE
9. THE DEVIL'S REJECTS
10. WITCHBOARD

A Reel Review: A STAR WARS and HARRY POTTER Weekend

“Movies were meant to stay on the screen, flat and large and colorful, gathering you up into their sweep of story, carrying you rollicking along to the end, then releasing you back into your unchanged life. But this movie misbehaved. It leaked out of the theater, poured off the screen, affected a lot of people so deeply that they required endless talismans and artifacts to stay connected to it”

-Carrie Fisher

This quote by the late and beloved Carrie Fisher on the first STAR WARS not only speaks to George Lucas’ 1977 film but to the pop culture phenomenon that it started. STAR WARS began a still-in-effect tradition of films speaking to us so strongly that we find ourselves seeking more of the movie outside of the theatres, whether in be in merchandise, other media, conventions, cosplay, or in various other art forms. Two of the most prominent films to be deeply imbedded in pop culture for the last 40 years have been STAR WARS and HARRY POTTER, and both film-franchises were well represented this past weekend in Philadelphia with two large-scale events worthy of entry in any archives, which this Blogger and this Blogger’s Girlfriend were pleased to attend.

The weekend got off to a magical start with the 7^th annual Harry Potter Festival in Chestnut Hill, PA, (and also the inaugural Pitman Potter Festival in Pitman, New Jersey). We were in attendance at Chestnut Hill, in which 12 square blocks were transformed into the HARRY POTTER town of Hogsmeade…where fans of all ages were able to take in vendors, games, and activities all inspired by the POTTER books, and most especially the films.

The bulk of the Chestnut Hill festival took place on Germantown Avenue, which with its cobblestone streets and tight-quartered, old-fashioned shops and stores, made it very much in character for the HARRY POTTER world. Shop-owners and their stores jumped into the cauldron head-first, and transformed their businesses into venues right from the films, and they, along with street vendors, were committed to selling hand-crafted merchandise; everything from brooms, pillows, scarves, art, and clothing…done with a loving hand and far from any corporate meddling. There was plenty of food to take in; including a stunning cake competition and plenty of butter-beer to go around. Fans and families came in costume inspired by the films, dressing as the most popular to the most obscure.

Perhaps the most impressive work was done by the Iron Hill Brewing Company, which transformed into The Great Iron Hall for the weekend. Their main dining area was decorated just like the Great Hall, bathrooms were found by following spiders, and the bathrooms themselves hinted at a certain Chamber now being opened.

Fans of all ages literally came by the train-load to Chestnut Hill, and by the time the hard-played Quidditch tournament had played its final match at Chestnut Hill College, it was clear that HARRY POTTER held a strong presence off the silver screen.

But the fun was just beginning…

With this year being the 40^th anniversary of STAR WARS (read more about that HERE), the Philly POPS Orchestra offered two performances entitled A Star Wars Celebration: Featuring the Music of John Williams. The two concerts, held on Saturday and Sunday, featured a piece from each of the eight STAR WARS films, and just for good measure, all five of John Williams’ Academy Award winning scores.

Music Director Michael Krajewski served as not only conductor, but as a master of ceremonies. He guided the audience through each music selection in a way that spoke to STAR WARS fans and any possible newcomers in the audience. He was funny and energetic, and his knowledge of STAR WARS and film lore was most impressive.

The concert began with a medley of some of John Williams’ best scores (including SUPERMAN!), before officially beginning the program with the very first sounds of STAR WARS we ever heard; the famous 20^th Century Fox theme followed by the classic STAR WARS opening scroll theme. From there, the music selections outside of STAR WARS included the main themes from JAWS, E.T., and yes, HARRY POTTER. The highlights of this section were easily the theme from SCHINDLERS LIST, and a medley from THE FIDDLER ON THE ROOF…the film which earned Williams his first Oscar.

The main STAR WARS section, after the intermission, had the best of the best, including The Imperial March, Cantina Band, Parade of Ewoks, and Across the Stars. The choral section of the orchestra flexed their magnificent voices on Battle of the Heroes and a selection from ROGUE ONE. The highlight was Duel of the Fates; a piece which has suffered from association with the divisive EPISODE I, but in a live setting proves its worth as a remarkable piece of music. The orchestra overall sounded tremendous, and did a fine job in yanking out every emotion possible; many laughs and tears happened. The lighting schemes were perfectly matched with each piece…adding to the thick atmosphere of sight and sound.

The set closed out with the magnificent The Jedi Steps and Finale from THE FORCE AWAKENS, which as a closing-credit piece featured the best music from the film. After a standing ovation, the maestro returned to close out the afternoon with the Raiders March from RAIDERS OF THE LOST ARK. Because why not.

By the time we stepped out of the venue, it was clear to us that this was a weekend to be long remembered. It was a statement to the power of film and all of its creativity and ability to leap out of the screen and stick with us, always.

A Reel Opinion: THE BREAKFAST CLUB Criterion Edition

One of the more interesting debates to come out of the film world this week stems from the announcement from The Criterion Collection, which is set to release a new edition of John Hughes’ 1985 classic THE BREAKFAST CLUB. The release will be a new 4K digital restoration with a truck-load of special features, archival interviews, commentary, and over fifty minutes of never-before-seen deleted and extended scenes. The announcement has sparked some discussion about Criterion going with a popular, mainstream release, as opposed to their usual style of arthouse or rare and obscure films.

Criterion has been in the business of releasing “important classic and contemporary films” in new packaging with hard-to-find extras since 1984, and in recent years has earned a reputation for being the source to discover films that have flown under the radar of the average cinema person. They have also had a focus on international films, and using the best source materials, have been one of the leaders in restoring old movies to pristine condition. For some people, the inclusion of THE BREAKFAST CLUB into the Criterion clubhouse is like letting a guy in flip-flops into an exclusive black-coat-and-tie dinner.

In the past, Criterion has published major mainstream movies as a way to fund their future efforts to publish the obscure titles which require extensive restoration; Michael Bay’s action-flicks ARMAGEDDON (1998) and THE ROCK (1996) come to mind right away. They’ve also done the sci-fi cheesefest ROBOCOP (1987), and Kevin Smith’s goofy CHASING AMY (1997). Every one of these releases can be questioned if they deserve the Criterion treatment, but the company does need to keep the lights on…and if ARMAGEDDON pays for the restoration of high-end cinema, we’re the better for it.

This also comes down to the old question of what is art, and who gets to say if it is or not. Film-snobs seem to think they have the final say on what should get into the Criterion club, and by extension, decide if something is art or not. Maybe Criterion went with those mainstream releases because they see artistic merit and cultural impact in them, and not just dollar signs. The fact that the question can even be asked says there is something to at least be considered. The language of cinema was always meant to explore new territory, and to shut the door on any film without consideration is the opposite of what Criterion, and filmmaking stands for. And from a viewing point, this Blogger has always believed that films play out better for us when we don’t segregate them in our heads.

As for THE BREAKFAST CLUB, it is a film which not only defines the 1980’s, but to this day is the definitive film about life in high school. It may be over 30 years old, but it seems timeless outside of the pop-music selections, and a kid born after 2001 can easy relate to the characters and story. It’s a film that has proven its worth over time, and as this Blogger has always believed: longevity is the true test of any film. And that is the type of product Criterion should always be stamping their name on.

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THE BREAKFAST CLUB Criterion edition will be released January 2^nd.

A Reel Opinion: The Top 5 Underrated Movies

Last week, this Blogger posted his Top 5 Overrated Movies, which you can read HERE. The blog was a look at the films that I find to be over-praised during their release and over time. The posting sparked some great discussion, and one loyal reader of Reel Speak suggested that I travel to the opposite end of the Earth and write about my Top 5 Underrated Movies. Never one to back down from a dare, here they are.

Compiling the list, I had to be careful to not make a list of Guilty Pleasures. What’s the difference between a Guilty Pleasure and Underrated? A Guilty Pleasure would be a film that we feel guilty about watching and never admit to anyone. Underrated is a movie that we show no shame in watching or praising, and feel that the world has mis-judged. This is a list of films that I find to be excellent and perhaps sadly forgotten as time has passed. These are the films which not only speak to me below the cockles, but deserve a lot more credit than they do now.

So here we go (again)…

5. THE THING FROM ANOTHER WORLD (1951) – In 1982, horror director John Carpenter (of

HALLOWEEN fame), remade this film into a freaky gore-fest with Kurt Russell, which is now considered to be a classic in its genre. I like the remake fine, but I adore the original more. Directed by Christian Nyby and produced by the great Howard Hawks, it was adapted from a novella and told the tale of a scientific encampment and a U.S. Army flight crew which is terrorized by a brutish alien. It’s a survival tale at its simplest, and today the acting and style may seem dated, but it is still a creepy flick with plenty of surprises, scares, and characters we don’t mind liking or hating. One of Howard Hawks’ favorite types of characters, the good ol’ American boys who use their skills and bravery to overcome all odds, is all over the film, and it’s a comfort to watch. The black-and-white photography adds to the creepiness, and the film has many beats which not only Carpenter used in his remake, but James Cameron would copy in his classic horror film, ALIENS (1986). When classic black-and-white horror creatures are mentioned, everyone gravitates towards Bela Lugosi’s Dracula or Boris Karloff’s Frankenstein monster, and it drives me nuts that James Arness as the Thing is sadly left out of that list of towering horror creatures.

4. THE MUMMY (1999) – Speaking of horror remakes, Stephen Sommers’ shot at the 1931 classic

is probably my favorite on this list, and one of my top films of the 1990’s. It didn’t attempt to re-capture the vibe of a straight-up horror film (although it has some creepy and jump-scare moments), and instead embraced fun and high-adventure in the spirit of INDIANA JONES. It was also made as a love-letter to the Golden Age of Hollywood; with high-energy, fun characters, thrilling set-pieces, and vast desert scenes reminiscent of what David Lean once did in LAWRENCE OF ARABIA (1962). The cast of Brendan Fraser, Rachel Weisz, John Hannah, and Kevin J. O’Connor always look like they’re having a blast, and Arnold Vosloo has a screen presence worthy of any top 10 cinematic villain list. And the score by the late great Jerry Goldsmith is one of his very best. When Universal Studios began transferring their back-catalog to the glorious Blu-ray format, they took great care in THE MUMMY release, and it really shows. It’s a stunning presentation which this film deserves.

3. THE RIGHT STUFF (1983) – Philip Kaufman’s epic historical drama about the early days of America’s space program was a box office failure in 1983, and also suffered from a political

shitstorm when John Glenn was running for President (Glenn is prominently featured in the film, and the speculation was that the film would give Glenn an unfair advantage). Despite being a box office bomb, THE RIGHT STUFF still earned praise from critics and would win four of its 10 Oscar nominations. Today, it is often overlooked when the discussion moves to the great historical dramas; either because of its hefty three-hour running time, dated special effects, leftover political bull, or overshadowed by APOLLO 13 (1995). But as a movie it deserves high praise; the cast is an all-star lineup, the direction has classical sensibilities, Bill Conti’s score is wonderful, the drama and tension is there, and it has many triumphant moments to earn applause. It is a vastly quotable film, and one of the greatest that no one remembers.

2. THE PLACE BEYOND THE PINES (2012) – Derek Cianfrance’s epic family drama, which goes through three generations of fathers and sons, took it on the chin upon release simply because audiences felt duped. The film’s two major stars, Bradley Cooper and Ryan

Gosling, were not in the film very much despite their faces being prominently displayed on posters; Gosling’s character checks out in the first act, and Cooper doesn’t show until then…and then vanishes from the film for stretches in favor of the younger cast. Looking beyond that, Cianfrance has crafted one great film here, one that serves as a grand statement on the Sins of the Father, along with serving as a crime drama; good cops, bad cops, lawyers, and good old fashioned bank robberies. And speaking of bank robberies, the long, unbroken tracking shot of police cars chasing a motorcycle through a cemetery is white-knuckle thrilling. And Mike Patton’s music is hauntingly beautiful. I’ve always been a sucker for father-and-son stories, as I believe they are the most powerful in film, (even more so now), and PINES is one of the best of them.

1. THE LIFE AQUATIC WITH STEVE ZISSOU (2004) – Speaking of father-and-son stories, Wes Anderson’s loving homage to real-life ocean explorer Jacques Cousteau boldly sails into that territory and beyond. Anderson’s work often gets dismissed as serious film because of his unique style that he

is locked into; quirky characters and music, bold uses of color, and absolute deadpan writing, acting, and camerawork. AQUATIC does have all that, but the storytelling beneath the style is one of his best. The script is remarkable as it fleshes out characters and situations with the simplest lines in the lightest effort, and each character gets his or her own arc and important moment in the large cast. Bill Murray plays the part of Steve Zissou, the aging ocean explorer/filmmaker who believes his best days are behind him, perfectly with the right amount of vulnerability, and his chemistry with is maybe-son Ned (Owen Wilson), reporter Jane (Cate Blanchett), and wife Eleanor (Anjelica Huston) leaps off the screen. The filmmaking is ambitious with filming taking place underwater (the cast had to learn how to scuba dive), and at sea (an old ship was purchased and re-purposed), and the action scenes (a pirate raid and rescue mission) are better than what many shaky-cam directors are trying to do today. Seu Jorge’s soundtrack of David Bowie songs in Portuguese on acoustic guitar is wonderful, and overall the film has a familiar, classic feel with elements from Moby Dick and The Great Gatsby present. The ending is an emotional wallop that comes in twos and is not easily predicted, and it serves as a sweet, comforting film that does not age at all…and longevity is the best test of any film.

REEL SPEAK'S TOP 4 UNDERRATED MOVIES

1. THE LIFE AQUATIC WITH STEVE ZISSOU
2. THE PLACE BEYOND THE PINES
3. THE RIGHT STUFF
4. THE MUMMY
5. THE THING FROM ANOTHER WORLD

A Reel Opinion: THE LAST JEDI Trailer

There is a lot to talk and write about in the movie world right now; Oscar Season is warming up, October has horror fans in full marathons and debate over their favorites, big releases from the two major superhero camps are on the horizon, and there are more than one scandal in Hollywood caused by one big jerk or another behaving badly. All juicy stuff, but all of it gets sent to the back pages when STAR WARS unleashes something new.

Last night, Disney and Lucasfilm presented the first, full-length trailer for the 8^th episode in the saga, titled THE LAST JEDI. The trailer (HERE) and new poster (above) is the first look at new material for the highly anticipated film since the short teaser back in April. The trailer is packed with astounding visuals, intriguing dialogue, and big-wow moments from the old and new characters. Here are the highlights:

There is a lot of ambiguity going on with the dialogue we’re given. The opening monologue by the evil Supreme Leader Snoke (voiced and motion-captured by Andy Serkis), which speaks of a person being infused with great power, is presumed to be aimed at his current apprentice, Kylo Ren (Adam Driver), but a quick cut to our hero Rey (Daisy Ridley), lets us know that the line was meant for her. This is then driven home by exiled Jedi Luke Skywalker (Mark Hamill), who expresses fear over the power that Rey has. A stunning revelation in Luke showing fear, for we all know that fear leads to the dreaded Dark Side. With Snoke showing some favoritism towards Rey, we have to be reminded of the old evil Sith trick of replacing each other with new, more powerful apprentices; the “rule of two”, in STAR WARS canon.

Another stunner was seeing Kylo Ren seemingly ready to murder his mother, General Leia (the late Carrie Fisher), which would presumably complete his turn towards the Dark Side…a trip which took a major step forward when he murdered his father, Han Solo (Harrison Ford), back in the 7^th episode, THE FORCE AWAKENS (2015). Patricide and matricide in a STAR WARS movie is new territory for the franchise, and reminiscent of a classic Greek tragedy.

Visually, the film is a treat. Rian Johnson seems to have shot one hell of a film, as every shot is downright gorgeous. These two shots are this Blogger’s new favorites in the whole history of STAR WARS:

There is also something to be said about the style of filming, with a lot of extreme close-ups of the characters. This could be a throwback to THE EMPIRE STRIKES BACK (1980), which is considered by many to be the best in the series. That film, directed by the late Irvin Kershner, was put together with a lot of similar close-ups, which Kershner always considered to be the most interesting thing to ever be put in a movie frame, for close-ups express the characters. EMPIRE was a character-driven film, and the style seen so far in THE LAST JEDI suggests the same.

Some other great glimpses…

Finn (John Boyega) in combat with Captain Phasma (Gwendoline Christie)

Rey in agony, being tortured by Snoke.

And the ending, and oh my what an ending, has Rey seeking help to find her place. Her old enemy Kylo Ren extends his empty hand…nearly a mirror image of Rey at the end of THE FORCE AWAKENS when she seeks Luke.

And John Williams’ score is fantastic.

Overall, this new look at THE LAST JEDI is perfectly executed. It offers a lot of new footage and material without giving away too much, and offers enough questions to keep STAR WARS fans busy for a long, long time.

*

THE LAST JEDI arrives December 15^th.

A Reel Review: BLADE RUNNER 2049

In 1982, director Ridley Scott introduced us to a futuristic world in which specialized police officers, called Blade Runners, hunt down and kill, or “retire” synthetic humans known as replicants. Far from just a standard sci-fi action flick, BLADE RUNNER took the time to explore themes of humanity and life, and today is regarded as one of the definitive science fiction films. Thirty-five years later, Scott has stepped aside in favor of a new director, Denis Villeneuve, who takes the story ahead to places that will surprise and impress long-time fans. 

Thirty years after the events of the first film, LAPD Blade Runner/Officer K (Ryan Gosling), is dispatched on an assignment to retire runaway replicant Morton (Dave Bautista). During the job, K discovers a deeper mystery with massive implications, which leads him to retired Blade Runner Deckard (Harrison Ford), and the company now in the business of manufacturing replicants; led by Wallace (Jared Leto), and his enforcer Luv (Sylvia Hoeks).

The first thing that must be said about BLADE RUNNER 2049 is that is impossible to take in without seeing its 1982 predecessor, as it is a direct sequel in every way despite taking place 30 years after. There are several storylines and themes from the first film that 2049 picks up and runs with, and it serves not only as a sequel but a natural, organic extension. A lot of credit right away needs to go to director Denis Villeneuve for not repeating the basic plotline of the first film and having his main character spend all of his time hunting down and blowing away replicants. This time, there is a mystery to solve, and what a mystery it is. The secrets unfold slowly like a great detective novel, and the first five minutes of the film offer the first of many shocking revelations that 2049 is packed with.

There is a journey for K to undertake as he sets out to unravel the mystery, and it takes him to places which has him questioning his own character and past. Villeneuve and his screenwriters do great work in making it feel natural, and several important, if not vital points from the first film are expanded upon in brilliant ways. From the end of BLADE RUNNER to 2049, it is seamless.

Fans of the original will be pleased to see that the unconventional pacing is still there; the film is no hurry to get anywhere as great care is taken to flesh out characters and plot. But there are no moments of boredom here as Villeneuve keeps a sense of forward momentum going, and the buildup towards the action scenes and revelations can be felt in the air. Special effects are stunning and offer some visuals that we’ve never seen before. Roger Deakins’ cinematography is absolutely jaw-dropping; the lighting and uses of color give 2049 a futuristic, yet natural beauty that demands to be seen on the big screen. The score provided by Hans Zimmer and Benjamin Wallfisch is outstanding, and recycles the old Vangelis theme to great effect.

Acting is superb. Ryan Gosling does his usual stone-face but has several moments to break out of it and show some real depth. Harrison Ford steps right back into his old Deckard shoes with ease, and a major confrontation towards the end allows this veteran actor to show just how good he can really be. Jared Leto is fascinating as the eccentric and oddball creator of the new replicant models, and his right-hand Luv, played by Sylvia Hoeks, is also wonderful to watch. Robin Wright comes in as K’s police captain and is very good, and Dave Bautista shows a new set of ranges in a limited role.  The show is absolutely stolen by Ana de Armas, who appears as K’s virtual girlfriend. She is a beauty on screen and gets some heavy-lifting to do while bringing the emotional center of the film; astounding considering her character is an illusion.

With a hefty running time of two hours and forty-five minutes, 2049 is a haul but manages to feel tight, and is good enough to make us want more. There is so much to appreciate in 2049; the story is fascinating and surprising, the characters are well-realized and feel natural, and the stakes are one of the best we’ve seen in science fiction. Denis Villeneuve has constructed not only a great sci-fi tale but a great film; one that can and will inspire discussion, and most importantly, make the events of its predecessor even more important. The world of the Blade Runners has never been better.

BOTTOM LINE: See it