The Reel World

"The thing is, I was born brilliant, born bad, and a little bit mad. I'm Cruella." 

Growing up just about every kid I knew saw 101 Dalmatians in one form or another. It was released the year I was born, so I didn't get to see it originally on the big screen. Still it was a part of those magical Disney features that found a way to reach you and eventually into your heart. While the film's stars were the dogs, of course every good story needs a good villain. The villain in 101 Dalmatians was the white/black split-haired Cruella de Vil. With the help of an iconic Sherman Brothers' song children would be able to tell you about it in verse. You're left with the idea that "if she doesn't scare you no evil thing will". There was a sequel that wasn't so good, and that horrible live-action version back in 1996. After that dismal failure it appeared we were done with the dogs and the fashion designer who wanted to make a coat out of the adorable puppies. We were but lately Disney has been in the thrall of two trends. They are remaking all of their animated classics into live-action, or at least CGI-action films. They have also traveled down a path to redeem the lady villains of their films. There have been mixed results with an awful version of The Lion King and an amazing version of The Jungle Book. Maleficent set the bar high for the telling of these bad girls’ origin stories, and it's going to be hard for Cruella to match up. Did it even come close? I'm glad that you asked.

If it feels like you’ve been waiting a while for this film, well, you wouldn’t be wrong. Originally the plan was to release the film March 20, 2020 but this would be one of the first of many films that would be shelved due to the pandemic. There was talk about possibly releasing the film on one of the numerous streaming services out there, but thankfully it was decided to hold out till the lockdowns would end and movie theaters would open up wide across the US. It’s been a long wait for this highly anticipated sequel. Was it worth it?  I didn’t review the first film, but while I wasn’t exactly blown away by the film the first time around, as I’ve revisited the film I have to admit the film has grown on me, and I’d say it was my second favorite horror film released in 2018 (Sorry, Hereditary continues to knock my socks off to this day.) What sort of concerned me going into this sequel is how much this would work without Lee (John Krasinski).  Thankfully the film has Krasinski returning to work behind the camera as director again as well as aiding in the writing of the film, but most importantly, they found a way to bring his character back for the sequel. Was the film worth the wait, or should they have left this as a one-off success?

The film opens up to Day 1 of the invasion. Audiences finally get to see how everything went down when the aliens first arrive. Here we get to see the Abbott family as a happy and whole family. A good portion of this revolves around Lee and how the family manages to survive the first wave of the attack. I absolutely enjoyed this part of the film, though if you’ve seen the Steven Spielberg take on War of the Worlds, well, it will seem a bit familiar, but this definitely helps set the tone for this film. With a bigger budget we get a bigger production design as well as more aliens and more on-screen kills. One of the best aspects of the Day 1 sequence is it definitely calls back to the first film, when the family is raiding the shop for supplies. Keep your eyes peeled for several props that find their way on screen.

Just when you thought the Saw franchise had finally claimed its final victim in Jigsaw, Lionsgate has decided to keep the gruesome franchise going with Spiral.  I know it seemed like the character of Jigsaw had finally been milked (or bled) for all its worth, what more can they do with this franchise?  Honestly when I first heard about this film I groaned, I love horror and I love gore but even I was feeling the franchise had gotten a bit stale.  As it turns out there does seem to be more story to be juiced from this franchise and I’ll say it right now, this film was the game changer the franchise needed and it helps pave the way for plenty of pain, revenge and justice down the road.  This is a film that was long overdue to the franchise and I’ll go so far as to say it’s perhaps my favorite film of the series since the release of the first film.

Even if you’ve never seen a Saw film before, Spiral works well as a standalone film.  It’s not as though the previous films were serious think pieces, but of course if you’ve seen the previous films it will only add more to the experience.  That being said, Spiral does take a different approach and plays out more like a police procedural film, if you’ve ever seen the 1995 film Seven you’ll most likely catch many of the films homage’s to David Fincher’s classic.  Seeing the film play out more so as a crime thriller definitely opens the scope of the film but to a degree I feel it steps up the films pedigree, no longer being a relatively small scale “torture porn” but now it’s as though the franchise has matured wanting to give the audience more than just some gore on the wall.  Then there is the casting of Chris Rock and Samuel L. Jackson, two names I’m pretty sure no one would have expected to see in this franchise, but most surprising is just how good Chris Rock is in this film.  It’s been a while since Chris Rock has been a name that one would call a box office draw but this is the role that is going to change that (especially when you factor in his performance in Fargo last year.  We get to see a lot of range from Rock in this role and it makes sense why he made himself Executive Producer on the film.

“Creeks lead to rivers. Rivers lead to towns.”

With a little more character development, Those Who Wish Me Dead would have been a really intriguing story. The film had a winning recipe: A script written by the man who gave us Hell Or High Water/Sicario (Taylor Sheridan), a cast that include talent like Angelina Jolie, Jon Bernthal, Nicholas Hoult, and Aidan Gillen, as well as a rifle-toting pregnant woman on horseback. What more could you ask for? If only adequate time had been spent flushing the characters out and answering some of the question that were posed during the film’s runtime. As it stands, the film never gets past the initial intrigue phase because despite all the things the film did have, it’s what the film was missing that defines it.

Based on a true story, Burden shows how one town’s African-Americans fight back against racial prejudices brought on by the local Ku Klux Klan.  The film is well written by Andrew Heckler and has a fine cast that makes their characters believable.  Largely unknown, the historical incident was brought to light by New York Times writer Rick Bragg on November 17, 1996.  The heart-wrenching story shows how one town fought back to free itself from a racist act. Tom Griffin (Tom Wilkinson) and his ward Mike Burden (Garrett Hedlund) decide to reopen the abandoned movie theater as a museum for the KKK in the center of their small town of Laurens, South Carolina in spring of 1996. It’s an act of pride for the hooded organization and yet an obvious planned affront to half the population of the county. But Griffin owns the property, and his long-time membership in the KKK has brought him to the racist decision. The local preacher Reverend Kennedy (Forest Whitaker) is up in arms over the audacity of Griffin’s venture and starts to gather his flock to protest the museum.

In the meantime Mike Burden has been working for Plantation Repo, repossessing things like TVs and stereos from the local folks who have not been keeping up with their payments. One of them is single mother Judy (Andrea Riseborough), who gives Mike a lot of grief over taking her TV, but he sort of takes to the woman and decides to help her.  They start a relationship and become a couple.  But Judy is not prejudiced, and she befriends neighbor Clarence Brooks (Usher Raymond IV), a hard-working African-American. Working for Tom Griffin, Mike Burden gets called on to help stop the protest by Reverend Kennedy. When he’s told to do something violent and refuses, it turns Griffin against his former ward.

Taking it to the net, Ben Affleck gives his all for the camera as a man who has hit bottom.  It’s a performance that brings out the serious side of a character, and not anything like his superhero turns in the barrel. But it’s what the doctor ordered, as its classic Affleck and a joy to watch.  If you want to see a comeback to cheer for, it’s Ben Affleck in The Way Back. Down in the dumps for initial reasons unknown except that his wife has left him in a trial separation, ex high school basketball great Jack Cunningham (Ben Affleck) needs something to lift him out of a death spiral induced by alcohol abuse. It comes with an offer from his old high school that had a coach who crapped out in the middle of a losing season.  Taking over the team after some pressure from the padre of the parochial school, he starts to wonder what he got himself into.  With the help of his assistant coach, Dan (Al Madrigal) and the padre on the bench, he tries to keep from cursing at the refs and drinking on the job. It’s those supporters and the desire to bounce back that are the catalyst that draws the man out of the mouse he had become.

Director and co-writer Gavin O’Connor (Warrior) takes a chance on Affleck’s performance to give him another winner, and he succeeds. Making things look authentic and guiding his support characters around Affleck’s role, he brings a lot of excitement and pathos to the film.  It’s a gamble that pays off in many ways, for the film and the actor who needed a comeback chance. It also doesn’t hurt that some of the actors who play the high school basketballers make things look real by putting some good moves on their opponents in the games.

It wasn’t all that long ago that Universal was seriously attempting to develop a Dark Universe for their classic monsters. Things changed after the releases of Dracula Untold and The Mummy after their poor box office showings, but having seen those two films, I feel fans were spared in the long run from a disaster that could have been.  Then in 2019 word got out that Blumhouse was going to be doing The Invisible Man, and this somewhat reignited the talks of a Dark Universe project.  When I first heard Blumhouse was backing the film, I was cautiously optimistic about the project; where the company does have its hits like Happy Death Day and Get Out, there are plenty of duds as well.  It’s when Leigh Whannell got attached and I had some hope for the film.  For those unfamiliar with the name, Whannell is the writer responsible for the Saw franchise as well as the Insidious franchise.  Now the wait is over and the film has been seen; how does it turn out?

The film opens up with Cecilia (Elisabeth Moss) attempting to escape from her home while her husband is asleep.  This opening sets the tone masterfully, and as much as I hate the phrase “will leave you on the edge of your seat”, that is simply what this sequence does.  So much is revealed in the visuals of the home and the performance that Moss delivers that the audience can appreciate that characters need for escape.  If anything it’s in these opening moments of the film as Cecilia is wandering through the home that almost too much is revealed towards the story that will follow.

Jack London’s 1903 novel The Call Of The Wild has become a great American classic that hasn’t been out of print ever in over 100 years. There have currently been over 1000 editions in every major language of the world. One of the aspects of its endurance is that it has such wild appeal. I read the book first when I was around 10 years old, and the imagery has remained throughout my entire life. I still consider it one of the best novels I have ever read. The novel also has great appeal among older readers because of the story’s engaging adventure elements, and, of course, the story is about a dog. London managed to bring the canine character alive with wonderfully visceral accounts of the dog, Buck’s life of adventure that includes both tragedy and triumph. The story has been to the screen both large and small several times to date including a classic 1935 film staring Hollywood legend Clark Gable. Every generation before and since (there was an earlier 1923 version) has witnessed at least one new version of the film. The most recent was a 2009 3D release that made it a kid film with Christopher Lloyd and Timothy Bottoms. Now The Call Of The Wild returns to the big screen as the first Disney release under the newly acquired Fox purchase to sport the entity’s new name, which drops the Fox name and is now merely 20^th Century Studios. It’s somewhat the perfect film to bridge the old Fox with Disney, as this is very much a family film.

Buck is a family dog from a Southern plantation run by Judge Miller, played by West Wing star Bradley Whitford. Buck has a pretty good life but manages to get himself in a little trouble when he takes down the Thanksgiving feast that included multiple turkeys. That earns him a night outside instead of snuggling with a family member inside the mansion. It was an unfortunate time to leave the family pet outside for an evening. A gold rush in the Yukon area of the Canadian frontier creates a shortage of sled dogs, leading to huge prices paid for them. Buck is kidnapped and transported from his comfortable Southern life to the frigid wasteland of the Yukon Territory. Unfortunately for Buck, he learns that there are cruel people in the world who force him to submit from the body of a club. Along the way he helps an old man who dropped a harmonica and is treated, if for a moment, kindly again. Buck ends up with a couple who run a postal route and count on the dog sled team to get the mail out on time. But Buck has to learn that even among dogs there is cruelty, as the Siberian husky asserts his dominance over Buck and the rest of the pack. Buck fights against the leader and ends up becoming a new, more benevolent leader of the pack, and he soon adapts to the life of a postal sled dog. That is until the route is cancelled and Buck finds himself once again having to adjust to a new master, this time another who rules by the club. But loner John Thornton, played by Harrison Ford, is the harmonica man, and he remembers Buck and rescues him from the abuse, and the two bond as they follow an old map to a legendary gold claim where the settle into a wonderful summer of companionship. But Buck soon learns he requires a kind of companionship that Thornton can’t provide. And Thornton certainly understands why Buck is spending more and more time away from the cabin. He’s met a wolf pack and a beautiful white female wolf who can fulfill Buck’s newly discovered needs.

"When I saw the photo he took of me, I didn't see myself. I saw someone who looked happier than me."

This little romance, The Photograph, tugs at the heartstrings and should work well with a female audience. Lost love and missed opportunities set the tone for this storyline, and the complications resonate with today’s social values. The film plays out like a Saturday matinee, where a release on Lifetime would have been a better choice.  While the theater experience is the norm, the budget for the movie would have fared better had they chose a more apt venue.  The acting is very good, direction pinpoint, but the storyline is ordinary to timeworn. Michael Block (LaKeith Stanfield), a writer for The Republic, is doing a story on Christina Eames (Chante Adams), a famous photographer who had recently died, for his column.  To get some background he interviews her daughter Mae (Issa Rae), who lives in New York City. Their romance gets steamy and genuine, but Mae is cautious so she won’t get hurt. From a letter Mae finds out about her father Isaac Jefferson (Rob Morgan )who she never knew. Told with flashbacks we see young Christina and Isaac’s relationship and how she broke off with him to seek a career as a photographer in New York. When the relationship between Mae and Michael starts to run into difficulties, Mae goes to New Orleans to find her father.

"I'm the one they should be scared of! Not you, not Mr. J! Because I'm Harley Freaking Quinn!"

For too many years now, the DCU (DC Universe) of films has been guilty of an overwhelming sense of foreboding and darkness. Of course, Chris Nolan pretty much started the trend, while Zac Snyder completely embraced the idea. The Chris Nolan Dark Knight films were a great success, and they should have been. The darkness works wonderfully with a character like Batman. But then Snyder and his DC film gang allowed this brooding darkness to inhabit all of their characters in feature films and never quite appeared to understand why the sometimes camp of the Arrowverse (The TV DC Universe) is so much more appreciated by fans. Wonder Woman stands out as the lone exception to this trend, and that's why it's so much better than the others. Now it seems the folks at the DCU are attempting to showcase their ability to be more flexible and less cookie-cutter. It started with Joker, which was one of the more disturbing comic book films to come along. Now DC has taken us in a completely opposite direction with the cumbersomely titled Birds Of Prey: And the Fantabulous Emancipation of One Harley Quinn. Working as a sort of apology for Suicide Squad and attempting to forge a DC version of Deadpool so that they can play in the R-rated waters of comicbookdom, Birds Of Prey manages to throw a ton of fun our way, even if the characters are obviously winking at the audience the entire way through.