Thunderstruck

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Not many people would care to say it, but Marvel Studios’ 2011 effort at bringing Thor to the screen was a big friggin’ gamble, after the earthen adventures of the first two Iron Man films and The Incredible Hulk. Its final result, however, was masterfully helmed by Sir Kenneth Branagh was nothing short of amazing — thus, the God of Thunder quickly became my favorite Avenger. The second outing is well chronicled in the backlogs of this blog and was, I regard, the first big misstep from the House of Feige. Still, I held out hope for the third outing, but worries beset me when I heard the newly-announced director, Taiki Waititi (What We Do In The Shadows) said he was “going to take the second Thor movie and add more jokes.” Jokes, I regard, were what killed Thor: The Dark World, but having seen Waititi’s effort, I feel nothing but giddiness and contentment with what I saw!

The film opens with several king-sized bangs, as Thor (Chris Hemsworth, In the Heart of the Sea) claims the life of a gigantic monster and finds a new threat awaiting him, in the bloodlusting form of Hela (Cate Blanchett, Cinderella), the Goddess of death. Destroying his prized hammer, Mjölnir, Thor barely escapes to distant planet Sakaar, where the Contest of Champions awaits, an old friend lies captive, and old wounds look ready to burst.

Hemsworth is in better comedic form than I have ever seen him! While I stand by my comment that dedicated comedies are not for him, this is a superhero film in the hands of a sharp, talented comedic director, and that same talent only helps our hero. Tom Hiddleston (I Saw The Light) is in equally fine form, returning easily to the black wig as Loki and never once stooping to the suffocating caricature he was in The Dark World. Finally returning to the MCU is Mark Ruffalo (Begin Again) as Bruce Banner/The Incredible Hulk — the latter of whom now talks! There is no better heir to the legacies of Lou Ferrigno and Bill Bixby than Ruffalo, bringing the brawn and brain in both sides of his character! A surprising return comes in the form of Heimdall (Idris Elba, Star Trek Beyond), the Asgardian gatekeeper who has a lot to deal with this time — his return is surprising given his well-publicized disdain with the franchise, but is all the more welcome, as he’s integral to this story and the franchise’s future.

Newcomers to the franchise also shine — Tessa Thompson (Creed) does her first accent role as Valkyrie, the last of an elite Asgardian platoon, and she is fierce as can be, with a smoothness comparable to crystal rum! That being said, lots of female roles in blockbusters these days like to emulate Star Wars‘ Rey, but apart from being a scavenger, the same can’t be said of Valkyrie — she’s got a vocabulary like an acid-soaked whip and fighting skills to match, no matter how smashed she gets! Jeff Goldblum (Jurassic World: Fallen Kingdom) is in fine, debaucherous form as The Grandmaster, he who pulls the strings in the Contest of Champions. You really want to smack him in this, because he’s a perverted jerk, but then you want to kiss him, because he’s Jeff Goldblum! Karl Urban (Pete’s Dragon) provides a comedic edge to his work as Skurge, an executioner under our villain’s payroll, and almost makes us root for said boss! Finally, Cate Blanchett — she takes another grand, villainous turn that most would be chewing the scenery in, but she manages to bring a level of humanity to such a horrid creature, one that suggests an abandoned child whose mind has filled with thoughts of vengeance. Bravo, Blanchett. Here’s hoping you make Dame by next Christmas!

The crew behind Ragnarok are integral to the films’ success — the film is brightly colored and peppered with detail, evoking memories of Mad Max: Fury Road, truly looking like a comic book without falling into the self-parody that Ang Lee’s Hulk did; see it in IMAX or IMAX 3D! The music is something else, too! Legendary composer and former Devo frontman Mark Mothersbaugh brings a score together that suggests the best of Patrick Doyle’s work and also Daft Punk’s score for TRON: Legacy (sidenote: fellow TRONiacs will surely appreciate the gladiatorial battle midway through the film!)

To clarify Waititi’s earlier statement, he did add more jokes, but the juvenile nature of said gags is toned down immensely — while there is one truly juvenile joke in the film, which you will surely recognize, the suddenness of its appearance actually makes it funny! The Dark World was inundated with them, so what could have remained the superhero equivalent of a Three Stooges comedy becomes that of a Marx Brothers satire, and it’s all the better. Waititi brings a comedic flair to the film reminiscent of James Gunn’s efforts in Guardians of the Galaxy, and as such, he’s not afraid to go serious when the need arises, and rest assured, there is as much at stake as there is in one of those films — one of the best examples of that is in Thor’s continued attempts at bringing Hulk back into the form of Bruce Banner, which starts off as a lighthearted gag, but evolves into genuine pathos by the time Banner becomes himself again. Also, Waititi isn’t afraid to linger with story elements — one of my biggest complaints with The Dark World was its glossing over the story in favor of naked actors, but though jokes may run deep in Ragnarok‘s DNA, it is still a film, and most great films have a narrative to follow with characters you care about! Here’s hoping Waititi is signed for more Marvel Studios ventures!

Let me reiterate, Thor is one of my favorite movies — I saw it five times in the theater! — and, until now, my favorite film in the Marvel Studios pantheon, as it has been gleefully upended by Thor: Ragnarok, one of the greatest trilogy-makers since Toy Story 3. Lusciously photographed, brilliantly scored and joyously written without a shred of fear in taking its time, this has all the makings of a classic.

Rating: 5/5

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Oh, What A Girl Can Do!

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Nostalgia comes in great waves today, with all manner of films revisiting classic themes — from Guardians of the Galaxy: Vol. 2 to War for the Planet of the Apes, Hollywood is, more accurately, in a nostalgic monsoon, but in the case of this week’s new release, Atomic Blonde, we have said nostalgia tailored for an R-rated audience. This movie belongs to the 80’s kids and their parents, but with the modern sensibility of a commanding female lead who owns the show.

Based on the comic book The Coldest City, the story is set in November 1989, days before the fall of the Berlin Wall. Charlize Theron (Mad Max: Fury Road) plays MI6 Agent Lorraine Broughton, a super-spy at the top of her line, sent on an extraction mission to East Berlin. With the help of ridiculously rogue agent David Percival (James McAvoy, Split), she must locate a stolen list of active operatives in the Secret Service, or it’s game over for the free world.

Let’s not mince words — this film is an audio/visual feast, showing wanton violence with an almost poetic look to it, and yet the action is surprisingly grounded, given director David Leitch’s background with the John Wick movies. The sound is not as invasive as I thought it would be — while bullets fly above your head, you can still hear the dialogue clearly, all set to a litany of 80’s pop songs for much of its soundtrack. All that being said, the script isn’t much to write home about — too many curveballs are thrown into the works; even the viewer begins to doubt what is true or not. There are at least three twist endings, one of which you see coming miles away, so that’s no good.

Despite the handicap of the script, the acting is brilliant — If you expected hammy acting amidst a violent script, you’ll be proven wrong, but anyone expecting a cold-blooded feminist blockbuster tailored for the “reSister” of today will get something wholly other — Theron plays Lorraine more as a femme Timothy Dalton-era James Bond — one who would snap your neck like a twig for Queen and Country, all while wearing a coy smile on her face. She owns the screen on which the movie plays, but in any lesser situation, the requisite male lead would be mere eye candy. Thankfully, such is not the case here — co-star McAvoy brings the perturbing filth one usually sees in the movies he makes across the pond to a mass-market American release, and he owns his character with disgusting pleasure. Notable supporting cast members include John Goodman (10 Cloverfield Lane), bringing a shot of humor into the film as a bumbling CIA agent, James Faulkner (Downton Abbey) as C, Lorraine’s superior and head of MI6, and Sofia Boutella (The Mummy) in a role that, if I told you, would spoil the movie.

Atomic Blonde is not very good, but it’s no sin to see it — it’s a fun film that, while it won’t quite scratch the itch of those begging for a female 007, is a symphonic example of an action film, embodying the best of Guy Hamilton and Robert Rodriguez, set to the tunes of liberation. That is what we came to see, is it not?

Rating: 3/5

What I’ve Done

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I’m going to try and keep this review as brief as possible.

On average, I adored the Transformers movies thus far — I saw the first installment in  high school, and every movie gave me cause to joyously regress to that fat, pimply kid and enjoy the candy corn that was the best toy movie franchise ever made. Sadly, there comes a point when a boy must mature into a man; for me, that moment came hours ago, when I saw Transformers: The Last Knight.

Filmed almost entirely in IMAX 3D, Michael Bay’s swansong to his time in the toy department makes use of the immersive format like nothing I’ve seen before, but if only more time was spent in the much-publicized writers’ room. Rest assured it’s not the ghastly hodgepodge that the second film, Revenge of the Fallen, was, but boy oh boy, is it uninspired. Then again, what could one expect of a group of writers headed by Akiva Goldsman, whose brainchildren include Batman & RobinWinter’s Tale and The Da Vinci Code? Speaking of uninspired, most of the human actors present in this film are somewhere between giving it their all and collecting a paycheck — Marky-Mark patently wants out, Isabela Moner is charming but sparsely seen, Anthony Hopkins and Laura Haddock are having too much fun, and Josh Duhamel… next.

The biggest offenders in this film are the sound editors and mixers — if this film had a middle name, it would be “bombastic.” Even for an IMAX-optimized movie, it’s deafness-inducing, and the last thing I want after seeing a movie is to be fitted with hearing aids — no Oscar nods for any of y’all.

Though The Last Knight is meh than meets the eye, I still hold a tiny glimmer of hope for the four-friggin-teen Transformers movies and spin-offs in development, so here’s hoping the Bayhem has met its end at the hands of coherence.

Rating: 2/5

Drink Up, Me Hearties, Yo Ho!

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HERE THERE BE SPOILERS

Disney’s Pirates of the Caribbean franchise is something of a brilliant fluke that printed lots of money and occasional awards in its heyday, but let’s not mince words — the sequels thus far, made with the potential of being a seafaring Star Wars saga, were land-locked crap. With the much-publicized “final film” that was released last week, Pirates of the Caribbean: Dead Men Tell No Tales, I was hoping with bated breath for one last hurrah to make amends for the sequels that sucked. Having seen it, patience is clearly a virtue!

In this film, Captain Jack Sparrow (Johnny Depp, Alice Through The Looking-Glass) is a battered ol’ drunkie, with little to sustain him but the next rum bottle that touches his lips. Fate (read: sheer dumb luck) brings him into contact with Henry Turner (Brenton Twaites, Maleficent), the son of Will Turner (Orlando Bloom, The Hobbit: The Battle of the Five Armies) and Elizabeth Swann (Kiera Knightley, The Imitation Game), and he brings with him a threat from the ghostly Captain Salazar (Javier Bardem, No Country for Old Men) and a desire to free his father from unending servitude. Teaming up with Carina Smyth (Kaya Scodelario, The Maze Runner), a young astronomer accused of witchcraft, and Jack’s resident frenemy, Captain Hector Barbossa (Geoffrey Rush, The King’s Speech), they seek the Trident of Poseidon, an artifact capable of freeing anyone from a curse of the sea.

In all seriousness, this is not the best Pirates movie in the series — it does, however, have the luxury of being the best one since the immaculate original. Depp, as always, blends into character as if no years have passed, with all the wit and twit we love about Captain Jack, and yet this is not just his movie — just about everyone gets a chance to shine, with Thwaites finally beginning to prove his mettle as an actor beyond a pretty face and a haircut, and Bardem embodying all the creepy he had in Skyfall with a bit of a dark comedic edge to it. At times, Rush seems to be fulfilling a contract, but he brings all the necessary “arrr” to the role he created in 2002. Scodelario isn’t as bright in her role as I hoped she’d be, but she’s clearly having a good time making a costume drama in the company of great people. Speaking of, Sir Paul McCartney (A Hard Day’s Night), a Beatle in the flesh, appears as Jack’s uncle and namesake — try not to miss him!

Fresh eyes arrive to the series in the form of seasoned action directors Joachim Rønning and Espen Sandberg (Kon Tiki), giving a stronger sense of action choreography and an ability to see the beauty in locations, something they exhibited as producers on Netflix’s Marco Polo, but the real beauty of this movie is in its having a new writer — Jeff Nathanson (Catch Me If You Can). In addition to bringing a fresh eye, relatively unbound to the conventions of the previous sequels, and while there are rehashed lines and some plot holes, he seems to know exactly what the fans want, and in the end, he gives it to us — not only are Henry and Carina lovers by the end, Will and Elizabeth, longstanding mainstays of the series, are finally, definitively reunited in an ending that, while it should have been that of the third film, is warranted, welcome and warmed my greasy little heart to 450ºF! Bravo!

In its last-ditch effort for a return to form, this final Pirates largely succeeds. The script is definitely riddled with clichés; the acting ranges from nominal to yuckin’-it-up, but in the end, the franchise has met a graceful end and its fans, myself included, have finally gotten the happy ending that we deserved! So do yourself a favor and board a ship for a joyous voyage in 3D at your earliest convenience!

Rating: 3.5/5