Valerian and the City of a Thousand Planets

Valerian and the City of a Thousand Planets

Posted on August 1, 2017 at 4:55 pm

B +
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for sci-fi violence and action, suggestive material and brief language
Profanity: Brief strong language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Extended sci-fi/action violence, guns, chases, characters injured and killed including genocide
Diversity Issues: A theme of the movie
Date Released to Theaters: July 21, 2017
Date Released to DVD: November 21, 2017

Copyright 2017 STX Films
Yes, the visuals and special effects in Luc Besson’s “Valerian and the City of the Thousand Planets” are next-level, dazzling, stunning, and themselves worth the price of a ticket (3D please). But let’s be honest. The best special effect in the movie is the lovely real face of Rihanna as Bubble, a shape-shifting alien our hero meets in an inter-galactic strip club.

That hero would be Valerian (Dane DeHaan), who has gone to the strip club in search of the disguise he needs to infiltrate an alien compound and rescue the woman he loves, his space partner Laureline (Cara Delevingne). She was captured as the two of them were on a mission to…oh, who cares what the mission was? It’s your basic save the universe stuff. You know and I know and they know you are not there for the subtleties of the space city that incorporates, “Zootopia”-style, every possible creature and culture, a veritable Pepperland of comity and the exchange of learning. In the opening scenes, we see the history of the place, as human astronauts welcome aboard an increasing variety of visitors with a warm handshake, first from other countries, and then from other planets and galaxies, still with something as close to a handshake as possible.

This is the movie Luc Besson has wanted to make since he was a teenager, base on a French comic book series from the 1960’s with a visionary aesthetic that inspired Besson’s own “5th Element” and George Lucas’ “Star Wars.” He had to wait decades until the technology made it possible to do the ravishing visuals justice. That is the good news and the bad news. The good news is that the visuals are indeed ravishing, worth a couple of viewings on the biggest screen you can find and then a couple more when you can watch it at home and hit “pause” to see every detail. The bad news is that the storyline has not held up as well over the years as the settings, in part because much of it has also been appropriated, too, over the years, partly because times have changed, and partly because it wasn’t that great to begin with. Valerian and Laureline banter back and forth about whether he can make a commitment to her as they try to save the world. It is supposed to be part of the fun of the story that they are cool and casual. Valerian even wears a Hawaiian shirt at one point instead of his spiffy spacesuit (they are undercover as tourists). But their characters are so bland, especially by contrast with the wildly imaginative world they are racing through, that it drags on the storyline. That’s disappointing because it distracts from some promising flickers of substance.

Parents should know that this film includes extensive sci-fi peril, action, and violence with many guns and blasters, characters injured and killed, sad deaths, references to genocide, corruption, brief strong language, provocative dance and references to prostitution.

Family discussion: Why do Valerian and Laureline disagree about the converter? How do you know when to break the rules?

If you like this, try: “Avatar” and “The Fifth Element”

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3D Comic book/Comic Strip/Graphic Novel DVD/Blu-Ray Pick of the Week Fantasy movie review Movies -- format Science-Fiction

Trailer: Valerian and the City of a Thousand Planets from Luc Besson

Posted on November 10, 2016 at 11:14 am

Get ready to have your socks knocked off — I saw some concept art and unfinished footage from Luc Besson’s “Valerian and the City of a Thousand Planets” at Comic-Con last summer and it is going to be AWESOME. And yep, that’s Riri.

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Trailers, Previews, and Clips
Suicide Squad

Suicide Squad

Posted on August 3, 2016 at 12:00 pm

Copyright 2016 Warner Brothers
Copyright 2016 Warner Brothers

I always say that the success of a superhero movies depends on the bad guy. So, shouldn’t a movie that is all bad guys be really great? That’s the idea behind “Suicide Squad,” a sort of “Avengers” (all-star hotshots who don’t play well with others have to work together as a team to save the world) crossed with “The Dirty Dozen.” And it kind of works. On the one hand, it is an August movie, the cinematic equivalent of the shelf in the back of the grocery story with the dented cans, irregulars, and day-old bread. On the other hand, it approaches a nicely messy, authentically amateurish, form equals content vibe that suits the subject matter. If these guys made their own movie, they might overlook some of the fine points, too.

Our scrappy little band of anti-heroes live in one of those “lock them up, throw away the key, throw away the Constitution, and any record of their existence while you’re at it” sort of prisons. Will Smith plays Deadshot, an assassin with a young daughter he loves. Margot Robbie is Harley Quinn, a psychiatrist turned psychopath with the demeanor of a school girl, locked in a romantic tangle with the Joker (Jared Leto) so twisted it makes Sid and Nancy look like Dick and Jane. Somewhere behind full-face tattoos, Jay Hernandez is Diablo, a gang-banger with the power of fire. Somewhere inside a reptilian rubber suit (maybe it is CGI, but it looks like rubber) is Adewale Akinnuoye-Agbaje as Killer Croc, and I never quite figured out what he could do besides fight and swim. Jai Courtney plays the Aussie thief Boomerang. Neither one of them is intelligible.

They get a chance to escape the abuses and isolation of prison life when national security expert Amanda Waller (Viola Davis) says that their special skills make them the world’s only hope against the terrorism threat that entities with supernatural powers will pose. “The world changed when Superman flew across the sky. It changed again when he didn’t.” (Cut to super-coffin)

Waller is certain she can control them. Whether she can or not, there is no alternative. And so they are assigned to Colonel Rick Flag (Joel Kinnaman), who informs the motley crew that each of them has an explosive injected into his/her neck, and that he will not hesitate to blow their heads off if they disobey or even if they vex him. “I’m known to be vexing,” Harley Quinn pipes up helpfully, well aware that saying so she proves her point. And then it’s off to the big confrontation with some moments for (1) some bad behavior, (2) some exchanges of confidence and bonding to let us see that these guys may be bad but they have their good points and while they may have made some poor choices, they have feelings, too, (3) a few reminders that these are the bad guys, (4) some setbacks and death of a tangential character to show us how serious this is, and (5) weaknesses becoming strengths, strengths becoming weaknesses, a chance to see that some of the good guys aren’t so good and some of the bad guys aren’t so bad (and deaths are not necessarily deaths).

Here is what the movie gets right: B**** please. Margot Robbie is a huge movie star who owns this film and every moment she is on screen in “Suicide Squad” you get your money’s worth and then some. Anything else that works in the film is an extra cherry on the sundae. #imwithharley so give HQ her own movie PDQ.

Smith and Kinnaman are also excellent. Most of the best of the rest was in the trailer including one exchange which inexplicably was cut from the film. In fact, given the many evident recuts and reshoots, Warner Brothers should just have turned the footage over to whoever made the trailer and let them control the final print.  The soundtrack veers into Spotify playlist mode but there are some good choices.

Here is what it gets wrong: Writer/director David Ayer, whose speciality has been military and law enforcement stories, does not understand the right tone for a comic book movie. Compare Marvel/Disney, which managed to create distinctive and right-on-the-money tones for Thor, Captain America, Iron Man, Ant-Man, Guardians of the Galaxy, and Deadpool and yet make us believe they could exist in the same universe, and made that work in the “Avengers” movies without shortchanging anyone. Second, note the reference to the evidence of reworking above. Third, note the very first thing I said. Comic book movies are all about the villain. In this case, with villains as the the good guys, they really need someone specially evil for us to root against. The villains in this film are terrible in every category, starting with the special effects, which should be primo, right, Warner Brothers? But most importantly, a movie that spends too much time introducing us to the Z-team’s backstories never provides us with the basics about the powers and threat of the bad guys so we have no way of knowing what we are hoping for (other than obliteration) from the final battle. Wait, so this and that didn’t work but this and that do? Really? And what happened to those SEALS?

It is good to see more than one female character and this film has four strong and powerful women of different races. But the gender politics of the film are less than one might wish.  Both female Suicide Squad members are there because of the men they love, and the female villain is alternately weak around the man she loves and strong but not as strong as her brother. Viola Davis, as always, is sublime as a woman who may be only human but is in every way a match for anyone, superpowered or politically powered.

It’s better than “Batman vs. Superman” and “The Fantastic Four,” but it falls frustratingly short of what it could have and should have been.

NOTE: Stay through the credits for an extra scene, but you don’t have to stay after that.

Parents should know that this film includes extended sci-fi/fantasy violence with some graphic and disturbing images, torture, abuse, many characters injured and killed, skimpy costumes, sexual references, some strong language

Family discussion: Who was the worst villain in the movie? Who caused the most harm? What could “bad guys” do that the “good guys” could not?

If you like this, try: “The Avengers” and “The Dirty Dozen”

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Action/Adventure Comic book/Comic Strip/Graphic Novel Fantasy Scene After the Credits Series/Sequel Superhero
Paper Towns

Paper Towns

Posted on July 23, 2015 at 5:37 pm

B+
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for some language, drinking, sexuality and partial nudity -- all involving teens
Profanity: Some strong and crude language
Alcohol/ Drugs: Teen drinking
Violence/ Scariness: Dead body, references to suicide, some bullying and peril
Diversity Issues: None
Date Released to Theaters: July 25, 2015

papertowns

Everyone has one. That unobtainable dream we longed for when we were first learning what it felt like to be in love. For most of us, these impossible-to-attain objects of our desire are like training wheels to keep us from wobbling as we begin to understand our feelings. Like the Garth Brooks song, “Unanswered Prayers,” we end up grateful to apply the lessons we learned in our wiser choices. But movies often grant us the magical chance to make our fantasies a little more real by showing us characters who do find a way to love with the ones they adored from afar.

So we have certain expectations when Quentin (Nat Wolff) tells us in the beginning of “Paper Towns” that (1) everyone is entitled to one miracle and (2) that he has been deeply in love with his next door neighbor Margo since she moved in when they were kids. And those expectations are confirmed when he tells us what good friends they were as kids and how, now that they are about to graduate from high school, they barely speak. She has passed out of his league. “Her life had become a series of unbelievably epic adventures.”

Think of all the high school movies where this led to an ending that surprises everyone on the screen and absolutely no one in the audience and yet leaves us all warm and happy. But John Green (“The Fault in Our Stars”) is not about delivering warm and happy. He is about wise and illuminating and human and heartfelt, and this film is all of that.

Margo (supermodel Cara Delevingne) appears in Quentin’s bedroom window one night, as she used to when they were kids. She invites him on an adventure. “I have nine tasks to accomplish and more than half of them require a getaway car.” It turns out that her handsome athletic star of a boyfriend was cheating on her with one of her best friends and she wants revenge. “We are righting wrongs and then we are going to wrong some rights,” she promises. “Basically, it’s going to be the best night of your life.”

She soon has him feeling like a knight or a ninja as they carry out her plans, which are well thought out and involve only minor mayhem and semi-major embarrassment for the transgressors. He finally gets to bed, happy and looking forward to seeing her in school the next day.

But she has disappeared. She has run away before and her parents are ready to give up. But Quentin is not. He is certain she has left clues behind and with the help of his friends Radar (Justice Smith) and Ben (Austin Abrams) and Margo’s friend Lacey (Halston Sage), they try to figure out where she is. When Quentin thinks he knows, they all decide to drive there together and find her, and Radar’s girlfriend (Jaz Sinclair), even though it is 1200 miles away and everyone but Quentin really wants to make it back in time for the prom.

It turns out that this trip is the best part of the film, and it turns out there’s a reason for that. Each of the characters is real and interesting and appealing. Each has some self-awareness and each approaches the lessons along with road with grace. The guys have an easy chemistry, the kind people have when the most important thing they have in common is their history, and they know, in their hearts, that once they leave for college that won’t be enough to hold them together the same way again. That poignance turns out to be essential in setting the stage for what Quentin will find at the end of his journey. The best thing about giving up those early romantic dreams, whether about people or about love or about getting what we deserve, is that it opens up our hearts for something even better, and it is good for people of any age to see how that story is told.

Parents should know that this film includes teen drinking and drunkenness, crude sexual humor and other sexual references and non-explicit situations, some nudity, strong language, suicide, gun, and some pranks and law-breaking.

Family discussion: How big is your comfort zone? What is your miracle?

If you like this, try: the book by John Green and “The Fault in Our Stars” and find out what DFTBA means

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