Movie Reviews Archives - Page 33 of 36

Saturday

30

March 2019

0

COMMENTS

Satan & Adam Squanders a Good Story with No Sense of Narrative Direction

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

The story of blues duo Satan and Adam is a fascinating one that transcends racial and generational barriers. The pairing of a young white kid playing harmonica on the streets of Harlem alongside a black guitarist who was once signed to Ray Charles’ Tangerine Records produced a unique sound that brought them plenty of success, including numerous festival appearances and a European tour opening for Bo Diddley. Unfortunately, the documentary tasked with presenting their story never seems confident as to how to tell it.

As a film, Satan & Adam is all over the place. The documentary starts off by setting the scene of racial tension in New York City in the 1980s, featuring interviews with Al Sharpton. Presented alongside the introductions of Adam Gussow and Sterling “Mr. Satan” Magee, the narrative appears to assign some broader societal purpose behind their pairing, except the film abandons that subject early on. The mentioning of racial tension appears to essentially exist in the film to make the case that it was hard for a person like Adam to perform on the streets of a predominantly black neighborhood. It’s a weird point to bring up with regard to an Ivy League-educated individual, and one that falls flat in its efforts to garner sympathy for Adam’s outsider status.

The documentary struggles in its duel presentation of Mr. Satan and Adam’s lives. Gussow is interviewed extensively throughout the film, but Mr. Satan’s legend is largely established through third-person accounts. Mr. Satan had played for decades alongside James Brown, King Curtis, and Big Maybelle, which makes Adam sound fairly boisterous in several scenes where he equates their playing abilities. The absence of interviews from Mr. Satan creates the illusion that he’s deceased throughout much of the film’s first half.

Satan & Adam struggles to establish Adam’s likability, positioning him as the singular force behind the commercialization of their music. Adam published an article in Harper’s Magazine in 1998, and he admits that he begrudgingly shared half the commission for the story at Magee’s request. Gussow is also depicted as the driving force behind their studio recording, but the impact of this on Mr. Satan’s life is left unclear, a puzzling decision since the documentary extensively covers Satan’s mental breakdown and abrupt move to Florida. Adam is nowhere to be found throughout Satan’s recovery, a point that’s only briefly touched upon.

The film lacks a cohesive overarching narrative, only briefly focusing on Satan and Adam’s success as a duo. Their inclusion on U2’s classic Rattle and Hum album is mentioned along with an interview with The Edge, but the segment feels like a minor footnote instead of a high point of their careers. Satan’s life is fascinating, but the documentary suffers when only Adam’s story is presented, especially given how much of the narrative is driven by Adam’s own accounts. Magee’s wife, Miss Macie, is introduced late in the film, presented essentially as a villain disrupting the band. Macie’s antagonistic introduction is paired with a few quick interviews that hint at tension on the road, though the documentary moves on shortly after without really explaining anything. It’s never really made clear what the filmmakers expect anyone to make of these brief snippets of conflict.

Satan & Adam has a good story to tell, but the documentary never establishes a consistent narrative to tie its many pieces together. With a runtime of barely eighty minutes, it’s possible that the documentary bit off more than it could chew, tackling two separate lives, their joint musical career, as well as Harlem race relations all in one film. What’s oddly missing is the clear sense that both of their lives were improved by their relationship with each other. Satan would have been a Harlem legend regardless of Adam, while Gussow has enjoyed a career teaching literature at the University of Mississippi in Oxford. The lasting legacy of Satan and Adam is one that the film never quite establishes. For a documentary that took over twenty years to film, Satan & Adam doesn’t know what it wants to say.

Thursday

28

March 2019

0

COMMENTS

Dirtbag: The Legend of Fred Beckey Is a Powerful Testament to the Will of the Human Spirit

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Passion is one of those concepts that’s easy to visualize if not challenging to define. The life of Fred Beckey, who spent the vast majority of his ninety-four years on earth rock climbing, is hard to describe without the word passion. Dirtbag: The Legend of Fred Beckey sought to explore the ethos behind the man who was fortunate enough to spend the bulk of his life doing what he loved.

The term “dirtbag,” used to refer to climbers who religiously pursue the less-than-glamorous outdoors lifestyle, was popularized by Beckey himself. Credited with more first ascents than any other North American climber, an achievement unlikely to ever be surpassed, Beckey slowly carved out his legacy over decades spent persistently pursuing any mountain he could get his hands on. Over the course of his life, Beckey published numerous books on climbing, and he received the seldom-awarded President’s Gold Medal from the American Alpine Club.

Dirtbag is mostly presented as a retrospective, chronicling Beckey’s extensive career. Director Dave O’Leske shot over ten years of footage of Beckey, who was still an active climber in the last years of his life. The documentary early on establishes Beckey’s reluctance to participate, an avoidance of the spotlight that perhaps explains his status as a cult hero within the climbing community. Using old footage and photographs, the film does an excellent job in giving the viewer a front-row seat to Beckey’s life over its various stages.

Reluctant as he was, Beckey makes for a fascinating subject. Unconcerned with his broader legacy, the old climber captivates the screen in each of his interviews, mixing philosophical observations with coarse humor. Even benign moments like watching Beckey call up companions for a prospective climb in the middle of a retail store provide interesting portraits into how greatness is crafted through sheer persistence.

The subject of women is one that the film handles in rather poor taste. Though there are numerous interviews chronicling Beckey’s womanizing habits, including a few from former lovers, the documentary includes a few crude animations that don’t really serve any broader purpose than to hype up that kind of behavior. The animations put the documentary in an awkward position, going a step beyond anything explicitly described of Beckey, and fail to add to the narrative in any meaningful way.

While Beckey may not have demonstrated much interest in introspection, the film makes a convincing case for his place in alpine lore. The documentary takes a look at some of Beckey’s contemporaries who went on to make big names for themselves on major expeditions that he was excluded from, as well as the simple fact that Beckey’s longevity is largely due to his embrace of the often lonely nomadic lifestyle. Beckey pursued his dream practically exclusively, at the expense of a family or any sense of financial security. O’Leske deserves a lot of credit for providing a balanced look at the complete picture of his subject.

Dirtbag paints a fascinating portrait of what it means to live life in full pursuit of one’s passions. Fred Beckey’s story is one that’s easy to marvel at without feeling any desire to follow suit. Whatever map can be drawn to plot the course of success invariably involves a heavy helping of determination. Above all else, Dirtbag challenges its viewers to consider the full ramifications of following your dreams.

Wednesday

27

March 2019

0

COMMENTS

Us Is a Terrifying Yet Thought-Provoking Horror Film

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Part of what made Jordan Peele’s directorial debut Get Out such a treat was the way it defied typical genre expectations, throwing practically everything and the kitchen sink at its audience. As a more traditional horror film, Us feels practically tame by comparison, offering scares that wouldn’t seem out of place in an entry into the Halloween or Nightmare on Elm Street franchises. For a director as innovative as Peele, the confines of staying within horror’s established norms might feel constraining, but the talented director has a way of captivating with whatever material he chooses to work with.

Peele takes something as benign as a carnival funhouse mirror and turns it into an object of apprehension. Adelaide is a girl haunted by her experience of walking into one late one night, discovering something that felt like more than a reflection. Years later, with a loving family, she finds herself continually reminded of the night, fearful of repeating the terrifying events.

Us is the kind of film that demands a lot from its actors, with each tasked with playing the doppelganger version of their characters. Lead actress Lupita Nyong’o handled this job exceptionally, carving out distinct identities that played well against each other. Nyong’o is a very expressive actress, often using gestures and expressions to convey emotion rather than simple words. The film’s child cast, including Madison Curry, Ashley McKoy, Shahadi Wright Joseph, and Evan Alex give strong performances that demonstrate a refreshing sense of comfort for young talent in a horror film.

While Peele is an Oscar-winning screenwriter, he uses dialogue sparingly throughout much of the film. The subtle score and expressive actors often carry the suspense, without a ton of screaming or verbal panic to convey the fear. The sets are crafted in a way that creates natural claustrophobia as the characters try to navigate the evil plaguing their home. It’s the kind of horror that creeps under your skin by disrupting one’s own notion of comfort.

As a genre, horror often has a tricky relationship with the concept of exposition. The mystery of the terror is often a big part of the scare appeal, especially since the audience can substitute their own worst fears in the void of the unknown. Efforts to explain figures like Michael Myers or Jason Voorhees often fall flat as the characters are terrifying enough with only minimal backstory. Us manages to dive into the why without losing any thrills, highlighting Peele’s talent as a storyteller. He lets the audience behind the curtain long enough to get a feel for what’s happening, while preserving plenty of the intrigue.

Us is a terrifying sophomore effort from director Jordan Peele, offering a thought-provoking perspective on the horror genre. Slasher movies don’t necessarily need to provide much fodder for the mind, but Peele reminds us of the power that film possesses to re-evaluate the way we think about the world. Us is the kind of movie that will thoroughly frighten you while leaving plenty of substance to chew on when the thrills have worn off.

Sunday

10

March 2019

3

COMMENTS

Captain Marvel Is An Unremarkable Origin Narrative That Never Lets Its Star Shine

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

The early entries in the Marvel Cinematic Universe excelled at establishing their characters, relatively independent of any obligations to a larger connected continuity. All of the previous origin narratives across the three phases of this massive saga have allowed their heroes the opportunity to make their own mark on an audience, knowing that the idea of bringing them all together for a big team-up constantly lingers in the background. Investment in these characters is the primary reason behemoth undertakings like Avengers: Infinity War work so well.

Captain Marvel feels oddly rushed for a first-time solo adventure. From the first moments on, the film rarely stops to catch a breath. Lost in the frantic pacing is the idea that Carol Danvers is a person whom the audience might enjoy getting to know along the course of the film’s brisk two-hour run time. Danvers spends much of the film trying to figure out her own past, but the narrative is too all over the place to give any sense of direction to her development as a character.

Brie Larson is totally underutilized in the title role, never really getting a chance to shine, despite her character’s immense powers. There are a few scenes where Larson gets to showcase Danvers’ personality, mostly opposite Samuel L. Jackson, who puts in a predictably solid effort as Nick Fury. The immaculate process of digitally de-aging Fury and longtime MCU stalwart Phil Coulson (Clark Gregg) is more remarkable than most of the lines either character speak throughout the film.

As with many MCU films, there are far too many villains. Jude Law and Ben Mendelsohn each portray complex characters whose potential depth is lost in a narrative that simply doesn’t have time to fully flesh out the conflict between the Skrull and the Kree. The film does little to suggest that Lee Pace and Djimon Hounsou, both reprising their roles from The Guardians of the Galaxy, are there for any reason other than to simply serve as connections to the broader continuity. Lashana Lynch is also underutilized as Maria Rambeau, Danvers’ best friend and the link to her past on earth.

Nostalgia is a powerful force throughout the film, which goes to great lengths to recreate 90s America as well as the feel of the early days of the MCU. As fun as it is to see Danvers crashing into a Blockbuster Video or Coulson interacting with the juggernauts of the franchise after years on Agents of S.H.I.E.L.D., the sense persists that the film is trying too hard to retcon Captain Marvel into its world, as opposed to weaving her in naturally through the force of her as a character. This narrative should be Captain Marvel’s first, and everything else second, but too often it spends its time functioning as a prequel to the Avengers Initiative. Fury’s presence is an asset, but the jumbled mess that is the Kree/Skrull storyline burdens a film that never seems sure of what it wants to be.

Captain Marvel feels less like an origin narrative and more like a placeholder for bigger, better things to come. The audience knows that Danvers is going to play a big factor in Avengers: Endgame, but the prospect of beating up Thanos two months from now doesn’t do much to sell the movie being presented to audiences right now. Future films will be able to focus more on the conflict between the Skrull and the Kree, but how much are we supposed to care? It’s hard to get excited about Captain Marvel leading the Avengers down the road when she’s not even fully trusted to carry her own movie.

The action scenes are mostly duds, poorly framed and constantly set against bland color palettes. There are bits of humor here and there, but there isn’t enough dramatic tension for the jokes to really land. Like Thor, Captain Marvel’s sheer strength makes it a bit harder to craft compelling fight sequences, but it doesn’t feel like any effort was made to put anything on screen that the audience might remember a week later.

The MCU has very few misfires, but this one simply didn’t come together despite following the same general formula the franchise has deployed for most of its other films. Thoroughly unremarkable, Captain Marvel wanders aimlessly through various half-baked plotlines without ever investing in its title character. For a film set in the past with its eyes on the future of the franchise, for some reason, it never seemed capable of living in its own present.

Thursday

28

February 2019

0

COMMENTS

Stray Is a Forgettable Supernatural Mystery

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews

There’s a scene early on in Stray that sticks out in a sea of otherwise forgettable moments where the lead character Murphy remarks that the supernatural events she’s witnessed are the two strangest things she’s ever seen in her life. The film competently builds suspense with strong special effects for an indie movie, presenting a petrified corpse belonging to a recently deceased victim and the unclear powers of her daughter at the heart of its narrative. Unfortunately, the film never quite figures out how to build on a rather interesting premise.

Stray’s first act is largely dedicated to building up the relationship between its two leads. Murphy, played by Christine Woods, is a hardened yet caring detective hell-bent on solving the seemingly unexplainable. Karen Fukuhara supplies the film’s strongest performance as Nori, a girl lost in the world as she struggles to make sense of her mother’s death and the powers the event awakened inside of her. The two share some emotionally resonant scenes together, with the bleak aesthetics laid out by director Joe Sill heightening the sense of grief and pain present throughout the film.

While there’s plenty of chemistry between Woods and Fukuhara, the film never seems quite sure how to build on their relationship beyond a few expositional exchanges. The murder mystery leaves a lot to be desired as a central narrative, with the few scenes dedicated to detective work falling flat. Japanese pop star Miyavi enters the film late in its runtime as the mysterious Jin, but his scenes fall flat as the film never really laid down the groundwork for his sudden appearance as a central character.

The special effects are the film’s best attribute. Sill uses the minimalistic CGI figures and puffs of smoke efficiently, framing his bleak settings in a way that only calls for a bit of supernatural to drive the suspense home. As far as suspense horror goes, the film does quite a lot with what’s clearly a small budget.

Trouble is, the film is thoroughly bland. The characters are certainly sympathetic, but they’re not even remotely interesting. The script doesn’t have cringe-worthy dialogue, but it’s so riddled with clichés that it’s hard at times to remain engaged with the narrative. As serviceable as the lead performances are, they don’t offer much for the audience to get behind. As a result, it’s hard to care very much about what happens to any them.

The film’s biggest issue appears to be an unclear sense of direction from one act to the next. The first lays out a fair amount of groundwork for an interesting murder mystery, but the second spends most of its time meandering on exposition. The third act carries a heightened sense of urgency, but most of the scenes come out of nowhere, stripping them of any narrative punch. Better editing could have gone a long way toward presenting a more cohesive final product.

Stray is a competently crafted film that lacks any semblance of emotional resonance. Fans of Miyavi or the suspense horror genre may find something worthwhile in this narrative, but the film itself doesn’t try very hard to stand out. Stray is never terrible, but it fails to rise out of the realm of forgettable.

Thursday

21

February 2019

2

COMMENTS

Alita: Battle Angel Is a Collection of Stunning Visual Sequences That Lacks a Cohesive Story

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Movies like Alita: Battle Angel showcase the sheer power of seeing a movie on the big screen better than most. With breathtaking special effects in practically every scene, the sense of awe and wonder remains present for practically the entire two-hour runtime. Unfortunately, the vision, beautifully put together by director Robert Rodriguez and producer James Cameron, is severely undercut by the absence of a cohesive narrative holding all of that imagery together.

Alita: Battle Angel does not really have a central narrative. There are many subplots present, but none that really stick out as the one to use when giving a one-sentence explanation of the plot. A scientist named Dr. Dyson Ido, played by Christoph Waltz, rebuilds the titular cyborg, played by Rosa Salazar, who is revealed to be a three-hundred-year-old warrior and the last of her kind. Alita befriends a boy named Hugo, played by Keean Johnson, who teaches her about the futuristic game motorball. Mahershala Ali and Jennifer Connolly also hover around the narrative as Vector and Chiren, two shady individuals connected with the darker side of Iron City, the film’s central location.

Though almost all of the characters are connected to each other through highly implausible coincidences, there is little connecting the various strands of a plotline. The city of Zarem, which hovers above Iron City, serves as a MacGuffin, as Hugo tries to buy passage, but the film only gives this narrative sporadic attention throughout the film. Early on Dr. Ido is revealed to be a “Hunter-Warrior,” Iron City’s mercenary version of law enforcement, a plotline that supplies much of the film’s action. Problem is, the action really isn’t in service to some bigger purpose, leaving the visually stunning scenes with an empty after taste.

The presence of motorball is Alita: Battle Angel’s biggest shortcoming. The film makes no effort to explain the rules, bringing more attention to the game as a total knockoff of the cult classic Rollerball. It could have had value as a sideshow similar to podracing in The Phantom Menace, but the film thrusts the motorball into the spotlight for reasons that never really add up.

The film also includes a completely unnecessary romance between Alita and Hugo that feels crafted out of obligation to the concept that it should have a love story rather than any narrative necessity. The romance along with Connelly’s character Chiren, who happens to be Dr. Ido’s ex-wife, could’ve been cut from the film entirely with next to zero narrative consequences.

The action sequences are spectacular and the effects are of the high quality that one would expect from a film with Cameron’s name attached. As Alita: Battle Angel, it becomes clear that most of the drama that precedes the fight scenes is there merely to necessitate the battles. Unoriginal conflict can be forgiven in service to stunning visual sequences, but the film suffers from an inability to pick a singular generic narrative to get behind. It’s practically impossible to put aside the incoherent plot when the film is constantly changing gears.

Despite the lack of narrative continuity, the script is occasionally witty, offering a few laugh-out-loud moments. As a character, Alita is very relatable, if not a bit bland. The performances are all fairly strong, even if Waltz, Connelly, and Ali look a bit out of place in a film that doesn’t always know how to utilize their talents.

There is a lot to like in Alita: Battle Angel, which never falls into the territory of boring. Unfortunately, it’s difficult to recommend a film that could never decide what it wanted to be. The film fails to present a cohesive narrative to anchor its visual splendor, giving the audience plenty of entertaining sequences but little to root for.

Sunday

17

February 2019

0

COMMENTS

Dead Ant Is a Weirdly Endearing B-Movie Triumph

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Part of the appeal of b-movies lies in their innate ability to redefine the parameters of expectation that audiences naturally take with them when sitting down to watch a film. The “so bad it’s good” trope reflects the fact that entertainment value can occasionally circumvent the typical binary we use to judge art. Dead Ant is a film acutely aware of this sentiment, embracing camp in favor of anything resembling a coherent narrative.

The plot of Dead Ant is fairly straight-forward. A washed-up hair metal band on its way to a music festival runs into a nasty insect problem after a pit-stop for psychedelic drugs. The cast of characters is fairly intimate, mostly featuring the members of the band Sonic Grave, including Sean Astin, Jake Busey, Rhys Coiro, and Leisha Hailey. Tom Arnold, co-star of the 90s hit True Lies, puts in a strong performance as band manager Danny, delivering most of the film’s memorable comedic lines.

The film struggles through its first half-hour, full of dated clichés about political correctness and power ballads. The idea that a hair metal band would be searching for a “comeback” in the late 2010s, decades after the genre’s heyday, is an absurdity that the film could’ve wielded to its comedic benefit, especially since none of the members look old enough to have been in a band in the 80s. Thankfully the jokes start connecting by the second act, timed well with the introduction of the titular ants.

Dead Ant finds its groove once it trades in the clichés for camp comedy, delivering several laugh-out-loud moments. There’s a point where Arnold starts to look more comfortable in his role, dropping one hilarious line after another in rapid succession as the characters start to fight back against the ants. Coiro is another standout of the film’s second half, owning his ridiculous scenes with a healthy dose of charm, like he finally figured out what the film was supposed to be. Dead Ant is the kind of movie that owes its success largely due to its actors’ willingness to embrace the film’s absurdities.

The script is a bit disjointed at times, but the actors find grace even with the occasional tumble through their lines. The plot holes are transformed into amusing comedic moments, embracing its own inconsistent continuity. In a strange way, the errors serve to heighten the film’s replay value, if only to see if there’s more lurking in the ant-riddled desert.

While few b-movies are known for their stellar special effects, Dead Ant actually exceeds expectations with plenty of pretty believable ants. There are a couple scenes where the digital ants hardly line up with the havoc they’re supposed to be causing, but in a way that’s part of the fun. The film never lets the effects distract from other comedy it’s trying to deliver, maximizing its assets in the process.

Clocking in at just under ninety-minutes, Dead Ant provides plenty of laughs without ever overstaying its welcome. The first half-hour is regrettably underwhelming, but the film course corrects with enough time left to provide an entertaining experience. If the idea of a b movie filled with hair metal and giant killer ants seems like your cup of tea, you won’t be disappointed by this weirdly endearing film.

Monday

11

February 2019

0

COMMENTS

PEN15 Is One Of Hulu’s Best Original Shows

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

The first episode of Dawson’s Creek garnered much controversy all the way back in 1998 for daring to talk about subjects like masturbation and premarital sex, airing at a time before premium cable changed the television landscape. Two decades later, shock value just doesn’t carry the same weight. The idea of a TV show set in middle school starring two adult actresses covering similar subjects in a far more graphic manner barely raises an eyebrow.

PEN15 sets its sights on the most cringe-worthy chapter in many people’s educational experience. As much as high school can be defined as a time full of awkwardness and poor decisions, middle school offers an environment with far less freedom and a lot more puberty. The sexual tension that fuels so many high school dramas essentially begins in middle school, though television has been reluctant to cover that period for obvious reasons. The material is too graphic for child actors, and adult actors don’t exactly look convincing playing thirteen-year-olds.

While co-creators and stars Maya Erskine and Anna Konkle hardly look like children, both actresses are immensely effective in sidestepping that issue completely. PEN15 crafts its own funhouse version of reality that allows Maya and Anna to navigate its halls with relative grace, considering the heavy dose of cringe comedy offered in practically every scene. Suspension of disbelief is hardly needed, as PEN15 eloquently captures the zeitgeist of adolescence in the early 2000s.

Though the adult actors carry the bulk of the drama, PEN15 does have an impressive cast of child actors in supporting roles. Each episode is mostly self-contained, allowing the show to thoroughly cover a wide variety of topics in its first season. There isn’t a single episode that reeks of filler, a rarity among streaming shows, especially in their first seasons.

What sets PEN15 apart from many shows that depict childhood is its unapologetic refusal to force resolution. For many, if not most, middle school is a cringe-worthy time that we’d like to forget. All the efforts made by ABC’s Afterschool Specials and shows like 7^th Heaven and Boy Meets World to turn each conflict into a teachable moment seem to forget how often bad things happen that don’t serve some broader purpose. Kids can be mean. Often, justice isn’t served. The bad guys win all the time. Shows can pretend like there’s some silver lining hidden in bullying, but PEN15 deserves a lot of credit for throwing conflict out there in a way that doesn’t try to package it all up by the end of the episode.

Back in 2015, Wet Hot American Summer: First Day of Camp crafted a hilarious prequel that worked around the fact that actors in their 40s were playing teenagers. PEN15 deployed a similar approach, wielding the surreal to offer some brutally honest commentary on the struggles of growing up. The show has quickly become one of Hulu’s best original series. Few shows dare to take on middle school, but Maya and Anna prove how powerful such a journey can be while providing a hilarious experience along the way.

Monday

11

February 2019

0

COMMENTS

Following the Same Instruction Manual as Its Predecessor, The Lego Movie 2 Is Hilarious & Sweet

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

The worst sequels are the ones that are too self-conscious about their own existence, straining the narrative with an unnecessary mandate. The world didn’t need The Lego Movie 2: The Second Part, but of course that was never going to have any bearing on whether or not the film was made. The success of the first made a follow-up inevitable. The notion of whether a follow-up could resonate in quite the same way is the only question that should be asked.

The Lego Movie’s biggest strength was its ability to blend silliness with thought-provoking realism. The film wielded a broad spectrum of human emotion, leaving the audience with much to chew on by the time the credits started to roll. That kind of experience is hard to recreate for many reasons, chief among them being that the viewers walk into the theatre knowing what’s in store for them.

The Second Part doesn’t try to reinvent the wheel, or the brick. The narrative is largely another medley of light-hearted humor set against a real-world backdrop, this time in the form of Finn struggling to get along with his younger sister. The jokes continue to come at a rapid-fire pace, delivering plenty of laugh-out-loud moments. The film does an excellent job offering jokes for audiences of all ages, alternating gags with plenty of references aimed at older viewers, including some memorable lines on Chris Pratt’s career and the state of DC Comics.

Sequels often mess with their characters’ personalities in an effort to manufacture new drama. Thankfully, The Second Part doesn’t fix what isn’t broken, playing to its characters’ strengths without forcing any unnatural conflict. Emmet is still an unrelenting optimist, Lucy is still afraid to open up, and Batman is still a raging narcissist. There are little bits of character development here and there, but the movie as a whole is content to keep the dynamic of the first film in place.

The musical numbers don’t pack the same punch and the plot wins zero points for originality, but the film has more than enough heart to make up for its lack of imagination. The Second Part is a lot of fun. Unimaginative concepts can still be entertaining, just as plenty of films are made each year that are completely derivative of earlier classics. The idea that a sequel should bring something new to the table can exist alongside the notion that it might just be okay if one doesn’t.

The Lego Movie 2: The Second Part is a well-paced comedy that knows exactly when to tug on the heartstrings. It’s not as imaginative as the first, but that’s practically a given for any sequel. When it comes to providing an experience well worth seeing on the big screen, the movie hits every note that matters. Maybe that won’t be enough for a future installment, but for now, everything is still pretty awesome.

Thursday

7

February 2019

0

COMMENTS

A Violent Man Doesn’t Have a Clear Sense of Purpose

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews

Sports movies are in many ways completely antithetical to their real-life counterparts. Legendary plays happen spontaneously, but movies have to manufacture these moments in an effort to convey that same sense of shock and wonder to an audience that expects something to happen. A Violent Man effectively substitutes any sense of suspense that might occur in its MMA octagon for a murder mystery, sprinkling the sports genre with a heavy dose of thriller.

Ty Matthews is an aging fighter looking at the end of his prime. An opportunity for a practice match against the well-known Marco Reign gives him a sense of optimism for his future not enjoyed by his girlfriend Whitney. An effort to defy an NDA imposed by Reign’s manager Ben is scuttled when the reporter he contacted ends up dead after a sexual encounter between the two, with the police looking at Ty for the murder.

The acting is A Violent Man’s strongest attribute. Thomas Q. Jones does an effective job in the lead role, drawing out empathy for Ty’s struggle without requiring the audience to agree with many of his decisions. Ben Davison puts forth a solid effort as Reign’s manager, carefully juggling charm with sleaziness in nearly all of his scenes. Issach De Bankolé gives a strong performance as trainer/mentor Pete, anchoring the emotional core of the film with his concern for Ty and the current trajectory of his life.

While the actors are shown to be capable of carrying the drama, the writing doesn’t give any of them much to work with. The vast majority of the scenes are riddled with clichés. Khalilah Joi can’t really do much as Ty’s girlfriend, Whitney when the script constantly calls for her to deliver the most predictable lines imaginable. Denise Richard’s brief appearance as reporter Victoria is entirely undercut by her character’s painfully unrealistic lust for Ty, casting aside any sense of obligation to portray a believable journalist.

A Violent Man struggles to be a sports film and a thriller, stripping either of any sense of dramatic urgency. Much of the second half of the film is dedicated to the fallout of Victoria’s murder, but the film pivots back to Ty’s feud with Marco in the third act, culminating in a weak title fight that feels less like a climax than an obligation to get it out of the way as quickly as possible. The conclusion is rushed and undercut by the narrow scope of the film that renders it practically inevitable.

For most of the film, director Matthew Berkowitz makes the most of a small budget, using minimalistic lighting and a strong score to hone in the intimacy of his sets. The title fight loses this touch, feeling oddly small and out of a place in a narrative that otherwise knew how to make the best of its locations. Perhaps some of this is the fault of the limited use of Chuck Liddell as Reign, who isn’t in the film for long enough to leave any kind of lasting impression.

MMA fans may find something to enjoy in A Violent Man, which offers some decent commentary on the struggles of making it in an unforgiving business. The lackluster script hinders both the performances and the narrative pacing. There’s a lot to like in the concept, but the film fell apart as it tried to tie its various strands together.

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