Tag Archives: Super Hero

Avengers: Endgame

25 Apr

‘Avengers: Endgame’ was a long time coming, and it’s another exceptionally long time going

 

And so it begins, or ends, and no matter how you see it, it’s a long one. “Avengers: Endgame,” the de facto part two of “Avengers: Infinity War,” clocks in at more than three hours – 30 minutes longer than “Infinity” and chock full of maudlin eddies that should have been pared back. That said, “Endgame” gets the job done, passing the baton as it closes out a long-running chapter with some sentimental eye rubs. Where Disney’s Marvel Universe goes from here is likely a focus on new blood such as Black Panther (Chadwick Boseman) and Captain Marvel (Brie Larson). They’re both in “Endgame,” tossed in as inert garnish.

In case you need a rewind: At the end of “Infinity War,” Thanos (Josh Brolin), blessed with the unholy alignment of all six infinity stones (the power of a god to create and destroy), has eradicated half the life in the universe and, with that, half of the Avengers crew. We catch up with Iron Man/Tony Stark (Robert Downey Jr.) floating near-dead in space, Hawkeye (Jeremy Renner) searching desperately for his wife and children and Ant-Man (Paul Rudd) spit out unceremoniously of a five-year time warp – in a beat-up Ford Econoline or the like, to boot. The film moves along sluggishly for the first half-hour, and I’d be wrong to tell you fully how it flies, but the simple answer is: The remaining Avengers crew need to somehow turn back the clock. Given that this is Marvel, and a superhero fantasy (the opening with Traffic’s “Dear Mr. Fantasy” is nearly as ingenious as the use of “Mr. Blue Sky” in “Guardians of the Galaxy Vol. 2” – is there some mandate for classic rock songs with “Mr.” in the title in the Marvel Uni?) that time travel quest – with semi-hilarious film references to “Back to the Future” – happens sure enough, and the “Infinity War” with Thanos gets something of a do-over.

Before that the film notches some of its greatest self-deprecating wins, namely in that the buff god of thunder, Thor (Chris Hemsworth), some five years after Thanos’ win in Wakanda, is now a potbellied booze bag looking like the portly Val Kilmer, “large mammal” portrayal of the latter-years Jim Morrison in Oliver Stone’s “The Doors.” Or take the Hulk/Bruce Banner, (Mark Ruffalo) who has gotten his raging greenness and mild manner intellect to come to terms. And then there’s Hawkeye, who’s been bestowed the worst hairstyle imaginable – an unholy marriage of a mullet and a mohawk. How and why this choice was ever made is never explained and demands a film of its own, but yes, it’s a weird alternate reality out there, and not necessarily a bad one. As one observant Avenger points out, with half as many humans on the planet the water in the Hudson is now so clean, pods of a resurgent whale populations are hanging out where there were once toxically polluted slurries.

Ultimately “Endgame,” like “Infinity War,” both directed by the brothers Russo (Anthony and Joe, who made the far cheekier and superior “Civil War”) turns into a major CGI boggle of superheroes battling a herd of creepy-crawly things from another planet. Amid all the chaos there’s one gratuitous yet neat scene where an all-female phalanx of supers try to get the final wold-saving run done, and yes, Captain America (Chris Evans, with the requisite square-jawed woodenness)  is there to anchor the whole shebang; in very (too) small metes, we also get Samuel L. Jackson, Robert Redford and Tilda Swinton. It’s a very crowded affair.  Some big names and friends move on and out with a tear or two to be shed, but I was more struck by other matters looming at the edges of the frame, including nature’s resurgence in a less populated world, curiosity for how far Brie Larson and the “Captain Marvel” franchise can realistically go and, most of all, that haircut Renner is saddled with. It’s indelible and unshakable. If his Hawkeye could travel back in time to the 1990s there would be NHL hockey teams north of the border that would surely inject him in the first line based on hair alone.

Captain Marvel

9 Mar

‘Captain Marvel’: Back to the start, and 1990s, to introduce a powerful player in story’s end

 

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After much online debate and conjecture, “Captain Marvel” finally lands in theaters. After seeing the film I can say that all the hubbub is totally undeserved, a totally unnecessary distraction – including the attempts by trolls to sabotage box office through “review bombing.” It’s a fine enough superhero flick that in narrative arc is a lot smarter and more sharply developed than most, and on the emotional front it serves up a fitting and warm embrace of Marvel comics mastermind Stan Lee, who passed away late last year. The opening title sequence is rightfully all about Stan, and gets in a brief cameo that may just be his last. (Though with “Avengers Endgame” on the horizon, who knows?)

The film, the first in the Marvel Comics Universe to feature a female superhero, begins humbly, if not awkwardly, on an intergalactic outpost of the Kree (humanoids with blue blood) where the sets and fabric feel “Logan’s Run” levels of cheesy and ersatz. Vers (Brie Larson, and it’s pronounced “verse”) and her mentor, Yon-Rogg (Jude Law), get up in the middle of the night for a round of sparring; it seems Vers has weird dreams that keep her up at night, and she needs to work them out. Vers, we learn, is blessed with photon-charged hands that can blast an opponent across the room; as a result, she’s a big asset as part of an elite force on a mission to battle the evil Skrulls – wrinkly faced green aliens that look like a cross between a Klingon and the foreigners in “Alien Nation” (1988) – that have the ability to disguise themselves as most carbon life forms they encounter.

Blah, blah blah. It’s not until Vers lands on Earth (known as planet C-53, and “a real shithole” to the Kree) that the film starts to build real forward propulsion. It’s a wonderful sight gag when the intergalactic warrior plunges through the ceiling of a Blockbuster video (we’re in L.A., circa 1995) and one of the VHS boxes she peruses happens to be “The Right Stuff.” It’s sly foreshadowing, because in shards we begin to understand that in some form of a former life Vers was an earthling, and something of a Chuck Yeager-fashioned flight maverick. The film jumps to life when agent Nick Fury (Samuel L. Jackson), just launching S.H.I.E.L.D., arrives on scene, incredulous, boisterous and scene-chewing as only Jackson can be, and it’s the biggest and wisest use of Jackson in any of the Marvel films to date. In terms of timeline, it makes “Captain Marvel” something of a prequel to the whole Avengers series.  Continue reading

Glass

17 Jan

Glass’: In face-off two decades in the making, Shyamalan reveals he’s lost his powers again

 

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Back in 2008 I just about threw in the towel on M. Night Shyamalan after the pointless “The Happening” made its way to the big screen. Never before had something so deadly but mysterious (was it the trees?) seemed so silly and inane – “Bird Box,” similar in concept, is a massive step up by comparison. “Signs” (2002) and “The Village” (2004) were big finale-twist flicks that tried too hard to emulate the skillful sleight of hand that Shyamalan’s classic “The Sixth Sense” did in 1999, but the artifice was obvious too early. “The Visit” (2015) resurrected my faith. It was something different, a horror-in-the-woods psychological thriller B movie with “American Gothic” granddad and grandma as class A homicidal nuts with warm smiles on their faces and cups of cider in their hands. “Split” (2016) seemed another quirky turn for Shyamalan akin to “The Visit,” as it focused on a disturbed young man (James McAvoy) who takes young women hostages, horrifies and fascinates them with his 20 or so personalities and ultimately mutilates them with a superhuman persona known as The Beast (both a physiological and psychological transformation). It felt like an intriguing one-off driven by a fantastic performance by McAvoy, showing range and humor you suspected he had but had yet to see – but wait, what’s that at the end? A tie back to Shyamalan’s 2000 superhero-among-us flick, “Unbreakable.”

If you missed “Split” but are a fan of “Unbreakable” I can give you the green light to proceed here and see “Glass” without hesitation. Bruce Willis is back as David, Philly’s working-class man of steel who, as the lone survivor of a massive train wreck, is somehow able to fall from great heights without a scratch. He’s still lurking on the streets in his green rain poncho, doing minor bouts of vigilante good and pissing off the police. Samuel L. Jackson, as the evil mastermind who blew up the train in “Unbreakable,” reprises his title character, Mr. Glass. It’s a nice reunion, but what do these rivals have to do with McAvoy’s Kevin Wendell Crumb? Well, Glass has been incarcerated in an asylum and drugged up for 19 years, while David, investigating a slew of cheerleader massacres, susses out the Beast & Co., nabbing him on the cusp of his next slaughter; for the effort, he and The Beast end up with Glass in the ridiculously low-security asylum. Enter Dr. Ellie Staple (Sarah Paulson) who for some reason has three days to convince the trio that their superhuman skills are delusions – and then, it’s implied, they all get to go free? Cockamamie convolution to be sure, but Glass, more obsessed with comic books and superhero history than Kevin Smith, believes his arch-villain magnum opus will be to break David and The Beast out and have them wage battle on the new Osaka skyscraper towering above the Philly skyline. (I kept thinking Nakatomi Plaza, more a lingering effect from my repeated Christmas viewings of “Die Hard” than Willis’ presence.)

There’s more to the too-long-to-get-to-the-point buildup than I care to explain, including the fact David has a son (Spencer Treat Clark) and that one of the survivors from “Split” (Anya Taylor-Joy) shows up; while they’re fine, they only add more stumbling blocks to an already clunky confluence. (I never got why Willis’ David always wore that vinyl rain poncho. To hide his identity? A thick vinyl rain jacked is a sauna, and too flimsy and vision-obstructing for real combat.) It’s not that “Glass” doesn’t entertain, but it does so mostly on the performance by McAvoy and, to a lesser extent, Jackson and Paulson, who’s not given much to work with. Willis strangely mumbles his through the film and never raises a brow above nonchalance, even when David first encounters The Beast. The most eye-catching of all is Shyamalan, who in a brief Hitchcock insertion makes Quentin Tarantino look like Peter Finch – “stilted” is the word. The film wraps with what’s supposed to be a cathartic coming together, but even that, orchestrated in a Philly train terminal with folks having a universal iPhone epiphany, makes about as much sense as the whispering trees in “The Happening.”

Aquaman

21 Dec

‘Aquaman’: Once we’re in the swim of things, there’s too much for newly hip hero to handle

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On film, DC Comics heroes seem to have heavier backstories than those from the Marvel Universe. You know: Most comes from another planet or an isolated island or underworld and could crush a human with a super burst of flatulence, yet somehow they love us, and there’s deep lore and rules we must be spoon-fed for at least 45 minutes before they ingratiate themselves into our society and ultimately take on the noble task of saving us from certain annihilation.

“Aquaman” is no different. Even before the buff surfer dude – Jason Momoa, who looks like The Rock draped in long tresses and with an extra battery of tribal tats – dips his toe in the water, we get a lighthouse caretaker named Tom (Temuera Morrison) toiling away in the chilly northern coast of Maine and one stormy day finding a beauty washed up on the rocks, glistening trident still in her clutch. This fantastic vision, something of a blend of Daryl Hannah in “Splash” and Gal Gadot in “Wonder Woman” is, in fact, Nicole Kidman with a touch of CGI to make her look more in her 20s than her current vintage – not that she needs it. Kidman is Atlanna, the escaped sea warrior daughter of one of the kings of Atlantis. After eating much of Tom’s goldfish Daryl Hannah style, the two become lovers and bear a son: Arthur, who on a class trip to the New England Aquarium is able to summon the biggest shark in the tank to scare the bejesus out of the class bullies.

The film, directed by James Wan – who cut his teeth on the “Saw” and “Fast and Furious” franchises – is a busy, busy affair. Think of it as swimming through an endless school of silvery fish. Atlanna is kidnapped from the rocky coast of Maine, a pirate by the name of Manta (Yahya Abdul-Mateen II) is out to kill the now mature Arthur/Aquaman in a poorly justified blood feud and there’s the seven kingdoms of Atlantis that Arthur’s half-brother King Orm (Patrick Wilson) wants to unite to destroy us land dwellers because of all the plastic and shit we dump in the sea. I can’t say I disagree, and in a neat payback trick he sends wave after wave of plastic bags, bottles and beer rings awash onto our beaches. Willem Dafoe has a role as Aquaman’s avuncular counsel and Amber Heard, toting a shock of Christmas-red hair, gets wedged between the bros as love interest. Dolph Lundgren even lends his square-jawed mug for a few nanoseconds as one of the seven kings.

Since this is an “aqua”-tale, much of it takes place below the ocean’s surface, except those early scenes in Maine and and one later in Sicily where the senseless destruction of ancient relics and structures will make archeologists in the audience reach for a vomit bag. The big undersea finale turns into the kind of wham-bam animated affair we’ve become accustomed to with films such as “Ready Player One” and “Avatar.” The wow factor is gone – it’s a bubbly undersea yawn.

Aquaman traditionalists, yearning for the stiff and square-jawed incarnation from Saturday mornings, are unlikely to be roped in. Momoa, who played the beefy barbarian incarnation Drogo in “Game of Thrones” as well as Conan in an ill-advised “Conan the Barbarian” reboot (2011), plays the part with a hip, feral flair. The character’s never given much of an opportunity to speak before his hands are busied. In shards, we know he has a sense of humor, making a “Fight Club” crack to break the ice with Heard’s undersea princess. The film’s funniest moment comes when our wet superhero walks into a New England biker bar. He can drink like a fish and the scene’s wrap-up is a smart departure, but after that it’s all down the drink.

Ant-Man and the Wasp

7 Jul

 

There’s plenty big and small in “Ant-Man and the Wasp,” and I’m not talking about the diminutive or gigantic sizes its superheroes can achieve – and do, often and to great effect – but the elements of film. On the small, there’s a hive of plot activity, but little of it resonates or at least feels fresh or smart. On the big (or gigantic) is a kick-ass ensemble that plays off its sharp leads smartly, with fervor and punch in every frame.

For those of you who missed the cornerstone “Ant-Man” a scant few years back in 2015, you don’t need to back up and catch that less interesting flick before diving in. What you do need to know is that “Ant-Man” is part of the whole Marvel Universe run by Disney and that the hero known as Scott Lang (Paul Rudd) sans the suit, is serving the end of a two-year house detention mandated by the FBI for his participation in a fracas over in Germany, seen back in “Captain America: Civil War” (2016). It’s also why Ant-Man didn’t put in a show in Wakanda this year for “Avengers: Infinity Wars.”

All of the crowd-pleasing heat of the film flows through Rudd and his quirky, blue-eyed likability, be it Lang’s wisecracking antagonism of an FBI caseworker (Randall Park, bringing the same sourpuss charm he’s made a career of on “Fresh Off the Boat”) who pops in for random house searches, or his parries with testy ant-suit inventor Hank Pym (Michael Douglas). The on-again-off-again romantic dynamic with Pym’s daughter Hope (Evangeline Lilly), which gave the first film a reason to be seen, bears fruit again and elevates Hope to superhero status as the other half of a bill that can shrink or enlarge. Hank’s also got a magic remote that can shrink cars and even entire buildings if properly configured; and there are those German shepherd-sized ants with massive mandibles that help run Hank’s shrinkable lab.

Fun stuff, but Hope and Hank newly believe they have a chance to rescue mother/wife Janet (Michelle Pfeiffer, who’s not in the film enough) from the quantum plane purgatory she’s been lost in for the past decades (there’s plenty of highfaluting mumbo-jumbo like this, and it’s best to just roll with it). The key to getting the right coordinates to her locale is implanted in Lang’s head through a dream or something of an out-of-body experience. To get there’s something akin to “Fantastic Voyage” (1966), but also one of the least interesting plot threads. Meanwhile, Lang, saddled with an FBI ankle monitor, has gone AWOL and there’s a Tom Wolfe-style restaurateur (Walton Goggins) who moonlights in black-market technology and wants Hank’s shrunken lab, while an entity known as Ghost (Hannah John-Kamen), ever angry and able to walk through walls, wants to disrupt the quantum plane quest for her own ends. Perhaps the most daunting obstacles are Lang’s ex-wife (Judy Greer) and daughter Cassie (Abby Ryder Fortson) who pop in via FaceTime at the most ill-timed moments looking for soccer cleats; even better is Lang’s security firm business partners, Luis (Michael Peña), Kurt (David Dastmalchian), and Dave (Tip “T.I.’’ Harris), who are both burdens and saviors, and quite effective as comic relief.

Peyton Reed, who test drove the cast for the 2015 outing, feels more comfortable and in control this go-round. The action sequences are seamless, funny and, with their use of big-small toggles, ever surprising and fresh. As much as Lilly gets near equal time – and she’s more than worthy – this is the Rudd show, and that’s not a bad thing; he’s just more the loose cannon, while the former “Lost” star anchors the film with emotional stability and grit. The combination of the personal and uproarious scenes such as Ant-Man summoning winged ants for transport that get picked off by a seagull put “Ant-Man and the Wasp” in the comedy-cum-action camp with the first “Guardians of the Galaxy” and “Deadpool.”

19 May

‘Deadpool 2’: Everything is bigger this time, matching his mouth, but not quite as fresh

 

“Deadpool” is back, and with all the irreverence of the last silly slap. But where the original was so uproariously self-deprecating, scintillatingly scatological and fresher than a boatload of day scallops, the part deux follow-up feels more like daily gruel. That’s something of a deeper disappointment because it’s helmed by stunt-dude turned action director David Leitch, who scored big with “John Wick” (2014) and “Atomic Blonde” (2017), but here seems content to simply extenuate what came before. The same happened with fellow Marvel upstart “Guardians of the Galaxy” (it’s from the Marvel Comics Universe under Disney, versus 20th Century Fox and Marvel Entertainment doing “Deadpool” and “X-Men”) and its sequel, a clear issue with the genre – brand something in a new and ingenious way, get the fans fired up and then keep feeding them what they know and desire until they gag on it. Then it’s back to the drawing board for a reboot or the next super franchise idea. Continue reading

Avengers: Infinity War

27 Apr

‘Avengers: Infinity War’: Marvel’s universe has built to a climax, which isn’t this movie

 

Some might find this a bit of a spoiler, but it’s really more of a public service announcement: If you go into “Avengers: Infinity War” thinking it’s a neat, trim chapter like “Avengers: Age of Ultron” or “Captain America: Civil War” let me set you and the record straight – this is a “Part One.” Somewhere around the two-hour mark of the two-and-a-half-hour running time, I thought to myself, “How that heck are they going to tie this all up in less than 30 minutes?” They do, kind of, with a massive smackdown on the grassy plains of Wakanda pitting warriors and superheroes against a limitless pack of mutant space dogs, but how it ends isn’t an ending. It’s not even like Han Solo getting frozen in “Empire Strikes Back”; the last scene simply ends. You expect another scene, but the credits roll.

“Wah!” you might think, but a quick walk through IMDB shows myriad actors employed by the Marvel universe have signed up for a mysterious “Untitled Avengers Movie.” I can help all the people at Disney and Marvel: Your untitled film’s title is “Infinity Wars, Part Deux.” Continue reading