Spider Man: Homecoming (2017) Review


     I remember the first time I saw Sam Rami’s Spider-Man back in 2002. The wow factor, the close proximity to the comics, even the joy that the movie made me feel. 

     Well, 15 years, six films, and 3 Spider- Men later I can say enthusiastically that the films finally got lighthearted and humorous which was something the franchise was sorely lacking. 

     Its been about two months since the events of Captain America: Civil War and Peter Parker (Tom Holland) is eagerly waiting for his next mission from Tony Stark (Robert Downey Jr.) while trying to balance high school and being a friendly neighborhood superhero. 

     After foiling a robbery attempt by the crew of Adrian Toomes (Michael Keaton) a former government contractor, Spider-Man is put to the test if he’s actually cut out to be a hero. 

     I believe its safe to assume that a lot of fans of Spider-Man have mild reservations about giving this movie their time and money consider how underwhelming the last few entries were. And that’s fair. As someone who doesn’t mind seeing the same character on screen, I just always hope for a different take or story to make it worth my while. 

     And holy shit, I got that here. 

     First off, the origin story has been reduced to a couple of lines. Parker is 15 years old and still in high school. Like for the entire movie. A lot of the movie feels like (because it is) a high school movie that took some inspiration from John Hughes. They even have a school dance (a Homecoming dance…) in the flick, for God’s sake!

     Tom Holland as Spider-Man is the best interpretation of the character I have seen yet on film. Some of the movies gloss over or just plain ignore the fact the Spider-Man is just a child. He really should have no business being a superhero. Holland manages to play the awkwardness of the character to such perfection, that I accepted him readily as the character more than Tobey Maguire and Andrew Garfield. Might have to do with the focus being on high school, but it was easy going for me. This is the first time in a movie where I actually felt scared for Parker, where in the third act especially, I saw the boy’s fear in his eyes, trying to be brave, but he’s still just a 15 year old kid. 

     The true revelation of the film is Michael Keaton as The Vulture. This should have been a thankless, bullshit paycheck role, oh but not with Keaton. He infuses his character of Toomes with humor, sheer villainy, pathos and humanity into his role that any lesser actor would have slept through. The man in many respects was too good for the role. I mean, its the fucking Vulture! He was B-level villain, and that’s being much too kind. Every single damn time the man just commanded my attention. I have to refrain myself from too many spoilers, but you’ll know the scenes I’m referring to because you won’t be able to blink. 

     I was certain that the Marvel Universe references would be a distracting nuisance, but it fit seamlessly into the story. Tony Stark felt organic, appearing appropriately enough that it doesn’t become less of a Spider-Man movie instead of Iron Man 4. It helps to know the players, but its more self contained as a story than other Marvel films. 

     Homecoming had a lot of hurdles to get through in my eyes, but it damn well got over them. It’s so different, so humorous, that when the credits rolled, I laughed out loud and had a smile on my face as I went home. 

     Welcome home, Spider-Man. 

Baby Driver (2017) Review

     Edgar Wright is a god damn artist. The writer-director of Baby Driver has made other incredible films in the past, but here. Here. The man has ascended to the entirely other level. What should’ve been standard genre fare has been delivered to us as one of the best films of the year, bar none. 

     After suffer from a terrible car accident as a child that left him with tinnitus, Baby (Ansel Elgort) is the best getaway driver out there. Using music to drown out the ringing in his ears, he masterfully navigates the streets to pay off his debt to Doc (Kevin Spacey). But with one more job left and a beautiful waitress (Lily James) giving him purpose, he quickly learns that there are no clean getaways. 

     Edgar Wright has always been the kind of fimmaker who both embraces and skews the conventions of any given genre be it Shaun of the Dead, Hot Fuzz, or Scott Pilgrim vs. The World the man’s love of filmmaking is embedded into every single frame of the films he makes. 

     I can’t recall any recent film where the editing is so meticulously put together to the soundtrack of the movie. I mean everything from gunshots, to revving engines to even the actor’s body movements are all precisely timed to the soundtrack. It just manages to suck you in and without even trying, gets you to focus on the story’s unfolding of the events. 

     All of this shit, as fucking incredible as it is, wouldn’t mean anything if it wasn’t for the acting that’s on display here. Jamie Foxx is subtly terrifying as an unhinged member of the crew. Spacey just effortlessly commands every single scene he’s in. I don’t know another actor that comes off so confident. 

     Esgort’s Baby comes through perfectly written, believable, sweet especially in scenes with James’s Debora but the relationship that gave the movie an unexpected depth and warm heart was Baby’s relationship with his foster father Joseph played by CJ Jones. It was this storyline that made me root for Baby and for him to ride off into the sunset. 

     Maybe a lot of people won’t care that the movie is a throwback to the 70s line of heist films, but no one can deny that the movie is thrilling, funny as hell, and the best car chases I’ve seen in years. And you can actually see them too! No shaky cam bullshit. The film is fresh and original and I need that soundtrack in my life. 

Cars 3 (2017) Review

     Over this past decade I have actually come to have an affection for the Cars series (thanks to my nephew). Yes, even the much reviled Cars 2. But now we’ve come full circle with Cars 3 and I can see it being a bittersweet entry for the fans who grew up with Lighting McQueen. 

     Lightning McQueen (Owen Wilson) seems to be on his last legs. With a new racer named Jackson Storm (Armie Hammer) who is just plain faster than McQueen, causes him to question whether he can still cut it in today’s racing. With help from Cruz (Cristela Alonzo) a new trainer to help him back to the top. 

     I am such a sucker for the apprentice becomes the teacher stories, especially in franchises. The story has come full circle (hilariously) as McQueen trains his trainer. 

     Gone this time around is the grand scope of the previous film, and a return ro the small, intimate nature that gave the original its charm. Its more retrospective, even a little sad as Doc (Paul Newman) is referenced throughout the film and it brought the real theme of time fleeting. 

     Speaking of Paul Newman, Cars 3 did evoke some memories of The Color of Money a sequel to The Hustler. Now, Lightning McQueen was never disgraced like Fast Eddie Felson was, but the passing of the torch was reminiscent of it.  

     This is by no means a perfect film and Pixar has obviously made much better films, but the movie is light, inoffensive, and quite frankly, a little deeper than it had any business being. I finished the movie with a smile and that’s a lot more than most films this summer. 

Pirates of the Caribbean: Dead Men Tell No Tales (2017) Review

     I  thought that by the 4th sequel to a 15 year old franchise would make you want to question your life choices. Considering that the last one, On Stranger Tides, was a bland, uninspired affair. Maybe it’s the fact that my bar was lowered in every respect, it was delightful that Dead Men Tell No Tales is easily the best of the sequels. 

     The adventure this time around involves Henry Turner (Brenton Thwaites) the son of Will Turner (Orlando Bloom) who has made it his mission to break his father’s curse. The only way to do it is to find the trident of Poseidon. And yep, only Captain Jack Sparrow can find it along with a woman named Carina (Kaya Scodelario), and of course, Captain Barbossa (Geoffrey Rush). And what tale wouldn’t be complete without some unbridled vengeance against Sparrow, by Captain Salazar (Javier Bardem)?

     Every Pirates movie features some young punk on some quest for something (Davey Jones’s Locker, a coin, pussy) but this time around its something fans of the series are actually invested in: the freedom of Will Turner). It almost felt like all the previous movies were just a build up to this one. When referencing the legends told about Jack, we know these tales because we saw fucking saw them ourselves. It just added to the experience instead of making up some bullshit adventure, involving some bullshit character, for some bullshit reason. This time we actually give a shit. 

     Bardem’s Salazar is a foe worthy of his vengeance, and the first villain that actually creeped me out. A charming rogue with a clear and relatable motive. And the humor is actually funny this time around (who knew humor had to be funny to work), with Depp’s Sparrow actually coming off as inspired, rather than picking up a pay check. His would be execution scene pretty much set the tone that this movie is going to be silly. Really fucking silly. 

     Even looking back on it now, and the others, I realized that Dead Men Tell No Tales is going to be the installment that I’m genuinely going to watch more and more. Seriously, who knew that it took 4 more films for the series to get great again. I know, because I seen it! 

Twin Peaks (2017) Review: Episodes 1-2

     “I’ll see you in 25 years”– Laura Palmer. 

     That line. Jesus. I’m still reeling from this premiere. The short of it is that this is pure David Lynch: its not what I expected, while at the same time being exactly what I expected. 

     If that doesn’t describe what David Lynch is (or co creater Mark Frost), I don’t know what does.

     To attempt to keep the spoilers to a minimum, I’ll just rundown some bare bones elements. Cooper (Kyle MacLachlan) is still in the Black Lodge as predicted by Laura Palmer (Sheryl Lee) 25 years ago. Now it appears that there is an opportunity to escape. Meanwhile, there’s a new mystery that seems to have popped up with a high school principal played by Matthew Lillard embroiled in a murder plot involving his possible mistress. I don’t know, I don’t trust anything laid out in front of me. 

     So getting that out of the way, David Lynch wasn’t fucking around when he said that he wanted each episode to be a movie in its own right. It pretty much is though. 

     What really gets me to be honest, is that all of the events in the Black Lodge feel like continuations of the original series, while the new storylines, as it were, have a wholly different feel from before. Lynch was wise enough to see that the soap opera satire that helped to define the original, was no longer relevant in today’s era. 

     With network restrictions a thing of the past, this series goes into the surrealistic imagery with an abundance of reckless abandon. Nothing seems to be held back, well, for the moment at least. As soon as I heard the eerie talk from the Other Place, I knew we were back home. 

     I have always attempted to make the point that it isn’t coherency that makes David Lynch projects special, but the emotions evoked from the incoherent images. There is an epicness in scope; with Twin Peaks itself getting a little short changed at the mement in these two episodes. 

     In all purity, the emotions that this series got me to explore was fascination and fear. Lynch was never one to shy away from horror, and he makes me feel uneasy. I was truly sad though that Sheriff Truman wasn’t there, and that the Log Lady was so frail (The actress would pass away after filming her scenes). But more than anything I was sad about Coop. He never deserved to end up there. 

     As melancholic as I may make this sound, I am already in love with this Twin Peaks. The murder mystery set up feels right out of Lost Highway. Hell, the cinematography feels like a cross between Mulholland Drive and Inland Empire. The sound design is pure Lynch, it felt like being right at home. And as always the choice of music is just sublime, with an 80s aesthetic, commonly used, even though it was a Lynchian trope dating back to Blue Velvet. 

     I can only truly recommend these episodes to fans of David Lynch, not just Twin Peaks. The show is much different now, a more unhinged beast of not giving a fuck. I have no god damn clue what the fuck is going on, or even where it’s going, and that is exactly what I wanted out of this revival. Mr. Lynch, Mr Frost, wecome back. 

     

Guardians of the Galaxy vol. 2 (2017) Review

     From the opening scene I knew I was going to be in for a fun ride. Living in an age where its all about the dark, gritty, painfully serious, tortured superhero film, it’s such a refreshing take when you can laugh and smile at a sentient baby tree dancing his ass off. 

     That’s the kind of joy that you cherish. 

     It’s been only a few months since the last film, when Star Lord (Chris Pratt) finally comes to meet his father Ego (Kurt Russell) and he’s happy as can be. But Gamora (Zoe Saldana), Drax (Dave Bautista) suspects something else is afoot while Rocket (Bradley Cooper), Baby Groot (Vin Diesel) and, somehow, Yondu (Michael Rooker) are being chased down by the Sovereign race for stealing batteries. 

      Yeah, you read that right. 

     I don’t know what surprised me more; the absolute fun I was having, or the unexpected depth there was to a story with a giant living planet. 

      Make no mistake, this is a father/son movie through and through. Here’s that rare sequel that took the foundation of the original film, and actually expanded and built upon what came before it. This felt like more of a continuation than just a straight up sequel. 

     A lot of love has to be given to one of the most underrated actors in Hollywood, Michael Rooker. His Yondu got such an emotional upgrade in this entry, adding more humor, and dare I say,  a warmth that was lacking in the character the first time around. 

     No one other than director James Gunn could have made a film like this one. I just came to accept that the Marvel films have to play it a little safe in order to keep the brand going, but Guardians of the Galaxy vol. 2 clearly shows that you can take thematic risks, like the perils of fatherhood, the fear of abandonment, to new fucking pop culture heights. 

     I didn’t expect this movie to be on par with the last, and I sure as shit didn’t expect to be wiping tears from my eyes, especially to a movie with a baby tree dancing his ass off to ELO’s Mr. Blue Sky. 

     Well Marvel, you raised the bar again. Now fucking keep it there. 

The Ridiculous Joys of Mystery Science Theater 3000

On April 14, 2017 something happened. After 18 years, Mystery Science Theater 3000 returned to effectively grace our screens, simultaneously enhancing and ruining the moviegoing experience for all. 

     The series has always followed some poor dude up in space being forced to watch shitty movies, usually of the horror and sci-fi genre, by some crazy scientist in the name of… well science. Said dude is joined by robots Gypsy, Tom Servo, and Croooow. (Its just Crow). The opening song literally sings to you the whole premise of the show, so I don’t know why I just did that. 

     Anyhoo, this show is the definition of cult series, because not everyone will like. Most don’t, but once you experience it and embrace it, so much fun can be had. 

     I had written before about the sheer joy and lunacy of the Midnight Movie, and it’s now available on Netflix. This show, along with Monstervision, were the Midnight Movie shows for me (they never aired at midnight). 

     Watching the first episode of the new season of Mystery Science Theater 3000, I was hit with the realization that my love of unbelievably shitty films steams from this series. With the ungodly amount of bad films I’ve seen over the years, the show gave me a tool that has endured me to survive: the gift of laughter. 

     I had never seen a show where characters talked back to the screen, making witty asides that would make Oscar Wilde green with envy. Nothing can top a well delivered joke in line with the films being watched. There was never a show like this before, and I’ll be damned if there was ever a show like it since. It’s truly a unique creature, built from television and cinema. 

     Even with the show’s move to Netflix, its the same thing as before! Believe me this is such a great thing. Mystery Science Theater 3000 changed the way an entire generation watched and experienced films, the unsightly horrors from the voids of space. I’m just giddy. 

     I’m hoping a new generation will now pick up the series and have its imagination fucked with, much like mine was. And while I’ve been lamenting this whole “Reboot” fever, I’m not gonna say a bad word about this trend. Reboot All in the Family, I don’t give a fuck, I got Mystery Science Theater 3000. 

     The world isn’t such a bad place after all. 

T2: Trainspotting (2017) Review

     It’s incredible how 20 years went by in a wink. How we all reach a point in our lives, and wonder where the hell it all went. 

     T2: Trainspotting is a shockingly stunning follow-up to the original, catching up with the core group consisting of Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) twenty years after Renton stole 16,000 pounds from his “so called mates”.

     This leads to not just Renton to confront his past actions, but the others as well, some in jail, some running hustles, others attempting suicide, just the usual stuff. 

     Much like the original film, the film is light on plot, but man is it heavy on the characters. This is a great thing, actually, its downright refreshing. One of the few films in years where I didn’t see the actors on screen but the characters I’ve known and loved for two decades. 

     I finally got to see my friends again. 

     I need to put these doubts to rest, something I lost hope in ever writing; A sequel that actually treats its audience with respect. 

     The first thing I was worried about was that this film was going to negate/undo the growth and catharsis of the original, shitting on the iconography that I held so dear. 

     It didn’t. My God, it actually works as a companion piece to the original. Can you a imagine, a follow-up twenty years later and it’s not a cash grab? It’s actually about something? 

     As someone who grew up watching Trainspotting the themes of regret, anger, and worthlessness hits close to the heart. That you can only run for so long before you have to stop and face it. It resonates so deeply, even I’m not sure I’ve fully processed it. 

     I can’t believe that director Danny Boyle had a film like this in him. He manages to avoid the pratfalls associated with going back to the well and made an original work that isn’t a retread of his glory days. He didn’t make the same movie twice, he gave this entry its own voice with an energy that I was sure wouldn’t even come close to the original. 

     There have been so many films, so many filmmakers who have tried and failed spectacularly to recapture the iconography of their past, or the churning out of retro properties from long ago youth, that I almost wanted to laugh at how Danny Boyle made a movie about the yearning for the past. And how terribly sad such an endeavor is. 

     It’s always about the future, it’s always about having hope. Its about choosing life. 

     

Blumhouse Productions has Lost their Fucking Minds on the New Halloween Movie…

     Alright this isn’t new news; I seriously needed a couple of weeks to process this. I’ll try to articulate this as best as I can. 

     I already wrote about how Miramax lost the rights to the Halloween franchise because it shouldn’t take you over half a fucking decade to release an installment, and they deserved to lose their cash cow. Assholes. 

     Well, it was announced awhile back that John Carpenter was going to return as a producer and maybe composer. Blow me, just make the damn movie. 

     The last idea that was thrown around was having The Shape about to be executed for his rampage back in ’78, with the kid of one of the investigators being trapped in the prison. It’s a good idea that got tossed before I could even get excited. 

     I’m just having Myers withdrawals. 

     It was announced that David Gordon Green (Pineapple Express) is going to direct and co-write the script with Danny McBride. 

     Danny McBride. 

     Danny Mc-fucking-Bride.

      Yes. This fucking guy. Kenny Powers himself is going to write the new Halloween movie. 

     Let that sink in. 

     I’m just… What the fuck…? Oh, so we’re clear, I’m not upset that he’s doing the movie. I’m all for actors and writers doing something out of their comfort zone; I’m losing my shit because this needs to happen! This:

     Its fucking crazy! And McBride knows some dark shit, as a lot of comedians do, so I want to see these guys tackle the Shape like they got something to prove. Imagine that: a Halloween flick made by passionate filmmakers? Don’t let me down fuckers, make this shit happen! I don’t give a shit if the movie sucks, I just want to see how this will turn out! Blumhouse has killed it recently with Split and Get Out so make the movie already, Fuck! 

Get Out (2017) Review 

     Ever since I was in my early teens, and I caught a showing of Night of the Living Dead on tv, I was floored. The flick is terrifying, but what stands out the most is that the main character of Ben is black man. In a film made in 1968. Well, to be more accurate, what stands out is that Ben survives the night, only to be shot in the head by a posse with checking if he was undead first. It was sad, and left me in shock. 

     Jordan Peele’s Get Out is evocative of the social commentary that Night of the Living Dead had. Some overt, like the opening, some more subtle, like the attire worn at the party, but its influence is all over the picture. 

     Chris (Daniel Kaluuya) is nervous to meet his girlfriend, Rose’s (Allison Williams), parents because they don’t know he’s black. But not to worry, Missy and Dean (Catherine Keener, Bradley Whitford) are those cool white liberals that are so understanding. Even if there is something off about them…

     As Ipreviously mentioned, I love a horror film with some social commentary, and a big deal has been made about Get Out’s message on interracial matters, but that shouldn’t be the first thing to look at. Competency, and skill as a horror film should be looked at first, and done well, or no matter how powerful your statement is, it will falter. 

     Jordan Peele knows his horror films, Jesus Christ. 

     Peele knows that a horror film’s success or failure depends entirely on its pacing and editing. John Carpenter’s Halloween being the prime example. Peele is aware of when to hold back, when to drop hints, and to actually have likeable sympathetic characters. It’s like a foreplay before the big climax. 

     Luckily, the performances serve the material so well; Keener and Whitford know exactly the right balance between sweet and creepy. Right out of the gate, you know something is wrong, but they’re so nice (perfect metaphor for race). Kaluuya’s performance as Chris hits his beats perfectly. He is the conduit for us, the audience, and its been such a long time that I felt scared for a character in a horror movie, much less one that I was actually rooting for. Trust me, that’s all too rare. 

     I’m so happy to see a filmmaker make a film that is evocative of the horror films of the 60s and 70s, one’s were filmmakers put their fears on screen for us to experience. And Get Out is one hell of an experience.