Annihilation

Annihilation

Posted on February 22, 2018 at 5:12 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, bloody images, language and some sexuality
Profanity: Some strong language
Alcohol/ Drugs: None
Violence/ Scariness: Extended peril and violence with many characters injured and killed, many grisly and disturbing images, animal attacks, guns, explosives, suicide
Diversity Issues: None
Date Released to Theaters: February 23, 2018
Date Released to DVD: May 28, 2018
Copyright Paramount 2018

Annihilation” is based on the Nebula Award-winning first volume of Jeff VanderMeer’s Southern Reach Trilogy, adapted by director Alex Garland (“Ex Machina”). Natalie Portman plays Lena, a biologist and Army veteran, who joins a group of woman investigating an ominous anomaly the government is calling the shimmer. It looks like an rainbow prismed oil spill in the air. An area around a lighthouse is glowing and oscillating. Is it aliens? Is it God? Is it dangerous? Well, take a look at the title of the movie.

Whatever it is, it is expanding rapidly, posing a threat to pretty much everywhere. “The silence around it is louder than usual,” one observer notes. All missions, manned and unmanned, to investigate have produced no information and no human or drone sent inside has come back. Until one, an Army sergeant named Kane (Oscar Isaac), Lena’s husband. A year after he left, he shows up at their home, dazed and critically ill.

And so Lena joins the next group going inside, along with Dr. Ventress (Jennifer Jason Leigh), a psychologist leading the team, Anya (Gina Rodriguez), a paramedic, Sheppard (Tuva Novotny), an anthropologist, and Josie (Tessa Thompson), a shy physicist. The film is told in flashback, as Lena is being interrogated by a man in a hazmat suit, so we know that she will be the only one of the group to survive. We know what happened. We will see how.

The New Yorker calls VanderMeer “the King of Weird Fiction” and the Southern Reach trilogy “arresting, unsettling, and unforgettable” and “meditations on the theme of epistemic pessimism, in the tradition of Kafka.” I think what that means is that many science fiction and fantasy writers, even the most imaginative and compelling, base their stories on extrapolating what is already here, whether apocalyptic destruction of the planet due to environmental neglect or aliens who are a reflection of whatever geopolitical issues we are struggling with.

Generally, though, the fundamental rules, the ones we take for granted so much we are not even aware we are taking them for granted, apply, including the rules of dramatic fiction that go back thousands of years. Hubris invites catastrophe. Bad guys want to control everything. Courage and honor triumph. VanderMeer, let’s just say, goes another way. Instead of taking what we have and know and projecting it in a more extreme form, he takes what we have and know and bends reality — and our minds — to make us think about how much we do not know. Inter-species mutations are occuring, suggesting that the shimmer somehow dissolves what we think of as immutable barriers, the ones that define our sense of the world and our sense of ourselves. “It’s literally not possible,” a team member says. “It’s literally what’s happening,” another responds.

One of the first questions we hear at the beginning of the film, as Lena is being something between interrogated and debriefed, is “What did you eat?” Her group had rations for two weeks but survived for months. “I don’t remember eating,” she says. Later we will see the group, dazed, trying to remember what has happened and trying to figure out how much time has gone by based on how much food is gone. They do not know where they are or how long they have been there. Their communications technology does not work. Even the most basic technology, a compass directed only by the magnetism of the North Pole, does not work. They are literally disoriented. The women are there because of their expertise in science, but they cannot even manage some of the most fundamental cognitive tasks. They are not sure whether they cn trust each other. They are there to observe and report but they cannot trust their perceptions or analysis.

And we may not be able to trust our own. This movie puts its cards on the table with an opening that reveals the end. This will be an escape room/haunted house set in the wilds of the Florida swamp story with Lena as the “final girl,” the last woman standing. “It all goes back to the first cell,” we hear Lena tell her class of biology students. Cells do not die; they reproduce. Everything alive is a piece of the first cell. As the women on this mission have to decide whether they want to understand or fight the shimmer, another option presents itself.

Garland uses luscious, even seductive visuals in the verdant Florida swamp setting to beguile and horrify us, sometimes both at once. This is more than mind-bending; it is mind-expanding, something of an intellectual shimmer creating a cognitive distortion of its own.

Parents should know that this film includes extended peril and violence with many characters injured and killed and some very grisly and disturbing images, guns, grenade, fire, suicide, animal attacks, some strong language, and explicit sexual situations.

Family discussion: Why did Lena say she owed it to Kane to go on the mission? Why didn’t she tell the other women about her relationship to Kane? What would you do if you were in charge of containing the Shimmer? What is the relationship of this story to Lena’s lecture about cells?

If you like this, try: “Arrival,” “Invasion of the Body Snatchers,” “Solaris,” “2001: A Space Odyssey,” “Midnight Special,” and “Coherence”

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Black Panther

Black Panther

Posted on February 15, 2018 at 6:38 pm

A-
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for prolonged sequences of action violence, and a brief rude gesture
Profanity: Some strong language
Alcohol/ Drugs: None
Violence/ Scariness: Extended comic book-style peril and violence, guns, fistfights, chases, explosions, characters injured and killed
Diversity Issues: A theme of the movie
Date Released to Theaters: February 16, 2018
Date Released to DVD: May 14, 2018
Copyright Marvel Studios 2018

Wakanda forever! And all hail writer/director Ryan Coogler, the Black Panther, the Dora Milaje, and everyone who helped to bring this next-level, majestic, and wildly entertaining superhero movie to life.

Quick primer for those unfamiliar with the Marvel Universe: Black Panther, the first major black comic book superhero, lives in a self-sufficient, almost completely hidden African country called Wakanda. An American CIA field agent describes it as a poor, undeveloped country: “textiles, shepherds, cool outfits.” That is how they want to be seen by the world. In reality, thanks to a meteor that landed there in prehistoric times, they are the world’s only source of a metal called vibranium, which is extremely powerful, and which has been the basis for the world’s most advanced technology. Because Wakanda is cut off from the rest of the continent by mountains and rainforests, they have never been colonized and had very little interaction with the rest of the world. When they did, it did not go well. King T’Chaka spoke to the UN in “Captain America: Civil War,” and was assassinated. After a brief scene set in the past, we begin the story when his son T’Challa (Chadwick Boseman) is about to take over as king.

Much of the film takes place in Wakanda, gloriously imagined by production designer Hannah Beachler and costume designer Ruth Carter, reflecting extensive research into African design. It is worth seeing the film a second time just to revel in the wonderfully vibrant shapes and colors, and in the African landscape.

Copyright Marvel Studios 2018

Wakanda’s all-female military is called the Dora Milaje, led by General Okoye (Danai Gurira). She advises T’Challa about a mission outside of Wakanda, where he is going to rescue his one-time girlfriend, Nakia (Lupita Nyong’o), a spy who has gone undercover and has been captured by warlords. “Don’t freeze,” Okoye tells T’Challa. “I never freeze,” he replies. But he does. That’s the effect Nakia has on him. At first, she is angry that he interrupted her mission. But then he tells her that he wants her there when he becomes king, and she is glad to agree.

When they return, we see him honor his mother (Angela Bassett, regal and steadfast) and get teased by his sister, the tech whiz Shuri (Letitia Wright). She is this movie’s version of James Bond’s Q, except that she does not just provide the cool gadgets; she invents them. Her motto seems to be what she tells her brother: “Just because something works does not mean it can’t be improved.” That comment, made as a gentle taunt to a brother who is not as comfortable with change as she is, is just one example of the way that this film is able to raise profound issues in a way that resonates but is never heavy-handed or distracting. And the way T’Challa responds to being teased like the admonition not to freeze, helps to humanize the brilliant, brave, handsome, wealthy, powerful superhero.

T’Challa wants to continue to keep Wakanda away from the troubles of the rest of the world. Nakia tells him that they are obligated to share what they have to help protect others. She says, “I can’t be happy here knowing there are people out there who have nothing.” Of course, they are both right, and this conflict is reflected throughout the film in a way that is remarkably nuanced and thoughtful, not just for a superhero movie but in any context.

As I have often said, superhero movies depend more on the villain than the hero, and this one has one of the all-time greats. Michael B. Jordan, who starred in Coogler’s two previous films, “Fruitvale Station” and “Creed,” is nothing less than mesmerizing here, playing a man who represents the “other” to T’Challa, but who is connected to him as well. The film touches lightly but with insight on the difference between being an African, raised in a country where everyone is black and unqualifiedly patriotic, if insular, and being an African-American, deeply conflicted about the relationship with “home,” but better able to understand the plight of others. It touches on other vital contemporary issues like refugees and radicalization and it is all completely organic to the story.

And it is a full-on superhero movie, with a wild chase through an Asian city some very cool stunts, and a huge climactic fight scene involving a massive battle and at least two different modes of transportation, not including the battle rhinos. Yes, I said battle rhinos. I know, right?

The supporting cast includes an outstanding Daniel Kaluuya (“Get Out”), a rare on-screen appearance by motion-capture master Andy Serkis with his Tolkien co-star Martin Freeman as a CIA agent, Forest Whitaker as a priest, Winston Duke as the leader of on of Wakanda’s five tribes, and “This is Us” star Sterling K. Brown as a guy you’re better off not knowing too much about until you see the movie, which I hope you do, more than once. You’ll want to be a part of Wakanda, too.

Parents should know that this film includes extensive comic book-style action violence with many characters injured and killed, guns, spears, hand-to-hand combat, chases, explosions, and some strong language.

Family discussion: If T’Challa and Erik had grown up in each other’s environments, how would they be different? How should Wakanda resolve the conflict between tradition and innovation? Is it true that it is hard for a good man to be a good king? Why?

If you like this, try: the Black Panther comics and the Avengers movies

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Star Wars: The Last Jedi

Star Wars: The Last Jedi

Posted on December 12, 2017 at 7:10 pm

B +
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for sequences of sci-fi action and violence
Profanity: Mild language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Extended sci-fi peril and violence, characters injured and killed
Diversity Issues: None
Date Released to Theaters: December 15, 2017
Date Released to DVD: March 30, 2020
Copyright 2017 Disney

Within the first 15 minutes, I cried and laughed, and then did so again a few times, with some gasps in between. Writer/director Rian Johnson (“Brick,” “Looper”) has brought his considerable skill and obvious deep affection for the “Star Wars” universe to this latest chapter, “The Last Jedi.” I won’t make the obvious Force reference; I’ll just say that he has produced a film that longtime fans will find very satisfying, with a stunning black, white, and red color pallette, thrilling adventure, appealing new characters and worthy developments for old friends, including characters from the first movie (fourth chapter), and a cause to root for.

After the now-traditional opening crawl (basically: the rebellion is not doing very well against the First Order), we have the traditional beginning, right in the middle of the action. As with “The Force Awakens,” we see the I-even-rebel-against-rebels Poe Dameron (dashing Oscar Isaac) in his tiny X-Wing, taking on First Order General Hux (Domhnall Gleeson) with not much by way of firepower, but enormous skill and endless amounts pure pleasure in messing with him. Hux spouts off pompous, pretentious threats about how many different ways he is going to destroy the rebellion, and Poe just trolls him while the rebels gear up for their traditional-but-never-old trick of being quick and cunning instead of enormous and cumbersome.

And we’re off — in three different directions, as Johnson weaves back and forth, with gorgeously cinematic segues recalling “Lawrence of Arabia’s” match flame to the desert. Finn (John Boyega) and a new character, Rose (Kelly Marie Tran) go off in search of a code-breaker who, according to Maz (voiced by Lupita Nyong’o) is the only one who can help them get on board the place they have to go to turn off the tracking device (callback to Episode 4, where if the old man didn’t get the tractor beam out of commission it was going to be a real short trip).

Meanwhile, as we saw in the last shot of the previous chapter, Rey (Daisy Ridley) has found Luke Skywalker (a majestic Mark Hamill, evoking both the farm boy turned Jedi he was in episodes IV-VI and his mentors Obi-wan Kenobi and Yoda as well). Like Leia (Carrie Fisher) in the first film, she tells him she needs his help (R2-D2 tells him, too). But he does not want to be involved any more, as fighter or teacher. And she is being contacted by a sort of Force version of Skype, by Kylo Ren (Adam Driver). In the last film, they fought with lightsabers in the snow. In this chapter, their conflict is more subtle, more personal.

And the rebel forces led by General Leia are being pushed back, with many casualties. This is a movie where more than one character makes the ultimate sacrifice. And more than one gets a last-minute rescue.

The settings are captivating, including a pleasure planet with an elaborate casino for the galaxy’s one percenters and some important lessons about both sides-ism and Balzac’s notion that behind every great fortune is a crime. And there is a salt-based planet with animals that look like foxes made from shards of glass. Chewie makes a heart-meltingly cute new friend. Refreshingly, female and non-white characters play dominant roles on both sides. And, there is a possibility of another New Hope. The rebel forces — and the Star Wars stories — are in good hands.

Parents should know that this is a sci-fi action film with extended peril and violence and some disturbing images. Characters are injured and killed, there is some mild language, some alcohol, and a kiss.

Family discussion: Why did Ben go to the dark side? What did Finn learn from the casino planet? Why did Luke change his mind?

If you like this, try: the other “Star Wars” films and Johnson’s “Brick” and “Looper”

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Blade Runner 2049

Blade Runner 2049

Posted on October 3, 2017 at 1:59 am

A-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, some sexuality, nudity and language
Profanity: Some strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extended and explicit peril and violence, characters injured and killed,
Date Released to Theaters: October 6, 2017

Copyright Warner Brothers 2017
I’ve got a bit of a conundrum here. As has been widely reported, the filmmakers have asked the critics to avoid spoilers (no problem, we are always careful about that), but they have done so with a very specific list of topics/characters/developments they don’t want us to reveal, so exhaustive that it leaves us with little to say beyond: the camerawork is outstanding (please, give Roger Deakins that Oscar already) and the movie is magnificently imagined, stunningly designed, thoughtful and provocative, and one of the best of the year.

I hate to admit it, but I think they’re right. I really do want you to have the same experience I did, including all of the movie’s surprises. So forgive me for being oblique, and after you’ve seen it, come back and we can discuss it in detail, all right?

In the original “Blade Runner,” based on the story “Do Androids Dream of Electric Sheep?” by Philip K. Dick, Harrison Ford played Deckard, a 21st century detective sent to find and terminate four “replicants,” humanoid robots created to perform physical labor but who somehow are evolving to the point where they want to be independent of human control. Replicants are so close to being human in appearance and manner (and, in the future, life is so dystopic that humans have become less feeling, less compassionate) that it is increasingly difficult to figure out who is human and what being human means. Like Deckard, K (Ryan Gosling) is a blade runner, sent by Joshi, his human boss (Robin Wright), to find the older generation of replicants and terminate them. The new generation of replicants is more obedient, or at least that is the way they are programmed. “It’s my job to keep order,” she tells him. She gives him a new assignment and when he hesitates she asks, “Are you saying no?” “I wasn’t aware that was an option.” “Atta boy,” she says approvingly. K has uncovered something that Joshi believes is an extermination-level threat to humanity as what accountants call a going concern.

This film explores ideas of memory, identity, and, yes, humanity. And it does that through a detective story that is grounded in a Raymond Chandler noir world of deception and betrayal, taking place in a gorgeous, brilliantly designed dystopian future of perpetual rain where organic material is barely a memory and huge, Ozymandias-like ruins carry faint reminders of better times and grander ambitions. Most people have never seen a tree, even a dead one, and a crudely carved wooden toy is priceless. A woman creates pleasant childhood memories to be implanted so that replicants will be more stable, more empathetic, and easier to control. The trick about control, though, is that nature will rebel against it, and those who try to maintain control by sending people or replicants or anyone out to investigate and ask questions is going to find that knowledge can dissolve authority.

That’s about all I can say except to add that Gosling and Ford are outstanding and Sylvia Hoeks is a standout as a character I can’t tell you anything more about, while Jared Leto is the movie’s weak spot as another character I can’t tell you anything about. So I’ll end by saying that this is that rare sequel deserving of its original version, not because it replicates — for want of a better word — the first one, but because it pays tribute (note touches like the see-through raincoat) and then finds its own reason for being, and we are lucky enough to come along.

Parents should know that this film includes extended sci-fi/action violence with graphic and disturbing images, characters injured and killed, reference to torture, drinking, smoking, some strong language, sexual references and situations, prostitutes, and nudity.

Family discussion: What elements or concerns about today’s society are the basis for this vision of the future? What rules would you make about replicants? What is the most human aspect of the replicants?

If you like this, try: the original “Blade Runner,” “Terminator 2,” “Total Recall,” “Children of Men,” and the writing of Philip K. Dick

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Trailer: Marjorie Prime with Geena Davis, Jon Hamm, and Lois Smith

Posted on August 9, 2017 at 8:00 am

Jon Hamm, Geena Davis, and Lois Smith star in “Marjorie Prime,” which looks a bit like “Her,” a bit like the “Be Right Back” episode of “Black Mirror,” but still very intriguing.  If you had a chance to bring someone back, would you?

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