The Reel World

"Never underestimate the impact of dramatic entrance!"

It's hard to maintain the attention of the 21^st-century child. Animated movies have to combine enough elements of charm and action to keep their attention for a little under two hours. If you want to keep a franchise going, you have to rip out your sequels in reasonably tight schedules. It's been over four years since Kung Fu Panda 2, and we waited nearly that long between the first and second entry. That's a long time in a culture where we move from fad to fad almost by the hour. But if the films are good enough and leave enough of an impact, you might be able to bridge those years successfully. In 3-4 years you're almost targeting a new generation of your target audience. Kung Fu Panda 3 appears to have found the secret of that kind of franchise longevity.

There are many films that depict the ferocity and cataclysmic power of the vast ocean. It is a fearsome display that cannot be imagined in any way that compares to the reality of the experience. The Perfect Storm, Life of Pi, The Guardian, and Titanic are just a few examples of disasters at sea. It is the United States Coast Guard’s job to rescue distressed people under severe emergencies at sea. The Finest Hours is a depiction of a true-life sea rescue under the most challenging and horrifying conditions. It is known as the most successful small boat rescue ever recorded. When I say small boat, it is the rescue boat I’m talking about, but the ship they were singlehandedly sent to rescue was a gigantic T2 tanker Pendleton, which had split in half on open seas. Part of the problem was that another tanker had already split in half a few hundred miles away, and all resources had already been diverted in that direction. The second tanker was an afterthought that was tackled by a relatively inexperienced crew. To repeat the true-life situation, T2 tankers SS Mercer and SS Pendleton were split in half off the New England coast. The Pendleton had lost radio communication was only identified by an alert citizen from the shore.

The Finest Hours is a Walt Disney film, and I think Walt would be proud. The film takes place on February 18^th, 1952, and all of the American values that were part of this country at the time are on display. It is a very old-fashioned film in both look and approach. The only difference is that modern-day technologies are fully utilized to show an amazing true-life display of courage that would have been impossible to do in 1952.

"Welcome to Benghazi."

It shouldn't matter what your politics might be. The events in Benghazi on September 11th, 2012 bring up some very important questions. Contrary to one 2016 presidential hopeful's declaration, it does make a difference. It did to the people who were there. It does for the families of the four who lost their lives. And it should make a difference to you. With such a political hotbed issue, you'll find that 13 Hours goes out of its way to avoid the political questions. Some might view this as an oversight, but I think it gives the film a greater sense of credibility and makes its impact on the audience to fill in their own political blanks.

America was once a primitive expanse where only very small groups of hardy hopefuls ever tried to venture across. It was a vast and endless wilderness that was mostly a mystery. This was the land of roving Indian tribes and undiscovered species of animals. This was a land of all kinds of danger. Life was one long hunt and endless battle against every kind of predator and natural enemy. There are so many remarkable moments in The Revenant that I will start with the bear attack. It is an unbelievably harrowing event that cannot be described in words that will in any way convey what you see on the screen. That one sequence alone is worth the price of admission. The story is based on a true life pioneer and fur trapper, Hugh Glass, who Leonardo DiCaprio plays in the film. The bear attack that is central to the film is believed to have occurred to the real Hugh Glass. It is not just the bear attack that is brutal and shocking, but the ordeal of the entire film. It is unlikely that any film you have ever seen about early America has so completely depicted the relentless savagery of survival. The events that surround Glass are the stuff of legend in which various embellishments and conjectures were made over the years, muddying whatever truth might be found.

Director Alejandro González Iñárritu (Birdman) immersed himself in the story and fashioned his own version of events. This story is about endurance taken to the limits of the imagination. It should be noted that the film has become legendary itself with tales of abuse of the actors and crew. It is widely acknowledged that DiCaprio might have endured the greatest hardships personally and willingly, including sleeping in a dead bear carcass. The film is over two and a half hours of hardy men in the wilderness, which then focuses on Glass surviving alone with massive wounds and broken limbs. The film becomes a revenge film that outstrips the intensity of all previous revenge films. It probably takes that intensity to extremes that most people cannot even endure watching. This is aided by the amazing and singular cinematography of Iñárritu’s long-time collaborator, Emmanuel Lubezki. It is entirely possible that Lubezki will win his third straight Oscar following Birdman and Gravity. The depiction of every sequence which includes numerous battle scenes is unlike any other. It has a flowing handheld immediacy while rivaling the look of the most ravishing IMAX presentations. Many long, protracted fights are depicted in long orchestrated takes. The cinematography alone distinguishes the film, but that is only one element of the collaboration that Iñárritu achieved. It is widely believed that DiCaprio will finally get his Oscar for this. He deserves it. I don’t know how he is as a person. I hear he is something of a party boy, but when he works, he has few rivals in going to any lengths and enduring any hardships to achieve the ultimate. At times he shows almost too much range.

"You know this story..."

At least you think that you do. Mary Shelly's Frankenstein is one of the best known novels of all time. But thanks in part to Hollywood, it is also one of the most misrepresented stories of all time. I'm a fan of both the novel and the series of Universal and Hammer films going all the way back to 1931 when Boris Karloff played The Monster and Colin Clive played the mad Dr. Frankenstein. Missing from both the original novel and the James Whale Universal film is any mention of a character named Igor. There isn't even an assistant at all in the book, and in the 1931 film the hunchbacked lab assistant was named Fritz and was played by Dwight Frye. The character of Igor, spelled Ygor then, didn't arrive until the third film in the Universal series. Ygor was not a hunchback but rather had a serious neck issue from a botched hanging. He was played by Bela Lugosi, long sought for the Monster in the first film, and it's my favorite Lugosi character of his career. Ygor can be found in both Son Of Frankenstein and Ghost Of Frankenstein. He would actually inhabit the Monster through his brain in Frankenstein Meets The Wolfman. The point is that Lugosi made such an impact in the role that our collective conscience appears to forever link him as the default mad scientist assistant. That's where the film Victor Frankenstein comes in. Daniel Radcliffe plays Igor to James McAvoy's title character Victor Frankenstein.

The name Quentin Tarantino carries the weight of legacy of such directors as Alfred Hitchcock, Steven Spielberg, and more recently Christopher Nolan.  I’m not saying one is better than the other, but simply by name recognition alone Tarantino is in the company of directors that when you hear that his name is attached, there will be a loyal fan base flocking to the theaters to see what they have to dazzle us with.  This time around Tarantino returns to the cinema in his biggest release to date; in glorious 70mm we have The Hateful Eight. Tarantino returns to the Western genre, only this time he heads out west to Wyoming to thrust us into his most claustrophobic setting since Reservoir Dogs. Let me just come out of the gate and say, if you’re looking for the over-the-top fun you found in Django Unchained, you’re going to have to readjust those expectations; this time around we are given something much more intimate and all the more rich with dark humor.

John “The Hangman” Ruth (Kurt Russell) is a bounty hunter on his way to turn in his prisoner, Daisy Domergue (Jennifer Jason Leigh) to hang.  It’s along their stagecoach ride that they come across another bounty hunter, Major Warren (Samuel L Jackson) who is looking to collect on a bounty of his own, only his prisoners are already dead. As we’ve seen in previous Tarantino films, he chooses to tell his story in chapter form, and for the first chapter of the film we spend it getting to know this trio of unsavory characters.  If you were hoping chapter two would pick things up in the action department, I’m sorry to say instead it is spent with a new passenger hopping aboard to avoid the oncoming blizzard.  The new passenger is Chris Mannix (Walton Goggins); he’s the new appointed sheriff in the town Ruth plans on taking his prisoner to hang, and with this new addition the dialog only continues to flow.

Football is extremely important to many (or most, or all) Americans. That would be an understatement, since football is a national obsession that can reach the level of mania at times. Football is close to a religion for some people. You don’t mess with football, but that is what Will Smith’s new film, Concussion, does. It tells the true story of a Nigerian doctor who has an extremely rigorous and conscientious approach to his work performing autopsies in the Pittsburgh coroner’s office. He supervised over the deaths of Mike Webster, Terry Long, Justin Strzelczyk, Andre Waters and Dave Duerson, who all died before the ages of 51. These autopsies were instrumental in uncovering the connection to a disease that had been associated with boxers, Chronic Traumatic Encephalopathy (CTE). The connection with boxing was never made by the National Football League until Dr. Bennet Omalu, played by Will Smith, starts going to extraordinary lengths to investigate. Numerous lawsuits have occurred since 2008 when Omalu began this work showing that the NFL had covered up their knowledge of this issue. The main outcomes many players suffer are dementia, depression, and suicide. His one early ally is his boss, Cyril H. Wecht, MD, JD (Albert Brooks). Wecht supports Omalu despite growing opposition and expensive testing. The testing initially exceeds $20,000. Omalu pays for the tests out of his own pocket, because he is driven by a search for the truth despite the growing obstacles he faces. The opposition starts to rise to levels of potential death threats and pressure from all sorts of law enforcement agencies including the FBI to stop the testing. Corruption in the NFL is evident in their use of the name of football to exert influence on everyone and anyone to protect the sanctity of the game. The movie starts to play out like a medical thriller, but this is a true story.

Alec Baldwin (30 Rock), Stephen Moyer (True Blood), Eddie Marsan (Ray Donavan), Arliss Howard (Full Metal Jacket), Mike O’Malley (Yes, Dear), and Paul Reiser (Mad About You) all play doctors on the various sides of this issue. There is a change in regime in the NFL when Roger Goodell (Luke Wilson) comes in as the investigation starts to pick up traction.

Joy is the name of a person, not a state of mind. Joy Mangano is apparently not an easy person to know, but she did submit to a long series of conversations with brilliant writer/director David O. Russell. I say David is brilliant because he is, to me, the single most indispensable artist working today. He is able to do things that no one else can do. He makes comedies, but only in the broadest sense of the word. He takes a subject that may seem insignificant and puts it through a mad process like Dr. Frankenstein until something magnificent comes out. The process seems like a whirlwind for whoever is caught up in it. Joy is a movie that blew me away, and that was after having been blown away by almost all of his films, but especially Silver Linings Playbook, The Fighter, and American Hustle. The actors always seem to be doing their best work when he works with them. Jennifer Lawrence says she hopes she always works for him and has already won a supporting actress Oscar working for David. Jennifer is the center, driving force and titular character this time out. She is playing an inspiration of a real person, but not a real person, because that’s what David wanted.

Joy is like the Citizen Kane of women’s movies. It portrays that person who is a mother and a daughter and wage earner and all-around fixer of every problem. She is always open to fixing problems and compromising to make things work. She keeps going no matter how overwhelming the struggle she faces becomes. She is tireless and forgiving and hopeful, but what she is above everything else is a person with brain like a sponge. Joy Mangano in real life invented the Miracle Mop along with a hundred other patents. Joy also thoroughly understood everything about a mop, because she used it every day. She found success on QVC and later HSN, but this process is harrowing and somewhat dizzying. The film is framed with soap opera segments featuring the legendary Susan Lucci as a device to comment on the somewhat unreal life of any woman and especially Joy. There is an inherent instability in Joy’s life that is illustrated by the fact that her father and ex-husband are both forced to move into the somewhat run-down house. Joy is the one who usually has to do the plumbing. This household includes her mother, grandmother, and two young kids.

“I'm guessing most of you still don't really know what happened.”

There is absolutely nothing funny about the financial crisis of 2008. Besides the fact that the bursting of the U.S. housing bubble led to the failure of countless businesses and a disastrous decline in consumer wealth, the crisis involved key phrases like “credit default swap” and “collateralized debt obligation.” Those terms are much more likely to make your eyes glaze over in boredom or confusion than they are to inspire laughs. The Big Short cannily recognizes this challenge and crafts a farcical, incisive narrative about a small group of outcasts who saw the whole thing coming.

The last time we checked in on Rocky Balboa was 2006. It was a bittersweet coda to a franchise that provided 30 years and six films of the life and times of Rocky Balboa. Some were truly great films. I'd count the first and last as in that category. Some were near misses like the third and fourth films, while the fifth was pretty much a total disaster. In those years and films we watched Rocky go from a hungry Philadelphia wannabe boxer to the champion several times over. Like the franchise, the character had his own highs and lows. There's no question that the Rocky franchise has gone the distance. And while it might have been a split-decision, the Rocky films still stand as the champion of the film genre. It's no surprise that Hollywood would want to pump a little more cash out of this reliable franchise. With Sylvester Stallone not exactly in his peak shape, we enter the often disastrous territory of the roboot/reimagine/remake. Just like an athlete who doesn't know when it's time to hang it up, Hollywood is known for propping up a franchise long after its staying power has faded. In both cases somebody is going to get hurt. But don't call Rocky down for the count just yet. Writer/director Ryan Coogler just might have found a way to breathe new life into the old franchise. Rocky just might have been saved by the bell with the arrival of Creed. All of a sudden it's a whole new fight game.

Adonis Johnson (Jordan) has grown up a troubled youth. His mother is dead, and he doesn't even know who his father is. He ends up in and out of juvenile detention centers until he's rescued by a woman with a story of her own. Her name is Mary Anne Creed (Rashad), and she was married to the late fighter Apollo Creed. The fighter had an affair years ago with Adonis's mother, and now Mary wants to take the boy in and raise him as her own. Adonis finds himself with a new identity that explains a lot about why he is the way he is. It also explains why he'll eventually give up a high-paying career to fight. Up to now he's been completely self-taught and ripping up the Mexican underground fight circuits. Now he wants to go legit and understands that requires the training he never had. There's only one man who can give him that. He makes the exodus from L.A. to Philadelphia where he approaches his father's best friend and fiercest rival...Rocky Balboa (Stallone).