The Reel World

I don’t believe any of us could have predicted that global phenomenon that the John Wick franchise would become. I mean, on its surface, it’s a movie about man avenging his dog. However, each film has peeled back a layer of the fictional underworld created in the film, drawing us deeper and deeper into this well-crafted universe. In the first film, we were teased about this world’s existence. In the second, we learned about the rules that govern it. In the third, we learned the consequences if you break this world’s rules. And in this likely final installment of the franchise, we see what happens when this world declares war on you. Keanu Reeves reprises this character for the fourth time, doing exactly what he’s done for each installment; literally putting his body on the line to deliver an action-packed and epic performance. Joining him are the Wick universe veterans, Ian McShane, Laurence Fishburne, and most notably the recently departed Mr.Lance Reddick. Rounding out the cast are the Wick universe newcomers, many of whom are action stars in their own right, such as Donnie Yen, Scott Adkins, Hiroyuki Sanada, Shamier Anderson, and Bill Skarsgard. If I can for a moment, I would like to return to the subject of the recently departed Lance Reddick, who had been a part of the franchise from the very beginning. In John Wick Chapter 4 this tragedy came as a complete shock and made his character’s ultimate fate all the more impactful. I’ve been a fan of Mr. Reddick dating all the way back to The Wire, and I followed his extensive career from Fringe to Bosch. I intend to cherish his upcoming posthumous appearance, which include appearing as Zeus on the Disney+ remake of Percy Jackson and the Olympians, the theatrical remake of White Men Can’t Jump, as well as the posthumous release of his reprisal of his Wick character in the continuation film, Ballerina.

Last we saw John Wick, he’d barely survived the betrayal of Winston, the New York Continental’s manager. Taken in by the by the freshly-scarred Bowery King, the two seemed to be hatching a plan to declare war on the High Table, the hierarchy which governs the criminal underworld. As the story picks up, John Wick, newly recovered from his injuries, strikes a massive blow against the High Table, essentially declaring war against them. In response, the Table unleashes a dangerous enemy to kill in the form of senior member Marquis Vincent de Gramont, who essentially scorches earth to kill Wick and anyone helping him. Still excommunicated and with very few friends or resources left, it’s John Wick versus the entire High Table and its limitless resources. Sounds like a fair fight, right?

I know that we all know that the DC universe is going through a bit of a revamp right now. I’m sure we’ve all seen it, with the cancellation of the Batgirl movie and the getting our hopes up over the prospect of Henry Cavill’s return to the fold, only to be crushed when it was announced that the studio was going in a different direction. We all have our feelings about it. That said, if there was a franchise that I would recommend keeping around, it would be the Shazam films. I know, I know, I’m surprised by this revelation too, but the thing is, this franchise of them all was the one that took me by the most surprise. I wasn’t expecting to enjoy it. Prior to the release of the first film, the character of Shazam (a.k.a. Captain Marvel) had been nothing more than a background character that I’d observed in the animated films and shows. I even questioned the wisdom of introducing a character like this when DC was behind the curve in comparison to Marvel. I thought they should focus on building up the main Justice League heroes so they could get back in the race. Then in 2019, I went and saw this , and it won me over. It gave the DC universe a dose of lightheartedness. Zachary Levi was a fantastic choice for the character because all the quirks and awkwardness that made NBC’s Chuck a gem were on display in our plucky hero. And now with Shazam: Fury of the Gods, DC just keeps that train rolling. The addition of Helen Mirren and Lucy Liu as the antagonists, the Daughters of Atlas, was a bold and interesting gamble, given that they do not appear in the comics, and are actually original characters created for the film. Yes, I did a bit of research.

When we last left off, Billy Batson (Asher Angel) had finally become a member of a family after a lifetime running away from them in order to find his birth mother. Solidifying his bond with his new family, he elected to share his power with them and create the Shazam family. Picking up years later, Billy, who is on the verge of aging out of foster care, worries as everyone begins drifting apart due to them all growing older and developing their own personal interests. This drifting also affects their heroism, as despite having the best of intentions, they begin doing more harm than good, causing the public to view them negatively even though they save countless lives.

We knew it was coming, a new chapter in the Ghostface franchise that has been a staple in the horror genre since the first Scream released back in 1996. Over the years we’ve gotten to see our favorite horror fan/serial killer terrorize the citizens of Woodsboro and even venture out to LA when he terrorized the film set of Stab (you know, the movie within a movie). It was only a matter of time before our killer ventured out of Woodsboro again, and this time he follows in the footsteps of another masked killing icon, Jason Voorhees, as Ghostface sets out to terrorize the Big Apple in Scream VI. Last year’s Scream I felt did a good job at rebooting the franchise (or worked as a requel) and worked as a way of passing on the torch from Sydney and Gale to the next generation, Sam (Melissa Barrera) and Tara (Jenna Ortega). This new film will also be the first time Sydney doesn’t make an appearance on screen, though we do thankfully have Gale (Courtney Cox) and Kirby (Hayden Panettiere) returning in their “legacy” roles. Does Scream 6 manage to impress with the new cast and new locale, or does it take a misstep as Jason Takes Manhattan did for its franchise?  Well, to be fair, it kind of did both.

It is crazy to think just how big of a year 2022 was for Jenna Ortega.  She started the year off strong with her role in Scream; then she was great in the cult hit X from Ti West; then there was Wednesday, which really put her over as a star, and with the momentum her career path seems to be on, I’m expecting her to reach A-list status shortly. What I really enjoy about her character, Tara, is she’s not just a younger version to replace Sydney. This is a well-written character who a modern generation can root for and care about.  Then there is Sam, the older sister who is not just recovering from discovering her ex-boyfriend was a homicidal maniac but is still haunted by the fact her  father is Billy Loomis, one half of the original Ghostface killers.  Its this relationship that anchors this new film, and when we catch up with them, there is a wedge that is building between them, because Sam is being overprotective and Tara is wanting to rebel now that she is away for college and just wants to move on from her past trauma. Just this element alone and how it is handled elevates this film from the typical franchise sequel and had me happy. Also returning are the brother and sister duo of Mindy (Jasmin Savoy Brown) and Chad (Mason Gooding), who are attending the same college as Tara; you know, survivors got to stick together. The writers seem to be having more fun with these returning characters and basically do a great job of making Mindy a more toned down version of her uncle Randy.

I would be remiss in my duties if I didn’t address the elephant in the room first. For the first time in the nearly 50-year history of this franchise, Sylvester Stallone was not featured in the film as Rocky Balboa. We could delve into the reasons behind why he elected not to take part in this installment, but that would be a review in itself and take away from this film. I mention it off the bat, so we can all process it and view the film with clarity. Long story short, I will say that his absence was noticed, and he was missed. I think his absence is notable due to the lack of an explanation as to his absence. I suppose the film being set in Los Angeles instead of Rocky’s native Philadelphia is meant to serve as a workaround, but still, I’d hope for some kind of explanation or at least a casual mentioning of the character. The lack thereof is what really drew attention to it. To be fair, the case can be made that that the previous film provided a pretty good conclusion for the Rocky chapters of the franchise. Him finally making the trip to meet his grandchild was good catharsis for the character. What this means for the future of the franchise now I will not speculate; only to say that there is nothing saying that we’ve seen the last of Rocky. Now that we’ve gotten that out of the way, we can concentrate on fairly assessing Creed III.

Of significance, this film signifies Michael B. Jordan, our titular character, stepping behind the camera to make his directorial debut. But who better to take the helm than the man who brought the character to life. This in my opinion was a solid debut for Jordan and showcased his abilities both in front of the camera and behind it. Returning to back Jordan up on the screen are Tessa Thompson, Phylicia Rashad, and Wood Harris. However, if there was one person who outshone this cast of Creed veterans, it was the man who was making a debut of his own via his introduction into the Rocky franchise. A man who has been making quite the name for himself. Creed III introduced us to Adonis’ rival, Damian “Dame” Anderson, but known as Mr. Jonathan Majors.

Not since Snakes on a Plane has a title for a movie  been so absurd that I just had to see the movie. While Snakes on a Plane delivered on its B-movie camp, it was still kind of a bad movie no matter how hard Samuel L Jackson seemed to try to carry that film.  Cocaine Bear embraces its absurd title, and it goes over the top and beyond with a black ear ingesting more cocaine than Tony Montana would ever dare to snort. The film is loosely based on true events, the truth being that a drug runner did die while tossing numerous bags of cocaine out of a plane in 1985 and that a bear was found dead after ingesting a large quantity of cocaine. This film attempts to rewrite history by posing the “what if?” that the bear encounters many unfortunate humans while on its cocaine binge.  For me the moment I heard they were making this a movie,  it was on my radar. I mean, this is the kind of storyline that gets me grinning ear to ear, because I know it has the potential to be great if put into the right hands. The Broken Lizard gang (Super Troopers) or David Wain (Role Models) would have been my first guesses at who would snatch up this project, but when I heard Elizabeth Banks was going to be at the helm, I’ll admit I was a bit hesitant. As an actress I love her work, but behind the camera she had Pitch Perfect 2, which was of course successful, but let’s face it, I’m not the film’s demographic. Then she had the recent Charlie’s Angels reboot, and we all know how that did.  I wanted to remain optimistic till I at least saw the trailer to see how she’d tackle the project, because honestly this was either going to be a hit or a miss, but when I saw that trailer my worries were put at ease, and this was back to being one of my more anticipated movies of the year.

The film opens up in 1985 over Georgia, and we see Thornton (Matthew Rhys) tossing the cocaine-filled bags out of the plane and then his unfortunate (yet humorous) demise. We  then get to met  a charming couple that is on a hike in the hills of Chattahoochee, Georgia. They are the first to cross paths with the “cocaine bear”, and, well, let’s just say nature isn’t too kind to them. While these opening minutes set the tone of the film, buckle up, because things are only going to get crazier as the film progresses. As for the actual plot of the film, it is a bit of an ensemble piece with a bunch of characters that are doing their own thing, but the “cocaine bear” just is wreaking havoc and is simply making everyone’s bad day even worse.

I think it’s best that Ant-Man and the Wasp: Quantumania is the last in the series. That is not meant as a condemnation of the film; in my opinion after this outing, it is hard to see how the series fits into Marvel’s overall plans. I’m sure Ant-Man and the Wasp will be featured in the future Avengers movies, and that is fine, but as a solo vehicle, this film kind of showed that the prestige for this franchise has faded. When the first film was released, I was skeptical of what value it could bring to the franchise, and I was pleasantly surprised and enjoyed it far more than I expected to. The sequel was decent enough, while in some cases lacking some of the comedic elements of the first one. This time, the film seems to have lost all the lighthearted humor and felt forced. Rudd does his best to endear the character to the audience, but in this incarnation, he feels more like a secondary character in a film where he plays the titular character. Then there is the other titular character, the Wasp, a.k.a. Evangeline Lilly’s Hope Van Dyne. Her role, too, feels reduced. When the two main characters become the least significant characters in their own franchise, I believe that signifies that the writing is on the wall. It’s time to hang it up.

That said, there were still things that I greatly appreciated about the film. Most notably, another opportunity to observe Jonathan Majors as a villain. His introduction in Loki garnered a lot of intrigue, and despite that short appearance, it was clear that he was going to be a significant force going forward. It left us starving for more, and he did not disappoint on this second outing. In fact, I’d go as far as to say that he became the biggest draw for the film. Jonathan Majors is an actor who seems to have exploded on the scene. He brings something different to every performance. This is a quality that is greatly appreciated, and needed given the person that he is portraying. This version of Kang is not the version we met in Loki. In Loki, we met He Who Remains; here we are being introduced to the Conqueror for the first time. The film does a great job of building up the mystique of the character long before we see him on the screen via the fear that characters such as Janet Van Dyne (Pfeiffer) exhibit at the mere mention of him. And then we see him, and he embodies everything that you want in a Marvel villain. Majors delivers a compelling performance. Though his interpretation, Kang has a quiet strength. He hardly raises his voice, but he intimidates you all the same. There is an intensity to him; the smallest gestures have deep impact. A perfect example of this is shown when he disciplines an underling for stepping out of place. He barely twitches a finger, but the end result demonstrates why this character is as feared as he is. Only Majors could command that kind of presence in my opinion. Presence is what the franchise needs as they look to reestablish their dominance following the epic conclusion of the Infinity Saga. As we enter the Multiverse Saga, I believe Majors will be relied on greatly to propel the franchise forward, and I have no doubt that he is up to the task.

"You see, the four of us have a very important job to do. In fact, it might be the most important job in the history of the world."

What is it about a cabin in the woods that makes it a good place for the apocalypse? When I think of those isolated cabins, I think of good ol' Abe Lincoln or a group of guys bonding over a fishing/hunting weekend. But when it comes to folks like Joss Whedon or now M. Night Shyamalan, they see disaster. Where I see a day on the lake, these guys see the end of the world. It's not like Shyamalan hasn't brought us there before. The box office bomb After Earth comes to mind. So what about his latest effort, Knock At The Cabin? The trailers appear to pretty much give the plot away, but pleasantly there's a little bit more to it than that. I'm a huge fan of the man's mostly early works. The Sixth Sense, The Village, Signs, Unbreakable, and even the more recent Split and Glass are all first-rate films in my book. But lately it's been more hit than miss from the guy who grew up in the same Philly area playpen where I grew up. So, flop or fantastic? Knock At The Cabin falls somewhere in the middle, which is a new experience for me from a Shyamalan movie.

"She doesn't look confused. She just looks demented."

One of the problems about this job is that we spend so much of our time at the end of the year watching so many serious films for awards considerations and the like that by the time the year is over it starts to get a little too heavy. I always look to try to start my new year with something fun and entertaining. I just want to sit down and have a good time while watching a movie. Akela Cooper and James Wan have written the perfect prescription for that critic malady, and director Gerald Johnstone delivered the proper dose. There's nothing great or grandiose about M3GAN, but if you're in need of a good time at the movies, this will cure what ails you.

"The way of water has no beginning and no end."

We all know better than that, don't we? It's been 13 years since James Cameron first brought us to the moon planet of Pandora. What I remember most from that 2009 experience was the milestone breakthroughs in filmmaking that Cameron brought to the screen. Avatar reinvented 3D for theaters and created a new wave of 3D releases thanks to a technology that made the experience smoother and allowed us to enjoy the spectacle in a whole new light. Cameron also brought us some wonderful innovations in cinematography, motion capture performance, and the nearly seamless blend with the computer-generated artificial and live-action photography. It was a marvel, to be sure. What I didn't walk away from that experience with was a strong emotional connection to the story or characters. I've often called it The Smurfs version of Dances With Wolves. The story never really grabbed me and, for me at least, the film remained nothing more than the technological marvel that it was.

With Thanksgiving in the rearview mirror, that can mean only one thing; that Christmas is just around the corner. Normally this time of year the theaters are filled with movies that are either A) jockeying for awards consideration or B) are big-budget blockbusters, and then if you are lucky there are a few holiday films sprinkled in for good measure. It has been a while since there has been a holiday film that has appealed to me. Some of the best ones in recent memory are Better Watch Out (2016) and Krampus (2015), so I think it is fair to say we are long overdue for a great Christmas film.  At first glimpse, Violent Night doesn’t look the part of what you’d traditionally call a Christmas film, but even the trailers for the film market this as a mash-up of Die Hard meets Home Alone, and that’s exactly what you get, and it is gloriously violent and heartwarming.

When we first meet Santa (David Harbour), he’s taking a break from delivering presents and is in a bar enjoying some drinks. This isn’t the cheerful Santa with rosy cheeks and filled with the ho-ho-ho holiday spirit; instead he’s a jaded and broken-down man who has become cynical about what the world has become. This opening scene does a fantastic job of setting the tone of the film, and seeing Harbour in the full Santa costume and makeup just makes me happy, as much as I love him in Stranger Things, I think I’m always going to see him as Santa because of this film.