A Reel Opinion: The Top 10 Video Game Movies

In the young cinematic year that is 2023, the biggest hit has been THE SUPER MARIO BROS. MOVIE. Despite mixed-to-great reviews (read Reel Speak’s take HERE), it has managed a feat that most movies based on video games often fail at: to be true to your source material and still manage to deliver on the big screen. Ever since the first film based on SUPER MARIO BROS. arrived in 1993 and bombed hard, Hollywood has been trying to figure that out. There have been more disasters than triumphs, and finding ten (10) movies worthy of a mention is a challenge. But this Blogger has a pocket full of quarters and is ready to play. Here now are Reel Speak’s Top 10 Best Video Game Movies: 

 

 

 

 

 

10. MORTAL KOMBAT (1995)

Based on the ever-popular and once controversial blood-spilling fighting game, MORTAL KOMBAT was a modest hit with fans and critics, and over time has earned a cult following. The acting and story are crap, but the spirit of the game is there…with some well-executed martial arts scenes and loyalty to the characters. 

 

 

 

9. RESIDENT EVIL (2002)

The first of seven films in the action-horror franchise. While these films have seriously pissed-off fans with its liberties in the storytelling, they still managed to provide some thrills, accomplish some decent world-building, and make a minor action-icon out of actress Milla Jovovich.  

 

 

 

8. WEREWOLVES WITHIN (2021)

The reason why so many VG movies bomb hard is because they forget to latch onto a genre of film. Not so for this screen adaption, which works just fine as a horror movie. Milana Vayntrub (the ATT&T girl), joins a group of people stranded in a small town surrounded by werewolves in a fun romp that often gets ridiculous, but it knows it and doesn’t try to be much more than that. 

 

 

 

7. SONIC THE HEDGEHOG (2020)

A common misstep in video game adaptations is to forget the human element, specifically the heart. This live action/animated hybrid of one of the most popular VG characters of all time frustrated audiences by moving the action away from Sonic’s fantastical universe and into our real world, but that allowed for some human elements to come into play, and it worked. The scene where Sonic gets his iconic sneakers as a gift from a little girl pulls all the right strings. 

 

 

6. SONIC THE HEDGEHOG 2 (2022)

Where the first SONIC film kinda danced around its roots as a video game movie, the second goes full-speed ahead and delivers a knockout. Jim Carrey reprises his role as Dr. Robotnik and is electric, and Idris Elba is perfectly cast as Sonic’s other nemesis, Knuckles. 

 

 

 

5. TOMB RAIDER (2018)

Angelina Jolie had two wobbly films in the early 2000’s based on another iconic VG character, Lara Croft. In 2018 Alicia Vikander stepped into the role in a film that was grounded and more realistic. Although it has a little too much of a prequel-thing going on (it’s Lara in her early days), it still delivers the action and the spirit of the games. 

 

 

 

 

4. DETECTIVE PIKACHU (2019)

Based on the game that has defined an entire generation, PIKACHU was a box office monster; second-highest earning VG movie at the time. Latching onto the genre of a whodunit and a little bit of noir, this would still have worked if the characters were all human. 

 

 

 

3. THE SUPER MARIO BROS. MOVIE (2023)

The newest addition to the VG movie catalog delivers on every front: characters, story, action, and loyalty to its roots. Mario has a rich and vast history going all the way back to the arcade era, and somehow his first big-screen adventure impressively worked it all into a 92-minute adventure.  

 

 

 

2. SILENT HILL (2006)

This terror was smart enough to latch onto its early inspirations: horror movies. SILENT HILL ramps up the tension and scares with a creepy atmosphere and stunning visuals. Sometimes all you need is one iconic scene for a movie to be memorable, and no one can forget the coming of the fearsome Pyramid Head. Stuff nightmares are made of. 

 

 

 

1. WRECK-IT RALPH (2012)

This may be a cheat (code) since this Disney gem isn’t based on a specific game, but as a movie about video games, no one has done it better than RALPH. John C. Reilly leads an excellent voice cast in this adventure that takes us through the inner workings of games and their characters. It’s a deep-dive into what makes the Big Bads tick, and we may never look at an arcade cabinet-style game the same way again. The film is also an easter-egg delight, including cameos from famed video game icons including Pac-Man, Sonic, and Bowser. It taps into not only video game lore, but basic cinematic principles; rooted in the classic heroes-journey and actually feels like a film. 

 

 

 

REEL SPEAK'S TOP 10 VIDEO GAME MOVIES

1. WRECK-IT RALPH
2. SILENT HILL
3. THE SUPER MARIO BROS. MOVIE
4. DETECTIVE PIKACHU
5. TOMB RAIDER
6. SONIC THE HEDGEHOG 2
7. SONIC THE HEDGEHOG
8. WEREWOLVES WITHIN
9. RESIDENT EVIL
10. MORTAL KOMBAT 

 

A Reel Review: RENFIELD

The role of Dracula has been played by many names over the decades: Bela Lugosi, Christopher Lee, Gary Oldman…and even Leslie Nielsen. Here in 2023, almost 100 years after Bela made the role famous, it’s none other than the real-world prince of darkness, Nicolas Cage…donning the cape and fangs in RENFIELD. 

 

R.M. Renfield (Nicholas Hoult), has been under the employ of Dracula (Cage), for 90 years. In modern-day New Orleans, Renfield is tasked with providing Dracula victims so he may suck their blood and survive. With Drac growing stronger, Renfield begins to have doubts about his own life. 

 

Directed by Chris McKay, RENFIELD picks up on the familiar plotline from Bram Stoker’s original novel of Renfield serving the Dark One. The hook here is that Renfield is growing tired and guilty of bringing Dracula victims, and is secretly seeking to get out. RENFIELD sets up the relationship between Renfield and Dracula as an abusive one, and Renfield attends group meetings looking for a way out. 

 

RENFIELD is set up as a comedic drama with Dracula and Renfield hammering out their issues, but the film gets sidetracked by a sub-plot involving a drug cartel (led by Ben Schwartz and Shohreh Aghdashloo), an ambitious police officer (Awkwafina), and a corrupt police department. The most interesting parts of the film are when Dracula and Renfield are together, and any time the story veers away, it gets less intriguing.

 

But RENFIELD makes up for things in a terrific production. Chris McKay takes a page out of THE KINGSMAN movies with absurdist action scenes; limbs are torn off, intestines are spilled, and blood is gushed everywhere by the gallons. The film looks great with some excellent lighting techniques, and a nifty prologue recreates scenes from the 1931 film. 

 

Nic Cage, as expected, hams it up as Dracula. He remarkably looks like Bela Lugosi in the role, and he uses that to his advantage. There is an early scene where he is overloaded with prosthetics, and he seems to have trouble speaking through all the gunk. Nicholas Hoult is great, and the real surprise is Awkwafina…who seems to be the only one taking things seriously. 

 

But RENFIELD isn’t a film that was meant to be taken seriously; it knows it’s ridiculous and it shows. A tighter script would have been helpful with more focus on its lead actors, and not every plotline introduced seems to get wrapped up. RENFIELD doesn’t suck, but it lacks a bit of a bite. 

 

BOTTOM LINE: Rent it 

 

 

A Reel 100: Warner Bros. Pictures

This month marks the 100^th anniversary of Warner Bros. Pictures. 

 

Commonly referred to as WB, Warner Bros. was founded in April of 1923 by brothers Harry Warner, Albert Warner, Sam Warner, and Jack L. Warner. For the next 10 decades the studio would make advances in filmmaking, while venturing into TV and animation. 

 

WB’s history on the big screen is vast and full of important films, actors, actresses, and filmmakers. For this 100^th anniversary blog, Reel Speak will recap WB’s history decade-by-decade…noting the best and notable films. It is this Blogger’s hope that this little venture into 100 years of film history will inspire others to take a similar dive; to explore the films of the past and appreciate the last 10 decades. 

 

1920 – 1929

 

In 1927, Warner Bros. revolutionized the film industry with their first “talkie”, THE JAZZ SINGER starring popular crooner Al Jolson. As the first feature motion picture with synchronized dialogue and music, the big screen would never be the same again. Today, THE JAZZ SINGER is not looked upon favorably due to its usage of blackface, but it still stands as one of the most important films ever made. 

 

1930 – 1939

 

The 1930’s saw WB embrace the wonderful world of color along with the spirit of adventure. Their shining moment was THE ADVENTURES OF ROBIN HOOD in 1938, which remarkably feels like a modern film when viewed today. The film would make a swashbuckling superstar out of Errol Flynn and define the modern action star. 

 

1940 – 1949

 

The coming of WWII didn’t stop WB from producing some classic films in this decade. In 1942 Humphrey Bogart helped deliver WB their first Best Picture with the heralded CASABLANCA. It was the second of a one-two punch for Bogart, who had starred in WB’s also-heralded THE MALTESE FALCON the year before. And not to be outdone, James Cagney sang and danced into American culture with YANKEE DOODLE DANDY in 1942. 

 

1950 – 1959

 

The Fifties would see WB deliver future screen icons. Marlon Brando would star in A STREETCAR NAMED DESIRE (1951), Alfred Hitchcock would direct DIAL M FOR MURDER (1954), Judy Garland would dance into our hearts in A STAR IS BORN (1954), director John Ford would launch the legend of John Wayne in THE SEARCHERS (1956), and James Dean would star in GIANT (1956). 

 

1960 - 1969

 

Musicals were all the rage in the Sixties, and WB was on board all the way…producing MY FAIR LADY in 1964. Also in this decade, director Mike Nichols would have his feature debut, helming the multi-Oscar nominated WHO’S AFRAID OF VIRGINIA WOOLF. His film would win several Academy Awards, including Best Actress for Elizabeth Taylor. Other notables: BONNIE AND CLYDE and CAMELOT in 1967. 

 

1970 – 1979

 

Nihilism and anti-heroes dominated the Seventies, and WB was in the thick of it with A CLOCKWORK ORANGE (1971), DIRTY HARRY (1971), and DELIVERANCE (1972). This was a big decade for WB, with hits such as Bruce Lee’s ENTER THE DRAGON (1973), the Oscar nominated horror classic THE EXORCIST (1973), DOG DAY AFTERNOON (1976), and ALL THE PRESIDENT’S MEN (1976). WB would end the decade with a bang; launching the superhero genre with the magnificent and glorious SUPERMAN in 1978. 

 

1980 – 1989

 

After bringing THE SHINING to screens in 1980, WB had loads of fun with EXCALIBUR and SUPERMAN II in 1981. They would win Best Picture with CHARIOTS OF FIRE that same year, and later make a star out of Tom Cruise with RISKY BUSINESS (1983), take flight with THE RIGHT STUFF (1983), and would send THE GOONIES into booty traps in 1985. Other notables in this decade were THE COLOR PURPLE (1985), LETHAL WEAPON (1987), FULL METAL JACKET (1987), and EMPIRE OF THE SUN (1987). They would close the decade with a pair of Tim Burton films: BEETLEJUICE in 1988, and BATMAN in 1989. 

 

1990 – 1999

 

WB got serious again in the early Nineties, going gangster with GOODFELLAS (1990), exploring conspiracy with JFK (1991), and would raise the star of Daniel Day-Lewis in THE LAST OF THE MOHICANS (1992). THE BODYGUARD would be a hit in 1992, as would the Harrison Ford-led THE FUGITIVE (1993). They would bring us Michael Mann’s magnificent crime drama HEAT (1995), and blow us away with TWISTER (1996). WB would end the decade with a leap forward in visual effects with THE MATRIX in 1999. 

 

2000 – 2009

 

High fantasy and big budget franchises would be WB’s calling card in the new millennium, and it all started with their eight-film adaptation of the HARRY POTTER series; an epic that is their highest grossing franchise. Clint Eastwood would deliver Oscar-gobblers MYSTIC RIVER (2003), and MILLION DOLLAR BABY (2004), with the latter winning Best Picture. Christopher Nolan would begin a lucrative career with WB, bringing them a rebooted Bruce Wayne in BATMAN BEGINS in 2005, and the mind-twisting THE PRESTIGE in 2006. In 2007 David Fincher would explore true crime in ZODIAC, and Brad Pitt would play a famous outlaw in THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD. Nolan would end the decade with the towering Bat-sequel THE DARK KNIGHT in 2008. 

 

2010 – 2019

 

Nolan roared into the next decade by making the time-bending INCEPTION in 2010. WB would then have two consecutive Best Picture winners with THE ARTIST (2011), and ARGO (2012). It would be the beginning of an excellent Academy Award run for WB, as they had a string of awards-gobblers such as GRAVITY (2013), HER (2013), MAD MAX: FURY ROAD (2015), Nolan’s DUNKIRK (2017), BLADE RUNNER 2049 (2017), and the Bradley Cooper/Lady Gaga remake of A STAR IS BORN (2018). WB was now neck-deep in the superhero business, with WONDER WOMAN (2017), and JOKER (2019), the standouts. 

 

*

 

The recent decade has WB going through more downs than ups with several big-budget superhero flops. But the studio still managed to produce hits such the sci-fi epic DUNE (2021), and yet another Bat-film with THE BATMAN (2022). Despite their misfires in recent years, the Warner Brothers can look down at their studio with pride, as there are a good 100 years to be proud of. 

A Reel Review: AIR

One of the best mini-genres in film are the stories centered around overlooked moments in history. THE KING’S SPEECH from 2010 was one, and Ben Affleck’s ARGO from 2012 was another. Here in 2023, Affleck takes another shot at it (behind and in front of the camera), in telling the tale of the most impactful, big-dollar marriages of an athlete and a corporation. 

 

It is 1984 and Nike is on the verge of bankruptcy. Talent scout Sonny (Matt Damon), and CEO Phil Knight (Affleck), decide to woo future NBA superstar Michael Jordan as their main spokesperson. 

 

Directed by Ben Affleck, AIR is a tale of human determination disguised as a corporate drama. Sonny is the driving force of the film, knowing that if he fails in recruiting Jordan, Nike may be doomed. The task is nearly impossible, with Nike not having a reputation as a basketball shoe and the Jordan family (led by his mom, played by Viola Davis), eager to sign with Nike’s rivals Converse or Adidas. 

 

On paper, the stakes seem low as even the average person who wears Nike’s may have a hard time caring if a corporation makes a few bucks. But AIR makes it work thanks to the desperation felt in Sonny. The burden of saving the Nike world is on him, and he has a vision of not just signing a player, but making him a cultural icon that would change the NBA and basketball marketing forever. 

 

Affleck behind the camera saturates AIR with the 1980’s, peppering it with the music of the time (excellent choices), and the culture. He re-captures the era perfectly. The script, written by Alex Convery, is sharp, witty, and often hilarious. Pacing is brisk, and the AIR flies through its 112 minutes. 

 

Matt Damon is excellent, and his scenes with his long-time collaborator Ben Affleck are electric. Jason Bateman comes in as a marketing guy and is very good. Viola Davis steals the show, and Chris Tucker is a surprise. 

 

AIR is presenting a story that we already know the ending to, as it’s difficult to walk anywhere without seeing a Jordan/Nike shoe or hoodie. But the journey to get there is what counts, and gives us a destination that means even more. The Jordan/Nike relationship was a historic merger, and thanks to AIR we see that it wasn’t just all about dollars and cents. 

 

BOTTOM LINE: See it  

 

A Reel Review: THE SUPER MARIO BROS. MOVIE

For over 30 years, there has not been a more iconic video game character than Nintendo’s Mario. The diminutive plumber and his brother Luigi have spanned games of all genres, and despite a disastrous 1993 live-action film attempt, have continued to be immensely popular. Here in 2023, the brothers finally get another life on the big screen. 

 

Mario (Chris Pratt), and his brother Luigi (Charlie Day), are whisked out of Brooklyn and land in the Mushroom Kingdom, which is under threat from Bowser (Jack Black). The brothers are separated, and Mario teams up with Princess Peach (Anya Taylor-Joy), and Toad (Keegan-Michael Kay), to find his brother and save the kingdom. 

 

If the plot seems simple and familiar, it is. Directed by Aaron Horvath and Michael Jelenic, THE SUPER MARIO BROS. MOVIE takes inspiration from fantasy-based films such as THE WIZARD OF OZ and TOY STORY: fall into a new world, get what you need, and find a way home. The film is simple and brisk, and has very little patience in getting things moving. The script is tight to a fault with character conflict and complexities kept to a bare minimum. It’s functional, but thin. 

 

But SUPER MARIO BROS. is balanced out by its commitment to being a movie based on one or more video games. This is the Nintendo-verse, and the film is loaded with easter eggs and references to Mario’s past and the Nintendo archival catalog. Nearly every frame has a reference for nerds and non-nerds to recognize and makes for a fun hunt. The items to be found not only serve as eye-candy, but serve purpose in the plot. It’s an easter egg hunt that actually matters. 

 

Mario’s search for his brother coincides with the Princess’ quest to save her kingdom, and this leads to several fun action sequences. A duel between Mario and Donkey Kong is a blast, as is a Kart chase (!). In a fun homage, some scenes are done in a clever and classic side-scrolling shot…once again sticking to its video game roots. 

 

Acting is a blast as the entire cast seems to be having fun behind the scenes. Chris Pratt is perfect as Mario, and Charlie Day equally matched with Luigi. Jack Black is unrecognizable behind Bowser, and Seth Rogen is a delight as Donkey Kong. Anya Taylor-Joy is great as Princess Peach. 

 

With a brisk running time of 90 minutes and its easy-to-digest plot, THE SUPER MARIO BROS. MOVIE does not have the weight of an upper-tier Pixar film and instead aims much lower. But those of us who have smashed controllers for 30 years trying to beat Bowser in a duel or a race will find much to enjoy. The 1993 film may have killed the MARIO franchise at the movies for a time, but now he gets his 1UP. 

 

BOTTOM LINE: See it 

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

The darkness of late Winter and early Spring is lifting, and the movies are following suit. April rolls in with a full slate of theatre-worthy releases. Here are the notable films coming in the fourth month of the year: 

 

 

THE SUPER MARIO BROS. MOVIE – The most popular and iconic video game series of all time gets a CG animated adventure, with Mario and Luigi landing in the Mushroom Kingdom to do battle with the evil Bowser. The voice cast includes Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, and Seth Rogen. 

 

 

AIR: COURTING A LEGEND – Ben Affleck directs and reunites on-screen with Matt Damon in this true story of how Nike and future NBA legend Michael Jordan came together to create a cultural splash. The cast includes Jason Bateman, Marlon Wayans, Chris Tucker, and Viola Davis. 

 

 

PAINT – Owen Wilson plays a fictional artist based on Bob Ross in this comedy. 

 

 

THE POPE’S EXORCIST – Russell Crowe plays a Catholic priest charged with performing exorcisms, based on a true story in this supernatural thriller. 

 

 

RENFIELD – Nic Cage plays Count Dracula and Nicholas Hault plays his sidekick and minion Renfield in this comedy horror. It is directed by Chris McKay (THE LEGO BATMAN MOVIE). 

 

 

 

BEAU IS AFRAID – In this horror film that spans decades, Joaquin Phoenix plays a man encountering terrors on his journey home. It is directed by Ari Aster, who brought us the acclaimed horror films HEREDITARY (2018), and MIDSOMMAR (2019). 

 

 

THE COVENANT – Guy Ritchie (SHERLOCK HOLMES, THE GENTLEMAN), directs this action thriller set during the war in Afghanistan. It stars Jake Gyllenhaal. 

 

 

EVIL DEAD RISE – The fifth film in the EVIL DEAD franchise, with two estranged sisters trying to save their family from demonic creatures. 

 

 

BIG GEORGE FOREMAN – Khris Davis plays former heavyweight champion and iconic grill-man George Forman in this biopic. It is directed by George Tillman, Jr (MEN OF HONOR). 

 

*

 

Next month, Reel Speak previews the kick-off month to the Summer Movie Season. 

 

 

 

A Reel 25: THE BIG LEBOWSKI

“The Dude abides…”

 

This month marks the 25^th anniversary of Joel and Ethan Coen’s THE BIG LEBOWSKI. 

 

A dark comedy with elements of a crime novel, THE BIG LEBOWSKI followed Jeff “The Dude” Lebowski; an easy-taking, White Russian-drinking, pot-smoking, unemployed bowling enthusiast who has the bad luck of sharing a last name with a local millionaire involved in a kidnapping plot. Dude is joined by his friends and bowling teammates Walter and Donny, and the three casually try to unravel the mystery of the kidnapping which involves ransom money, bowling rivals, the porn industry, performance art, wacky dreams, and the theft of Dude’s beloved rug. 

 

THE BIG LEBOWSKI was the 8^th film by the producing, writing, and directing sibling team of the Coens, and their first follow-up to their Oscar-darling FARGO from 1996. The beginnings of the film go as far back as 1991, when the Coens began writing the script before abandoning it to work on BARTON FINK. When they revisited the project, the script was written with John Goodman (Walter), and Steve Buscemi (Donny), in mind, who had worked with the Coens before. The central character of The Dude was inspired by two acquaintances of the brothers, who had all of the traits from White Russians to going by “Dude”. That role would eventually go to Jeff Bridges, who would make it his own. The rest of the outstanding cast would include Julianne Moore, David Huddleston, John Turturro, Sam Elliott, Tara Reid, David Thewlis, Peter Stormare, Flea, and the late great Phillip Seymour Hoffman. 

 

With the city and culture of Los Angeles being so prominent in the script, shooting took place on location over a period of eleven weeks, with Dude’s dream sequences shot in a converted airplane hangar. Sam Elliott, acting as a narrator and making two cameos, shot for only two days. Famed cinematographer Roger Deakins gave the film a colorful look which popped off the screen. 

 

THE BIG LEBOWSKI was not a hit financially and did not score well with critics, but over the years has earned a massive cult following. Fans hold festivals and the characters are the inspiration for cosplay at conventions across the country. There are over 200,000 ordained priests practicing a pseudo-religion called Dude-ism, and the film has inspired competitions ranging from trivia, White Russian contests, and academic treatments. Entertainment Weekly ranked it 8^th on their Funniest Movies of the Past 25 Years list, and the late famed movie critic Roger Ebert added it to his list of Great Movies in 2010. 

 

*

 

It took this Blogger several years to really appreciate the art of THE BIG LEBOWSKI. It is a delight to take in through its twists and turns, the dialogue is instantly quotable, and the chemistry between Bridges, Goodman, and Buscemi is pure magic. The three characters benefit from holding to classic archetypes; the passive, the aggressive, and the neutral…and are executed so well that the film should be played and studied at every Film 101 class. It has elements of a Western, or even a Greek adventure through a series of perils and encounters…all while maintaining a sense of fun with a barrage of laughs (the gag with Donny’s ashes cracks up this Blogger every time). After 25 years, The Dude is the role that the world relates Jeff Bridges to, and offers an important lesson: just take ‘er easy. 

 

“All the dude wanted was his rug back.”

 

A Reel Review: SHAZAM! FURY OF THE GODS

FURY OF THE GODS, the sequel to DC’s (rare) hit SHAZAM! of 2019, has the unfortunate label of a lame duck movie. The main character and the universe he lives in are apparently set to be wiped clean when DC and parent company Warner Bros. introduce a new line of continuity in the next few years. None of that really matters when the screen lights up, but it does put FURY OF THE GODS in the position of using its limited time wisely. 

 

The Daughters of Atlas (Helen Mirren, Lucy Liu, Rachel Zegler), arrive on Earth and re-assemble an all-powerful magic staff, which they intend to use to reclaim the power of the gods from Billy Batts (Asher Angel as a young teen, Zachary Levi as the superhero Shazam), and his siblings. 

 

Directed by SHAZAM! helmer David S. Sandberg, FURY OF THE GODS sets itself up as a little family drama mixed with a possible world-ending scenario brought forth by the Daughters of Atlas. While the daughters are unleashing havoc by brainwashing people, leveling stadiums and riding dragons, Billy has his own family-level concerns of aging out of his foster home, and trying to keep his team of foster-siblings together as they grow and find other ways to use their superpowers as individuals as opposed to a team. These two worlds are fine on paper, but land with a thud. The family drama bits are mentioned early on, forgotten about for an hour, and then quickly resolved by movie’s end. The world-ending threat is backed by a mythology that feels like it is being made-up-as-it-goes, with an endless stream of magic doors, floating libraries, sentient ink-pens, a magic apple, and a herd of unicorns. 

 

If that sounds like a lot, it is. FURY OF THE GODS is trying to go out with a bang, and it comes off as overload. Where the first film was simple and had the thrill of discovery to generate some charm, this sequel takes the kitchen-sink approach. They are trying too hard, as scenes that are supposed to be funny land as stupid, and characters that are supposed to be struggling with their own identities present as annoying. 

 

The big swings and misses keep on coming. Action sequences are a headache, jokes and one-liners mostly fall flat, a bizarre dream sequence with the head of the great Djimon Hounsou (reprising his role as a wizard), pasted on a woman’s body is cringe-worthy, and attempts to integrate the film into its larger universe feel very forced. 

 

Acting is all over the place. Shazam the character is played by Zachary Levi as an adult, and Asher Angel as a teen. While both actors are good, Shazam as an adult acts like a giddy ten-year-old while Billy acts like an angsty teen. Inconsistent and weird. Helen Mirren and Lucy Liu look gorgeous but are just blurting out their mythological world-salad lines. Rachel Zegler is a delight, and Meagan Good, as an adult version of one of Billy’s foster siblings, is a revelation. 

 

After a noisy climactic battle, FURY OF THE GODS offers a character death which feels un-earned, and then resurrects them five minutes later in another big swing and strikeout. The film then offers two post-credit scenes that offer a hint to the future of Shazam but are both pretty dumb. This is a mess of the gods, and that clean slate can’t come soon enough. 

 

BOTTOM LINE: Fuck it 

A Reel Opinion: Oscar Night - The Good, The Bad, & The Glorious

The 95^th Academy Awards happened last night. It was a night of history, emotion, and capped off with the sci-fi/fantasy romp EVERYTHING EVERYWHERE ALL AT ONCE (or EEAO, for the sake of brevity), winning seven Oscars including Best Picture. Here’s how it all landed in The Good, The Bad, and The Glorious. 

 

THE GOOD

 

-Host Jimmy Kimmel, hosting his third Oscars, seems to have moved into the echelon of veteran Oscar Hosts like Billy Crystal and Bob Hope; solid, confident, and fully aware of all that comes with the Academy Awards. His entrance was spectacular (a TOP GUN parody that had him parachuting in), and 99.9% of his jokes landed. There was also no ignoring the elephant-in-the-room matter of last year’s SlapGate. The self-awareness was welcome. 

 

-After a few years of tinkering with the format to make the show more hip or shorter, the Academy finally seemed to give up on that and return to a conventional show. All the awards were presented live, there were no stupid online polls, and the three-and-half-hour runtime was embraced. It all felt familiar and comfortable. 

 

-The efforts to make the Oscars more modern or accessible took an odd turn this year, with in-show promotions for Disney’s upcoming film THE LITTLE MERMAID, and a promo for Warner Bros’ 100^thanniversary. It was different and a little jolting, but celebrating films of the past, present, and future is what the Academy should be doing more of. 

 

 

THE BAD 

-While we did get a good look at THE LITTLE MERMAID, and WB got to quickly promote THE FLASH, there seems to be a need for more exclusive trailers to run during the commercial breaks. Take a page out of the Super Bowl breaks and give people a reason to look. 

-Not necessarily bad (or good), but as this Blogger correctly predicted, frontrunning films TAR, THE BANSHEES OF INISHERIN, and THE FABELMANS combined for zero wins. The real surprise was ELVIS going home empty-handed as well. These are all good films and worthy to be nominated, but they just went up against a juggernaut in EEAO. 

 

-The In Memoriam. Lenny Kravitz appeared to perform Calling all Angels, and while he sounded great and the song was perfect, the presentation of our departed actors and filmmakers left a lot to be desired. The graphics were odd with a blurring effect when two faces appeared, and there were no clips with sound of their performances. And they left out Tom Sizemore, Anne Heche, Paul Sorvino, and Melinda Dillon. 

 

-Best Song going to Naatu Naatu from the Indian action film RRR. Voters had to be second-guessing themselves after Lady Gaga blew the roof off the place with her performance of Hold My Hand from TOP GUN: MAVERICK. The former feels like it will be forgotten by next week, while the latter has the potential to keep flying for a long time. 

 

 

THE GLORIOUS

-Speaking of Lady Gaga, she was originally not going to perform due to her filming commitments, but at the last minute pulled it together. The queen lost her dress and makeup and appeared in a stripped-down, back-to-basics performance…and then later was back in the dress and makeup. Amazing performance and effort. 

 

-The German-language film ALL QUIET ON THE WESTERN FRONT nabbing four Oscars. The adaptation of the classic war novel un-surprisingly won Best International Feature, and then swiped Cinematography, Production Design, and Original Score. The Oscars should have no boundaries, and this leap across the pond was an important one. 

 

-As this Blogger correctly predicted last week (HERE), all four acting wins were packed with emotion, as all four were taken home by long-time favorites. Scream Queen Jamie Lee Curtis (for EEAO), Mummy-killer Brendan Fraser (THE WHALE), veteran Michelle Yeoh (EEAO), and seeker of rich-stuff Ke Huy Quan got his fortune and glory (EEAO). Quan was the most satisfying and enjoyable win, and he was perfectly greeted on-stage by his INDIANA JONES co-star Harrison Ford when EEAO won the big one. 

 

-Speaking of greetings…Michelle Yeoh became the first Asian to win Best Actress, and she was handed her Oscar by the first black woman to win Best Actress: Halle Berry. 

 

-EVERYTHING EVERYWHERE ALL AT ONCE winning Best Picture. The sci-fi/fantasy drama took home seven Oscars, including three for acting. It had been in the lead since the start, and if the reactions from the audience were any indication, was really beloved by Hollywood. In the last 20 years only two films that fall into sci-fi or fantasy have won Best Picture (RETURN OF THE KING in 2003, THE SHAPE OF WATER in 2017), and EEAO makes it three. This was an important step forward for the Oscars, as it shows that a great movie, and a great story can take on many shapes and forms. And that’s what the movies are all about. 

 

*

 

See all the winners HERE. 

 

A Reel Opinion: Oscar Picks - Part 2

The 95^th Academy Awards are less than a week away. Earlier this week Reel Speak picked the winners in the acting categories (HERE), and will now attempt to predict the winners in the elemental categories leading to Best Picture. 

 

Picking winners every year often comes down to stats and trends, momentum, and good old-fashioned gut-instinct. Following the precursor awards is vital; the Screen Actors Guild (SAG), Producers Guild (PGA), Writers Guild (WGA), Directors Guild (DGA), Golden Globes, and the British Academy of Film and Television Arts (BAFTA). The Oscars can often be a monkey-see, monkey-do thing, and whoever wins early and often can be considered the favorite. 

 

But every year there is a X-factor, and this year that factor is the huge disparity from BAFTA and where the rest of the industry awards has showed love. BAFTA went big with the Netflix-carried ALL QUIET ON THE WESTERN FRONT, but the Guilds have been in all-in on the universe-hopping EVERYTHING EVERYWHERE ALL AT ONCE. The Globes went to Steven Spielberg’s THE FABELMANS (drama), and THE BANSHEES OF INISHERIN for comedy, and although there is no overlap in the Globes and Academy voters, they can still reflect what is the talk of the town. 

 

 

 

And the Oscar will go to…

 

 

 

 

BEST EDITING

A Best Picture winner, or contender, should have good editing. In 95 years, two-thirds of all Best Picture winners have also won for editing. However, the winner of Best Editing has not matched Best Picture since ARGO in 2012. That odd streak comes to an end this year, with EVERYTHING EVERYWHERE ALL AT ONCE and its insane, yet easy-to-follow universe-hopping story taking this one. 

 

WINNER: EVERYTHING EVERYWHERE ALL AT ONCE

 

 

 

BEST ADAPTED SCREENPLAY

Very tough year for the writing categories. Sarah Polley’s adaptation of the 2018 novel WOMEN TALKING has been heralded for its screenplay, having won at the WGA earlier this month. Its closest competition seems to be the Netflix-produced ALL QUIET ON THE WESTERN FRONT, which was the big winner at BAFTA but failed to get a nomination from WGA. WOMEN TALKING has been praised all season, and deserves to win something. This is that something. 

 

WINNER: WOMEN TALKING

 

 

 

 

BEST ORIGINAL SCREENPLAY

EVERYTHING EVERYWHERE ALL AT ONCE dazzled us with its editing and will be rewarded so, and that roadmap to edit came from its equally dazzling screenplay, which balances the spectacle and madness with a down-to-earth family story. Having already won at WGA, this feels like an easy one. 

 

WINNER: EVERYTHING EVERYWHERE ALL AT ONCE

BEST DIRECTOR

Another one that feels like it’s already in the bag. Directors Daniel Kwan and Daniel Scheinert (known as the Daniels), have been cleaning house all year, including the top prize at the DGA. Their competition includes Steven Spielberg (THE FABELMANS), and Martin McDonagh (THE BANSHEES OF INISHERIN), but the Daniels followed those roadmaps in creating not only spectacle, but sending a year-best four actors to nominations. 

 

WINNER: EVERYTHING EVERYWHERE ALL AT ONCE

 

 

BEST PICTURE

It’s hard to stop a freight train once it gets going, and EVERYTHING EVERYWHERE ALL AT ONCE is that train. It has won the top honors at all the guilds this year (only the fifth film in history to do so), has the most acting nominations and the most overall this year. It works in bringing spectacle and is a technical marvel, and also delivers the drama in a relatable, family story. It’s been the talk of Tinsel Town since the start, and even its competitors seem to favor it. It will win everything. Everywhere. And all at once. 

 

WINNER: EVERYTHING EVERYWHERE ALL AT ONCE. 

 

*

 

The Oscars are this Sunday, the 12^th.