The Reel World

Following the success of The Conjuring, it was no surprise that sequels would follow, but I have to admit seeing an Annabelle film was a bit unexpected. While The Conjuring was based on true events (as true as one may or may not wish to believe in the paranormal), Annabelle was mostly a work of fiction. I’ll admit I’m a bit of the fan of the Warrens and have read plenty about their investigations, and I certainly feel their life is ripe for the Hollywood treatment along with the hundreds of case files they developed over the years.  While the first Annabelle did well at the box office, it took a beating by critics, but those involved at the studio see that there is still money to be made as they continue to expand the franchise.  With spinoffs in the works, a film about the Nun entity as well as a film about The Crooked Man, and with a Conjuring 3 in the works, a lot is riding on the success of Annabelle: Creation.

The film appropriately opens with the creation of the Annabelle doll; we see that it is the first of its kind, handcrafted by Samuel Mullins (Anthony LaPaglia).  Samuel is a good husband and a good father; we get to watch him playing a game with his daughter, one that will be familiar to those who saw the previous film. Sadly, a tragic accident occurs and she is killed.

It’s difficult to be original and innovative when it comes to tackling a haunted house film. Ghost stories have been around for ages and told just about every way you can imagine, so what do you do to give the audience something they have never seen before? After coming back from directing Pete’s Dragon, writer/ director David Lowry a delivers a small intimate film that manages to take the haunted house story and makes it something unique from all the rest. Though when I say unique, and when I say innovative this may not be a positive for some. The film begins by introducing us to a couple played by Casey Affleck and Rooney Mara; their characters are simply credited as C & M.  Early on we see them interrupted from their sleep after hearing a crash on the piano, the pair investigate the noise but of course find nothing. The film does a great job at pulling us in early on by creating a creepy unsettling atmosphere.  From the start what helps set the tone is its boxy 1.33:1 aspect ratio, this is something that may seem distracting but it’s a crucial storytelling device that is used so effectively here, I have no doubt we’ll see more of this down the road.

It’s when C (Affleck) dies in a car accident that the story begins to take shape.  We watch from a distance as M (Mara) goes to the morgue to identify her husband. The scene doesn’t cut away as we watch her go through the emotions of nervousness, shock and grief. As the sheet is pulled back over to cover C, the camera continues to hold…and hold…and hold till suddenly we see C sit up with the sheet still covering him. We watch him roam the corridors of the hospital with the sheet covering his body, two black slits for his eyes, though all we see is black.  C is faced with the white corridor of light which we are to believe is to be heaven or whatever you’d like it to be, but C doesn’t enter it and instead continues to walk. His walk takes him back home; a home that we will eventually see is where he seems to wish to remain.

John Wick was an action film that seemed to sneak up on everyone. Sure, it had a great trailer, but I don’t think anyone expected to walk away from just how great it actually was. What made it so effective weren’t just the well-choreographed fights and the stylish look of the film, but it was the characters that while over the top, were also ones the audience could relate to. Atomic Blonde is helmed by half the directing team that gave us the first John Wick, and from what the trailers first teased us with, I came into it with hopes we’d get something special.  While on the surface I can’t say that this film surpasses John Wick, what it does is stand alone for being a culturally and socially important film as it delivers not just the ultimate badass female in an action film, but I believe the first that belongs in the LBGT community.  It’s a big deal what this character represents, but how does the rest of the film fare throughout the fistfights and shootouts?

It’s the fall of 1989 in Berlin when we are introduced to Lorraine Broughton (Charlize Theron). She’s bruised and battered as she enjoys an ice bath.  The Cold War is coming to a close as the Berlin Wall is closer than ever to coming down.  She is an agent with MI:6 and is being debriefed by her superior, Eric Gray (Toby Jones) and a member of the CIA, played by John Goodman.  The debriefing is a combative one. Obviously we can tell she’s been through hell, and she begins to tell her story from the previous days as she attempted to complete her mission.

When Christopher Nolan has a new release, it’s an event to get excited about. There are few directors I can say this about. Sure, there are directors that I like, but still there are few who manage to capture what makes going to the cinema an experience. Dunkirk is his latest cinematic opus. Despite it being his shortest film, with the exception of The Following; this is the first time he has shot a film entirely in IMAX form. What’s the big deal? Well, aside from the picture being twice the size of the regular format, what he does with these cameras is deliver a beautifully striking picture of destruction and survival.  There’s a lot of buzz going around with this film, and already it’s being looked at as the first real Oscar contender of the year.  Is the film worth the hype?  Is it really Nolan’s best picture?

Christopher Nolan is widely known for his Dark Knight Trilogy, as well as Inception and Interstellar.  While I’m a fan of these films, it’s his film Memento that has always stuck with me as his most inspired work, a film that plays with a timeline to serve the overall experience of the film.  Dunkirk is yet another film that unfolds over the course of three timelines to tell its story of heroism and survival. While I appreciate Nolan’s attempt to be innovative with this storytelling technique, it’s definitely something I feel harms the overall film, because as the film unfolds we jump from one scene in the afternoon to another scene at night, and the sequences are edited to in such a way that tonally they coincide, but visually it’s jarring.  But still that’s not the greatest fault I find in the film; instead, it’s that I feel we are missing the entire first act of the film.

"All of human history has led to this moment. The irony is we created you. And nature has been punishing us ever since. This is our last stand. And if we lose... it will be a Planet of Apes."

I was always a fan of the original Planet Of The Apes series of films. While they often flirted with a camp style, I was impressed with John Chambers' makeup effects and the performances of Roddy McDowall as both Cornelius and Caesar. Then came the television show, and I was just as enchanted, and that was helped along by McDowall's appearance as a third ape, Galen. The show didn't last a season, and before long the Apes franchise was left in some kind of limbo. Then along came Tim Burton, and I was excited to see what he could do with the material. Could this be the beginning of a new series of films? No, it was horrible, and the franchise suffered another lingering death. I had now given up hope that the Apes would ever return. Then came Rise Of The Planet Of The Apes, and I was suddenly enchanted once again. Little did I know that combined with Dawn Of The Planet Of The Apes and now War For The Planet Of The Apes, science fiction's greatest trilogy would emerge. Where will they go from here?

"If you're nothing without the suit, then you shouldn't have it."

Email hacks have taken over a big part of our nation's conversation in recent times. Lost in the election leaks is the fact that Sony executives were also hacked, with many embarrassing emails released on the internet. The result was that the Sony Spider-Man plans for an extended universe of their own fell victim to the reveals. Executives were out of jobs, and suddenly Marvel and Sony were at the negotiating table, and while Sony still retains certain film rights to the friendly neighborhood, the character himself has now joined the combined MCU, and all is now right with the universe. We saw flashes of that integration in Captain America: Civil War. Now it's time for our favorite webslinger to headline a movie of his own, and in more ways than one, this truly is a Spider-Man: Homecoming.

For the most part it seems the summer blockbusters tend to be sequels, superhero films, or CGI bonanzas that are simply eye candy to get us to films in the dark auditoriums to escape the heat. It’s rare that something comes along that is so clever and as fresh as Baby Driver.  Personally I’ve been a fan of Edgar Wright from the moment I first saw Shaun of the Dead, he was a writer and director that I felt knew how to make films fun. When he was set to direct his dream project Ant-Man, I was excited to see him finally get a chance to do a giant tent-pole studio film, but weeks before filming was set to begin he got pulled away and replaced. When it got announced he was working on an action-comedy named Baby Driver well I was excited but the film’s title had me scared, fears of him doing something along the lines of Baby’s Day Out ran through my mind, but then as the cast started to assemble I couldn’t help but get excited. Kevin Spacey, Jamie Foxx, Jon Hamm, Jon Bernthal and these were simply the co-stars.  Then when the first trailer dropped this became the title of the year for me to keep an eye on. While this might not be the kind of film that gets nominated for best picture, for me this had potential to simply be an experience, the kind of fun you hope to have when you see a movie.

So who is Baby? Ansel Elgort heads this film with the title name and for most he’s a guy that’s come out of nowhere. He’s been in The Divergent series and The Fault in our Stars, but Baby Driver is his first step into the spotlight and as I mentioned above he is surrounded by some major talent. The casting of Baby is key. Picking up a relative unknown works because the audience doesn’t know what to expect from this guy, and this works in the film as he’s surrounded by some dangerous heavy hitters in the crime world and they see this kid with his I-pod, they can’t help but wonder what’s up with this guy. Our intro to Baby Driver, wastes no time at showing us just what Baby can do as he is the getaway driver for a bank heist in Atlanta.

The Despicable Me series that includes Minions never seems to get tiring as they extend their comedy one more time with Despicable Me 3, opening this weekend. The key to the filmmaker’s success is the handling of the characters and inserting them into the animated movie with a plan in mind. That plan consists of starting with a little comedy involving the Minions, then working into some intense action that leads to a champion who either succeeds or fails. In the meantime there are multiple stories going on with each one targeting certain audience members.  Sounds complicated? Well, the best comedy adventure is intricate, and Illumination Studios does that very well.

The lovable characters are back again with a new twist on Gru’s (Steve Carell) employment.  It seems that the government has hired him as a partner for Lucy (Kristen Wiig) in the secret service following their marriage. Gru, now an agent looking for the bad guys instead of being one himself, seems to have found his goal in life.

“These movies that I’ve done, they are massive movies. They take a lot out of you.”

That’s director Michael Bay talking about his decade-long work on the Transformers franchise on the eve of the fifth(!) film’s arrival. The movie also doubles as Bay’s swan song in the director’s chair, so when he says, “They take a lot out of you,” the filmmaker is presumably talking about the massive amount of energy and manpower (and horsepower) these big-budget bonanzas require. The problem is “They take a lot out of you” has also applied more and more to each subsequent movie in this series. Transfomers: The Last Knight isn’t just a bad movie…it is painful and exhausting to watch.

"I'm about to commit a moving violation."

When I go to a Pixar film, I always find myself in a situation where I'm predisposed to love the movie. There have been so many greats like Toy Story and Monsters Inc and so few horrible examples like Ratatouille. So, I never really expect a Pixar film to be bad, and Cars 3 certainly wasn't bad. There are more than a few things to love about the latest collaboration between Disney and their Pixar division. The animation company also continues to push the boundaries of digital animation technology. You can expect some very nice emotional moments. It's also nice to revisit old friends from previous movies. Cars 3 has all of that, but it still falls a bit short when you compare it to the impressive library of movies Pixar has brought to the Magic Kingdom table. It will certainly be the Cars film that adults will be able to relate to the most. The best that could be said for the effort is that it neatly caps that particular franchise in the stable and will allow the talent led by John Lassiter to turn their attentions elsewhere. I'm really looking forward to The Incredibles sequel. I'm even looking forward to Toy Story 4. But was anyone really anticipating Cars 3?