The Reel World

As fans of the MCU, I think it’s safe to say we’ve all been anxiously waiting to see what Phase 4 would be bringing us. In a lot of ways this is the new era of Marvel characters and a new story arc that will be kicking off since Endgame seemed to wrap things up.  Disney Plus as been teasing fans and tiding us over with Wandavision, The Falcon and the Winter Soldier and then Loki. On the cinematic front we had the long delayed Black Widow, but considering that film took place in a pre-snap timeline, the question remained, what was next for the Avengers?  With Shang-Chi and the Legend of the Ten Rings, we finally get that answer, and as exciting as that is, I have to admit I’m a little worried. I’m not saying it’s time to abandon ship, because I’ll be upfront and say I enjoyed Shang-Chi, but the Disney influence  is starting to rear its head, and I’m a little concerned for how much influence studio heads are having over the product and how much control is being taken away from the creative heads, i.e. the writers and directors.
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From Bride of Frankenstein to Night of the Living Dead and even Godzilla, horror has been a platform filmmakers have used for decades to handle larger societal issues. In 1992 when the first Candyman released, it was a film that tackled issues of class and race, but it did so in a manner that didn’t feel forced, and in doing so it added an extra level to what I’d consider one of the best horror films of the 90’s. I love the story of Candyman, and the performance Tony Todd gave this tragic character was an equal blend of horror, menace, and sympathy. The way the first film builds its impending doom for Helen Lyle has rarely  been matched in films since. Watching as her life crumbles around her up until the moment she finally surrenders herself to Candyman and accepts her awful fate is an impactful moment. The sequels just never lived up to the first film, and it’s a shame, because I simply loved the idea of this modern urban legend that haunted the projects of Black America.
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“We all have secrets.”

Right from the jump there’s a lot to like about The Night House, directed by David Bruckner and starring Rebecca Hall. It’s the kind of horror film that derives its scares from the point of emotional loss that cuts to the center of the kinds of things that really scare us all. From that point the film immerses us deep into the kind of atmosphere that doesn’t come from gory special effects or even some of the nicely placed jump scenes. Instead Bruckner engineers his cinematography to play slight tricks on our eyes that immediately reveal some clever usages of the film’s set designs and an Escheresque distortion of our point of view. It’s the kind of film that demands you pay very strict attention and then rewards you for the effort. Sounds like a great movie, yeah? Unfortunately, the screenplay, written by Ben Collins and Luke Piotrowski, who both penned the now shooting Hellraiser reboot/sequel, is the glaring weak link that caused me to leave the theater repeating, “I almost loved it.”
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“The past can haunt a man.  That’s what they say. But the past is just a series of moments. Perfect … .complete … a bead on the necklace of time.”

So, an interesting factoid that I learned about the film’s director Lisa Joy: she is the sister-in-law of director Christopher Nolan. This doesn’t really add anything to the review, just an interesting fact that I thought I’d share. Then again, I do remember thinking when the film first opened up that it felt very shades-of-Nolan. Not to say that Nolan had any influence over the film, but just the idea of a movie based off a construct is very much in his wheelhouse. Memory is the construct that is explored in this film, and I must admit that the addictive nature in which the film portrays this construct did have some appeal; however, the film tries to bring too many different themes and elements together, and it results in not enough attention being paid to any of them. Hugh Jackman and Rebecca Ferguson are the film’s big draws, and while their electricity helps to make the film decent, it cannot make it great.
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“I know this world is just a game, but this place, these people, that’s all I have. So I’m not gonna be the good guy. I’m gonna be a great guy.” 

Free Guy is the love letter to video gamers of all ages that Ready Player One should have been. While Ready Player One spent most of its resources on spectacle and a rather convoluted mythology, Free Guy allows the heart to come from the characters and plays out as something much closer to the passion and attachment players have long felt for their favorite games and game characters. The film manages to do this without giving up on the spectacle. There’s plenty of that computer-generated magic here, enough to immerse us in the AI world of the game.
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It doesn’t seem all that long ago that Disney/Marvel decided to fire James Gunn over a couple of tweets and Warner Brothers decided to scoop up the talented director to helm a reboot of The Suicide Squad. Personally, I feel this was the best move WB has done with their DC film projects since the Christopher Nolan Batman films. I’ll come out and say it: I haven’t been a fan of the DC cinematic universe. Wonder Woman and Shazam were decent, but they simply don’t hold up to what Marvel has been able to produce. While I’m fine with attempting to tell more mature storylines and appeal to an older audience, my biggest problem with the DC films is that they just weren’t fun (Shazam is perhaps the only exception to this). I’m not part of the “Release the Snyder cut” crowd; instead I just want to see a comic book film that can be entertaining and not take itself too seriously, and that brings me back to James Gunn. I’m a fan of Gunn. I absolutely adore what he’s done with The Guardians of the Galaxy, those are both in my top 5 of the Marvel films, because I love how he handles the group of misfit heroes.
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Going all the way back to 2003 when Disney released The Haunted Mansion and The Pirates of the Caribbean, it seemed like the natural progression would be to release a film based on the theme parks Jungle Cruise ride. With the success of the Johnny Depp-helmed films, Disney instead elected to crank out more Pirates of the Caribbean films. Sure, the original trilogy was fun, but the two that followed were forgettable messes.  Now it’s 2021, and we’ve finally gotten a Jungle Cruise film helmed by one of the biggest stars in cinema, Dwayne (don’t call me The Rock) Johnson and Emily Blunt sharing top billing credit. The trailers teased a film that was in the vein of the Indiana Jones films, something I believe could be a good thing. What was somewhat expected was the added layer of a supernatural element put into the film. While I was excited about the supporting cast and even the director that came aboard to helm the film, the one thing that bothered me was how long it’s been since I’ve actually enjoyed a live-action Disney film.
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I guess you could say I have a bit of a love/hate relationship with M. Night Shyamalan movies. There are some that I really enjoy (i.e. The Sixth Sense, The Village, The Unbreakable Trilogy) and then there are those I’m just not fond of (i.e. The Last Airbender, After Earth, The Happening). When it comes to his new film, Old, I have a bit of a love/hate relationship with the film. There are several elements that I enjoyed, such as the premise, certain characters and their actors’ performances, but then in some instances the story felt underdeveloped, and certain actors were typecast. All in all, as the credits rolled I found myself with mixed feelings about what I’d just seen, and now with time to reflect, I’m still not a hundred percent sure how I feel about the film.
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“Before I was an Avenger, I made mistakes … and a lot of enemies.”

To say that Scarlett Johansson’s solo Black Widow film is overdue is one of the understatements of the decade. Fans of the MCU have been calling for the character to have a film of her own; all the while characters like Captain America, Iron Man and Thor ended up well into their third films with the character playing key roles in the threads that pulled all of these films and characters together. Marvel often assured us it would eventually happen, but it sure appears to have taken too long. It didn’t help that the character dies in the final Avengers film, and it seemed less likely she would or even could get her own film by then.
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The year 2020 and nearly half of 2021 make up a time in our lives we’d all like to try to forget. And while the remnants of a pandemic that is not quite over still intrude on our realities, many aspects of our lives are starting to return. We’re spending time with our family and friends again. Those simple parts of our lives we once took for granted are starting to return, and I suspect we’re all apt to savor them just a little bit more from now on. The movies have been back for a little while now. We’ve finally started getting access to press screenings for the first time in over a year. Needless to say, so many of us are happy to be back in the theaters. So far we’ve had some films start to breathe life back into the box office, but today expectations remain lower, and they will for a while. We’ve had some successful films, and you can feel it in the air.
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“Boring is still always best.”

To preface this review, I feel I should tell you just how big a fan I am of the original film (The Hitman’s Bodyguard). It’s a movie that I have watched more times than I can count. There is something about that film for me that just works. Maybe it is the chemistry between Samuel L. Jackson and Ryan Reynolds, the way that they perfectly play off one another. Perhaps it’s that there is an air of philosophy to it, where they both argue that their occupation is just and the manner in which they argue it is so passionate that you can see both sides of the argument. Maybe it’s just the fact that it was chock full of action. Either way, suffice to say this movie holds a special charm for me.
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Every decade or so sees the popularity of a Broadway stage show become something of a cultural phenomenon. When I was young, Cats and Annie were the big-event shows. Over the years it’s been Andrew Lloyd Webbers Phantom Of The Opera and more recently Rent. In these last few years the stage champ has been Hamilton, written by Lin-Manuel Miranda. To say that it has been one of the more popular shows in the last few years would be an understatement. Based very loosely on the historical life of Alexander Hamilton, it is still currently the hardest ticket to get in New York City. Lost in the excitement and fame over Hamilton is that Miranda has had another rather large success with In The Heights. The play was selected best musical in 2003. While it never did come close to the success of Hamilton, it was also once a hard ticket to obtain. Just one year after Hamilton made it to the big screen, In The Heights will get its chance to offer moviegoers something to help bring them back to the cinemas.
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What James Wan did with  The Conjuring (2013) was something I don’t think anyone expected. He not just delivered a haunted house film that’s genuinely scary as well as being a technical achievement, but also he kicked off a successful franchise that’s now seven films deep with no signs of stopping. I’ll admit when it comes to the stories about Ed and Lorraine Warren, I have a bit of a bias. I’m a sucker for just about any and every paranormal show out there, and I’ve read numerous books about the Warrens and their case files.  Everything from the “true” story behind the Amityville house, the “real” Annabelle, to some of the not-so-famous cases (at least the ones we haven’t seen a movie about). Whether you believe in the paranormal or feel the Warrens were nothing more than skilled hoaxers, the stories behind their cases are the stuff that will always make for a great campfire story, and as it’s been proven, some successful and entertaining films.
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“All I know is that girl came into your life for a reason.”

A love story that transcends time and space. Now, granted, this is not a brand new occurrence; we’ve seen several examples of characters falling in love despite not being from the same time. I mean, there’s The Time Traveler’s Wife with Eric Bana and Rachel McAdams (which is currently slated to become an HBO series featuring Theo James and Rose Leslie), Kate and Leopold with Hugh Jackman and Meg Ryan, and who could forget About Time with Domhnall Gleeson and again Rachel McAdams. However, I dare say that Long Weekend may have just revitalized the idea.
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“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”.
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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.)
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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.
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“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.
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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.
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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.
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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?
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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.
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“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.
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“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.
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Well, it didn’t take long for Robert Downey Jr. to line up his next project following his iconic Marvel run. And there is definite franchise potential with this film about quite possibly the most famous veterinarian ever written. Primarily inspired by Hugh Lofting’s The Voyages of Doctor Dolittle, the film is likely anticipated to be a reboot to the Eddie Murphy-led film franchise of the same name (except with a “Dr.” in front of the name). Interestingly enough, the film’s inspiration is actually the second book written by Lofting about this famous character with the gift of talking to and understanding animals. Continuity aside, the film features a cast of verifiable talent including Michael Sheen and Antonio Banderas; rounding out the voice cast is Tom Holland (his second voicing acting role, proceed by Spies in Disguise with Will Smith, and to be followed by the upcoming Onward with Chris Pratt), Emma Watson, Rami Malek, Octavia Spencer, John Cena, Ralph Fiennes, Marion Cotillard, and the list goes on. Seriously, there are at least five more I could have named. With a cast like this, you can only expect an enjoyable experience, and that is exactly what you get with this family-friendly adventure delivers.
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