Posted on June 15, 2017 at 3:03 pm
Margot Robbie and Domhnall Gleeson star in “Goodbye, Christopher Robin,” based on the life of author A.A. Milne, who wrote poems and stories inspired by his son’s toys, Winnie the Pooh, Tigger, Piglet, and Wol.
Posted on August 3, 2016 at 12:00 pm
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”
Posted on July 9, 2016 at 3:22 pm
There have been a lot of complaints about the Vanity Fair cover story on Margot Robbie by Rich Cohen (“Vinyl”), which reads like a parody of skeezily raphsodic profiles of beautiful women. I particularly like the takedown from Rebecca Shaw, who is, like Robbie, Australian, and so addresses Cohen’s idiotic comments about her country as well as his idiotic comments about Robbie.
Australia is America 50 years ago, sunny and slow, a throwback, which is why you go there for throwback people.
Bloody hell, calm your farm Richo. We’re America 50 years ago, so what – increasing our troops into Vietnam?…
That was the middle of a search that finally led to Alexander Skarsgård as Tarzan and Robbie as Jane. Jerry spoke of the actress in a tone he reserved for the big stars, the sure things, the Clooneys and Pitts, those whose magnitude seems old-fashioned. “When I think of Margot Robbie, a single word comes to mind,” Jerry said. “Audrey Hepburn.”
A single word: these two words. Earlier in the piece Richo said that Wolf of Wall Street defined Robbie. It “put her up with Sharon Stone in Casino and Cathy Moriarty in Raging Bull – one of Scorcese’s women.
I know I am 50 years behind all of this being one of the throwback people and all, but did you know that women don’t have to be defined by 1. being compared to other women and 2. belonging to some man or another? Astonishing stuff from here, downunder.
The Fug’s Heather has some thoughts as well.
The piece reads like an interview in which subject and questioner had zero chemistry. But it’s an interviewer’s job to find that, or fix it, rather than go home and throw Google searches at the problem. Frankly, when I read that conclusion and it so strongly created the image of her just casually standing up and leaving, I wanted to shake her hand. Australia has a right to be offended by the finished article (and it is, from what I’ve read). So too does Margot Robbie, though I suspect she will calmly say nothing. She’s already won, honestly. She, somehow, still comes across as normal and cool even though she’s not given as much voice as she deserves.
At The Daily Beast, Jen Yamato insightfuly brings together the Rich Cohen profile of Margot Robbie with two other articles about actresses that have provoked complaints. Variety’s critic Owen Gleiberman wrote that the trailer for the new “Bridget Jones” movie made him think that Renee Zellweger “no longer looks like herself,” and thus he might not be able to enjoy the movie. (See Thelma Adams’ response, too.)
And the usually-better Wesley Morris wrote a piece titled “How I Learned to Tolerate Blake Lively.” He spends most of the article explaining that he was expecting to see Kate Hudson starring in “The Shallows,” but no, it was another lithe blonde actress from California instead. Yamato has some good advice: “One glaring (and fixable!) factor in this trend of vaguely lecherous, sketchy filmbro culture: Hire more women writers and editors to represent a more accurate diversity of opinions, analysis, context.”
Posted on June 30, 2016 at 4:15 pm
B-| Lowest Recommended Age: | Middle School |
| MPAA Rating: | Rated PG-13 for sequences of action and violence, some sensuality and brief rude dialogue |
| Profanity: | Some racist epithets and mild language |
| Alcohol/ Drugs: | Some social drinking |
| Violence/ Scariness: | Extended peril and violence, characters injured and killed, some disturbing and graphic images and scary animals |
| Diversity Issues: | Historical abuse and enslavement |
| Date Released to Theaters: | July 1, 2016 |
But there’s a lot the movie does not get right. It’s not terrible; it’s just oddly off, as though it was assembled by a committee that didn’t communicate with each other very well. The first problem is that Tarzan is depressed. I do not know why people seem to think that we somehow make classic literary characters more sophisticated or modern by making them depressed, but I’ve had enough of it. We’ve already had a depressed Batman and a depressed Superman this year. We don’t need a depressed Tarzan. Tarzan, now using his birth name of John Clayton, Lord Greystoke, is living in England when we first see him. Presented with an invitation to return to the Congo as the guest of King Leopold, he declines. Lifting a pinky as he sips from a porcelain teacup to demonstrate just how far he has come from running naked through the jungle, he explains simply, “It’s too hot.” He does not want to go back. But an American named George Washington Williams (played by Samuel L. Jackson and a toupee) persuades him to return, so he can investigate charges of abuse and enslavement. Jane is thrilled to return to Africa, and John reluctantly agrees to let her come along.
The invitation from the King was engineered by Leon Rom (Christoph Waltz, in his usual ultra-civil, ultra-evil mode). If he can deliver John to Chief Mbonga (a regal Djimon Hounsou) the chief will give him access to the diamond mines. When John escapes, Rom takes Jane and some of her tribal friends prisoner.
There’s an unfinished quality to the film. The tone shifts from a literally heavy-handed early image of a cruel hand wrapped in a rosary ripping a flower from its stem to some awkward and anachronistic attempts at humor (Samuel L. Jackson after a diplomatic speech: “And I thought the Civil War was long!”), and distracting random camera-swooping. But the real drag on the film’s momentum is Tarzan himself, who is so morose that the energy seeps out of the story. Reportedly, Skarsgård spent six months working out all day. He looks great, but to be honest he already looked great, and the fixation with male or female movie stars remaking their bodies for roles is barbaric. What needed the work was the script.
Parents should know that this film includes extended peril and violence, guns, spears, explosions, predator animals some disturbing images, characters injured and killed, some sexual references, and brief strong and racist language.
Family discussion: Why did John and Jane have different views about going back to Africa? How did John’s idea of honor change and why?
If you like this, try: the many other movie and television portrayals of Tarzan and the books by Edgar Rice Burroughs
Posted on March 3, 2016 at 5:20 pm
When Michiko Kakutani of the New York Times reviewed the book that inspired “Whiskey Tango Foxtrot,” the memoir of journalist Kim Barker about her days covering US military operations in Afghanistan and Pakistan, she wrote:
What’s remarkable about “The Taliban Shuffle” is that its author, Kim Barker — a reporter at ProPublica and the South Asia bureau chief for The Chicago Tribune from 2004 to 2009 — has written an account of her experiences covering Afghanistan and Pakistan that manages to be hilarious and harrowing, witty and illuminating, all at the same time.
It’s not just that Ms. Barker is adept at dramatizing her own adventures as a reporter — though she develops the chops of a veteran foreign correspondent, she depicts herself as a sort of Tina Fey character, who unexpectedly finds herself addicted to the adrenaline rush of war.
And now that book is a movie, and the role of Ms. Barker is being played by non-other than Tina Fey, who also co-produced. As always, her work is whip-smart and original. This is not Liz Lemon goes to war, it is an impressively sensitive dramatic performance.
But Barker’s story has been movie-ized, giving it the “inspired by” rather than “based on” designation, and removing the “r” from the character’s name to create some space. The real Barker was a print journalist, but making her a television correspondent to make it more cinematic. And the various love interests are fictional. It is disappointing that the movie makes the impetus for the assignment a combination of professional and romantic ennui. Barker was a dedicated journalist looking for a big story.
But much of the essence of it is the real deal, starting with Barker/Baker’s plan to spend three months in Afghanistan that turned into three years, and the ramped-up intensity of spending days embedded with the military, frantically editing the story, and then trying to obliterate memory and consciousness with some hard-core partying, only to start over again. Baker is inexperienced but dedicated and smart. She quickly impresses the cynical General (Billy Bob Thornton) who sees embedded journalists as a bother and a risk. And she quickly bonds with the other woman reporter (Margot Robbie), who shows her the ropes and asks very politely if she can sleep with Baker’s hunky security guy.
Alfred Molina is excellent, as always, as an Afghani official, though we should be past the time when European actors are cast as Middle Eastern characters. And maybe we do not need any more stories of Western characters discovering the mysteries of the other side of the world, with illuminating life lessons from exotic people. We don’t want this to be “Under the Tuscan Sun” but with war instead of sun-ripened Italian tomatoes, and it gets uncomfortably close at times. But the thoughtful script from longtime Fey collaborator Robert Carlock keeps the film from making war be just a growth experience for a reporter looking to shake up her life a bit, and the contrast between what the war does to the people trying to tell the story, knowing that the people back home just change the channel anyway give the story a sobering weight.
Parents should know that this movie has constant very strong, crude, and colorful language, drinking, drugs, smoking, wartime violence with some graphic images, characters injured and killed, sexual references and situations, and nudity.
Family discussion: What was the most important story Kim Baker reported? What did she mean when she said it “started to feel normal?”
If you like this, try: The book that inspired this film, The Taliban Shuffle, and the film “The Year of Living Dangerously”
