MOVIE REVIEW: Annihilation

Posted on by Aaron White.

ANNIHILATION (2018)

GOING IN

Alex Garland writes great stories. He has dabbled in all kinds of science fiction, from the horrific in 28 Days Later… to the dramatic/romantic in Never Let Me Go to adapting a comic book superhero in Dredd and most notably for penning and directing my favorite film of 2015, the stunning Ex Machina. Now Garland is adapting Annihilation, the Nebula Award winning first novel in Jeff VanderMeer’s Southern Reach trilogy that Stephen King called “creepy and fascinating”. Ever since it was announced this film has been at the top of my most-anticipated list. It features quite a few favorite actors (Natalie Portman, Oscar Issac, Tessa Thompson) and the mysterious premise is ripe for exploration in that speculative sci-fi manner that Garland excels at. I expect to be wowed visually, probably a little bit confused, and I absolutely can’t wait.

1 Hour and 55 Minutes Later.


COMING OUT

The plot is simple: A group of soldiers enters an environmental disaster zone and only one soldier, Kane (Oscar Isaac), comes back out alive, though he is grievously injured. In an attempt to save his life, his wife Lena (Natalie Portman), a biologist, volunteers for another expedition into the zone to figure out what happened to him.

The story of Annihilation opens with Lena being interviewed by Lomax (Benedict Wong), who he is we never really learn, in a containment room. He is asking questions about what happened inside The Shimmer and the vast majority of her answers are “I don’t know,” though there is some foreshadowing that occurs here that viewers may realize later. This theme of “I don’t know” continues throughout the film’s opening scenes as Kane arrives home unexpectedly and answers most of his wife’s questions with that same phrase. It’s at that point that I should have known not to expect many answers from Garland’s script. “I don’t know” is where it starts, and in many ways where it finishes.

It wasn’t until Lena and her team enter The Shimmer that I started enjoying the film. The opening section was slow to reveal anything of substance and Lena’s scientific background making her a perfect fit for the expedition team felt too convenient. Lena’s team is a group of women. Dr. Ventress (Jennifer Jason Leigh) is the head of the Southern Reach agency in charge of researching The Shimmer and the leader of the team that enters. Anya Thorensen (Gina Rodriguez), Cass Sheppard (Tuva Novotny), and Josie Radek (Tessa Thompson) also are scientists and create a team that is well-rounded in its knowledge. There is also an element of self-destructiveness to each woman, as Sheppard points out that coming into The Shimmer (where only one person has ever emerged from alive) isn’t something you do if you’re happy with your life. Throughout the course of the film, discovering just what each character’s motivation is and how it is affected by what they experience is an important element of the story.

Unfortunately, it’s this character development that I found so lacking as to derail my enjoyment of the film. This is cerebral science fiction that intends to be esoteric. Garland is not interested in making a lot of sense and scenes don’t always tie together in a meaningful way. While the ladies provide an interesting collection of personalities to explore with, I never had the emotional connection that made me care what happened to them and felt like some very good actresses were mostly wasted. Likewise, I did not find myself caring much for the fate of the world at hand, despite The Shimmer’s consistent expansion being framed as dangerous to all life on planet earth. I did feel that some connection was made with Lena, and that makes sense because she’s the most developed by far, but she just isn’t very likable and thus her fate had little impact.

Now, some will fall head over heels for the kind of ambiguity the film serves up in spades. Its visuals are certainly mesmerizing. The beauty of The Shimmer and the horror of things like a bear-beast are equally staggering. The story also goes in a much darker place than I ever expected – in that Event Horizon or third act of Sunshine kind of way. It is fantastically creepy and had me cringing a few times out of shock. I applaud Paramount for letting Garland make the film he envisioned. At the same time, it’s really no surprise that this film didn’t test well with audiences and was sold to Netflix in order to recover most of its budget. It’s likely not going to be received well by mainstream audiences.

VERDICT

My love of Alex Garland’s writing created expectations that proved to be too high for Annihilation to meet. Though I enjoyed elements of the film and respect its incredible craftsmanship, I simply did not care enough about what happened. This lack of investment in its characters made it not worth the effort required for me to figure out its puzzles. I have no doubt that repeat viewings would help unpack further pieces of the mystery, but despite how well the film is made, I just didn’t enjoy watching it very much and don’t see myself rushing to experience it again anytime soon.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Black Panther

Posted on by Aaron White.

BLACK PANTHER (2018)

GOING IN

This is the most excited I’ve been for a Marvel film in several years. Black Panther looks to be set in a completely unique world that feels like an African Asgard. The importance of this superhero film for African Americans is significant, too, and cannot be dismissed. With a cast of incredible actors of color plus two of my favorite Tolkien-universe stars, and director Ryan Coogler whose never made anything less than an excellent film, expectations are high that this will be a comic book movie to remember. Plus, his superhero persona is a cat. I mean, c’mon… who doesn’t love cats?

2 Hours and 14 Minutes Later.


COMING OUT

There’s nothing quite like that feeling when a highly hyped movie delivers the goods. It’s euphoric and can lead to long bouts of smiling the rest of the day. When that film is in a genre that has largely become stagnant and routine, a diamond emerging from the rough is an even bigger deal, and cause for great celebration. Those who have followed Ryan Coogler’s brief career thus far (Fruitvale Station, Creed) knew the young director had the chops to pull of a great Black Panther movie, and boy did he ever.

Early in the film, T’Challa’s (Chadwick Boseman) sister Shuri (Letitia Wright) tells him “Just because something works doesn’t mean it can’t be improved.” This little nugget of wisdom feels like foreshadowing because that is exactly what Coogler and this fantastic cast have done with Black Panther. Marvel movies make money and are highly enjoyable, so the formula thus far has worked just fine. But Coogler, who also co-wrote the film, has definitely elevated that formula and created something with so much more depth than the majority of comic book films. Fans are constantly clamoring for these films to be more than just jokes and great action, and to have some genuine stakes. Because of the more personal level of the conflict in Black Panther it has those necessary stakes, both for T’Challa as a king and the nation of Wakanda. Coogler’s film also tackles the reality of African American history while comparing that to an incredibly advanced civilization free from colonization and bondage. The subtle but strong way the story handles all of these topics is what makes it so special.

Well, that and the acting. Black Panther features a standout cast that just rocks it in almost every role. Andy Serkis steps out of the motion capture suit to play villain Ulysses Klaue and promptly steals every scene he is in. It’s a performance that is dripping with that exaggerated comic book style and I ate up every second he was on screen. Pairing with him in the villain role is Michael B. Jordan as Killmonger, who unsurprisingly is phenomenal. Goodness gracious can this guy act! I’ll be blunt – these two together are the best Marvel villains we’ve seen. In Killmonger, for once Marvel has given us a villain worth caring about, and the difference in personality and motivation between he and Klaue makes for superb entertainment. Other standouts are Danai Gurira as Okoye, as T’Challa’s Wakandan General and absolute bad-ass warrior. Her performance is fierce and she epitomizes the strength of Wakandan women who may live under a patriarchy, but are every bit as equal and valued as the men. I could go on and on, but the aforementioned Letitia Wright also was excellent. As T’Challa’s sister, she provides an interesting picture of someone who has grown up with the comfort and technology of a secret tribal country yet still has the sensibilities of a wide-eyed teenager. She gives the film plenty of its humor and is the primary vessel for us to learn about and fall in love with Wakandan vibranium tech (which is AWESOME).

The setting of Wakanda is a beautiful, at times breathtaking, fascinating sort of African Asgard. The filmmakers took great care to make each tribe look and feel unique. Everything about this world felt so vibrant and traditional, from the rituals to the manner of conversation. Much of the score features tribal music with beating drums that fit perfectly, but at times it also switches up to modern musical styles. This is best shown in one particular fight scene where the style of music alternated back and forth based on which character was shown in battle.

Black Panther is truly great, but it isn’t quite perfect. My two biggest complaints about the film are its CGI and a few of the narrative choices made during the climax that felt like shortcuts. The climax also felt a little long to me, but that’s a minor quibble. The CGI being wonky was a major problem in a genre that showcases its heroes using their abilities. Many times it was so bad that it took me out of the moment and lessened the intensity of the action sequence taking place. There are definitely great moments, many relating to the Panther’s kinetic reflecting suit, but overall it was still a letdown from a studio that should be acing that element.

VERDICT

Black Panther may not be king of the MCU, but it certainly is a worthy challenger for that mantle. The film’s deep themes and focus on developing characters makes it linger in your thoughts even after the high has passed. This is the first Marvel film in a long time that I immediately purchased tickets to see again. There are so many great lessons and they’re all contained in a beautifully unique wrapper unlike anything we’ve ever seen before. Representation matters and Black Panther is certainly an important step forward in film, but it’s also just a damn good comic book movie and reminder of what the genre can be at its height. Wakanda Forever.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Fifty Shades Freed

Posted on by Aaron White.

FIFTY SHADES FREED (2018)

GOING IN

In my review of FIFTY SHADES OF GREY, I wrote this: “Here’s the thing, not every movie I watch presents a worldview that I agree with or that I would ever consider acceptable for my life. This story fits squarely in that box. But the beauty of cinema is that it gives us an opportunity to peek into different lifestyles and perhaps even learn from them.” Now, with the culmination of this steamy series coming to theaters, I must say that my feelings remain the same. Throughout FIFTY SHADES GREY (and to a lesser extent in FIFTY SHADES DARKER), we see Anastasia (Dakota Johnson) exhibit agency. Unlike what some (who likely have not taken the time to actually see the films) will tell you, the submissive/dominant relationship at the heart of this series is consensual. It’s seeing this unusual power dynamic play out that makes for an interesting story, at least on some level. That being said, past films have plenty of problems, too. They aren’t great by any means, but they are entertaining enough. The trailers for FIFTY SHADES FREED point toward this final installment being more of an action thriller and I’m really hoping that excitement elevates this entry slightly above the rest.

1 Hour and 45 Minutes Later.


COMING OUT

FIFTY SHADES FREED gave me exactly what I expected, and enough of what I wanted. Anastasia and Christian (Jamie Dornan) are now married, but along with the challenges of joint decision making they also are being dangerously stalked by someone who clearly has bad intentions. The stalking results in several action sequences and scenes of tension, but none of that works really well. If we’re being honest, though, this series isn’t trying to be a serious thriller with sex thrown in… it’s trying to be romantic soft-core porn with a better story. Frankly, despite the poorly filmed action in the film, it does in fact make the movie more interesting. Ultimately, the plot makes sense and I was pleased with the quick and realistic resolution to its climactic showdown.

The thriller aspect of this film, though, is really just there to carry us forward from sex scene to sex scene. There are lots of them in FIFTY SHADES FREED. There are good ones in FIFTY SHADES FREED. And there are a couple of real duds, too. I’d be perfectly happy if no movie ever used food in a sex scene again, that’s for sure. Regardless, thank goodness for buffer seats because I definitely got a little hot and bothered a few times. If that’s what you’re coming for, you should come away feeling relatively satisfied.

What I like most about the first film, and now this last entry, is the relationship dynamic between Anastasia and Christian. Ana is at her most dominant in this film and we see Christian having to come to terms with that. Never once has this series depicted abuse, and though its lifestyle is not one most are familiar with, for these two people it truly is how the show each other love. I was pleased with the ending and thought many may roll their eyes at it, the final act in this film is one of the most loving in the series.

This film could easily be called unintentionally funny, as well, but I’m not sure that’s true. Yes, it’s got some silly moments and plenty of groan-worthy dialogue, but this all results in a pretty hilarious experience and the funniest moments in the series. I think that’s the point. This is a romance novel on screen that embraces what it is and never apologizes. And isn’t that how it should be judged?

VERDICT

The FIFTY SHADES series is not for everyone, but those who enjoy the story from the books and/or the previous two film entries will probably like this too. The balance in relationship power elevates this film and though it doesn’t have the best action or most surprising thriller twists, it is engaging throughout and not overlong. With some laughs, steamy action, and a bit of heart, FIFTY SHADES FREED ends this series (just slightly) on its highest note.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Peter Rabbit

Posted on by Aaron White.

PETER RABBIT (2018)

GOING IN

Oh, January. According to Box Office Mojo, there is exactly one animated film among the Top 100 grossing of all-time to release in what is widely considered the dumping ground month for film studios. Extend that to the Top 200 and you find only three films released in January. Let’s just say this doesn’t provide a huge amount of confidence in Peter Rabbit‘s breakout potential. That being said, despite my little to no interest in this live-action/CGI animated adventure, Columbia Pictures does have a history of putting out some solid animated films (Arthur Christmas, Cloudy With a Chance of Meatballs, Open Season, and the Hotel Transylvania series). I also had little to no interest in another live-action/CGI film this January. That movie, Paddington 2, shocked me by being utterly fantastic. And so, Peter Rabbit. Here’s hoping for a hopping good time, but expecting nothing close.

1 Hour and 33 Minutes Later.


COMING OUT

New rule: stop underestimating British comedies.

Early in the film, a narrator voice-over tells us that Peter Rabbit is “the tale of a rabbit in a blue coat with no pants.” That simple description may be true, but much like the film’s trailers, it says nothing about the emotional depth to be found within. Sure, the movie about talking animals battling with a human over control of a garden is funny as it should be, but it’s also got a lot of heart, and that is what elevates this one from good to to great.

Will Gluck’s writing in the film is wonderful. At first, the reckless and prideful Peter (James Corden) appears to just want supremacy of the garden from Mr. McGregor (Domhnall Gleeson). After all, despite it being a great source of food, couldn’t the rabbits move to somewhere less populated and with more accessible sustenance that wasn’t littered with traps? But as the story progresses, Peter’s underlying motivations are slowly revealed to be more emotionally driven, and his relationships with his family and local animal loving neighbor Bea (Rose Byrne) grow into ones that have some genuine depth. The film also uses its entertaining battles between rabbit and man to make a great point about bullying and the escalating violence it can cause. It’s not all feels, though. The humor Gluck weaves throughout the narrative comes in many different forms. There is social commentary (brief jabs are taken at electronic device addiction and the growing trend of everyone being allergic to something), fourth-wall breaking, and some great meta moments. All of the jokes feel smart and current in a way that’s different from typical American animation. Maybe I’m just a sucker for British wit, but if you are too then you’ll love what Gluck has done with this script.

The music in the film also is a major positive. It’s musical choices work great and a running gag with some singing birds definitely is a highlight. Visually, the film looks great. Colors are crisp and bright. The rabbits look appear appropriately cuddly. The interaction between live-action and CGI is fantastic, too, with Gleeson and Byrne both doing a great job of selling that they’re really communicating with talking animals. Gleeson in particular is a joy to watch and I’ve decided this type of role is where he shines most. He’s easy to hate while at the same time giving you enough charm that you feel like there’s something there to love, which is exactly what was needed for Mr. McGregor. Both he and Byrne seem to really be enjoying their roles an having a ball.

This all isn’t to say that the film doesn’t have issues. Structurally it hops around at times and is a little bit of a mess. And even though there is an attempt to round out Peter’s family with unique personalities, there’s just not enough time to develop them in a deeply meaningful way. Peter Rabbit also isn’t particularly memorable. While the emotional beats work while watching they aren’t something you’ll be considering for hours and days afterward. Still, these and other minor quibbles aside, the film is just so much fun that it overcomes them and results in a very entertaining experience.

VERDICT

Peter Rabbit isn’t by any means a perfect film. But like Paddington 2, when compared to non-Pixar/Disney American animation it really shows that there is an amazing alternative in animated comedy for audiences to focus on and celebrate. This is a film that is short, sweet and smart with some great messages about family and friendship all while being one of the most laugh out loud hilarious experiences I’ve had in a theater in ages. Its choice to go deeper than the surface by touching on themes of owning up to mistakes and forgiveness turn it into more than just a funny action adventure, and instead make it one of the better animated films to ever be released in January. Grab your blue jackets and take the family to this fun romp through the garden!

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Maze Runner: The Death Cure

Posted on by Aaron White.

MAZE RUNNER: THE DEATH CURE (2018)

GOING IN

Better late than never, right? A year after its original release date, Wes Ball’s final installment of his Maze Runner trilogy is here. Thankfully, star Dylan O’Brien has fully recovered from the serious injuries sustained while filming and is ready to bring this high octane franchise to its riveting conclusion. James Dashner’s series has always been one of my favorite Young Adult dystopian trilogies. I read each one as they came out, and vividly remember waiting in line at midnight to pick up my copy of The Death Cure. I read it in one sitting that day and mostly enjoyed the way in which the story wraps up for Thomas, Teresa, and the Gladers. Maze Runner: The Death Cure will follow the remaining escapees as they try to save their friends from the legendary Last City, which of course is under WCKD control. Thus far Wes Ball has done a solid job, with the previous entries being his only feature length films to date. I’m excited to see how the film story plays out differently than the books and optimistic that this will be an exciting adventure right up to the last minute.

2 Hours and 20 Minutes Later.


COMING OUT

Last year (2017), movie fans were treated to the final film of a rare trilogy that got better with each successive installment. Granted, the Planet of the Apes series was not based on young adult books as is The Maze Runner Trilogy, but it provided an example of just how good progressive storytelling can be. After Wes Ball’s hot start with the claustrophobic and mysterious thriller The Maze Runner, book two’s adaptation of The Scorch Trials was just another race and chase action film adding very little complexity and character depth. And unfortunately, taking the opposite trajectory of that incredible aforementioned series, The Death Cure does not in fact bring this series back to life but instead sends it off in an explosive, fiery, forgettable mess.

Let’s get one thing out of the way up front. Book fans – this is not the adaptation you probably expect. A good 75% of the story has been changed and the parts that do remain are out of order and have a much different feel to them. One of the most important facets of James Dashner’s novels is that Thomas and Teresa (and Aris later) can communicate telepathically. This was understandably removed from the adaptations because it would have been a nightmare to try and show cinematically. However, in doing so the story is stripped of an enormous amount of emotional depth and relationship building between the two leads that is never adequately replaced. In fact, there is so little movie reason given for Thomas to be relentlessly in love with Teresa that it makes the events of this final film fall very, very flat. And speaking of Aris? After an important introduction in film two, he all but disappears completely in The Death Cure. Other book character changes abound, with new ones being inserted or old ones altered completely to fulfill the different story requirements of the film series. Wherever you stand on how accurate book-to-movie adaptations should be, just know that the changes made in The Scorch Trials have been double-downed on. This is no longer The Death Cure story you know, complete with a different ending, which makes one wonder why a book series is adapted at all if the changes are going to be this glaring.

Unfortunately, even removing a desire to see the story as it was written originally, Ball’s third film still isn’t very good. The story as told is extremely generic with almost nothing unexpected taking place. The film begins with an incredible train action scene and then quickly plunges into over an hour of drama. It’s this section that hurts the film immensely and turns it into a bit of a bore. Thomas (Dylan O’Brien) has never been more moody, brooding, and pouty. Teresa (Kaya Scodelario), likewise, goes through the entire film with almost the same facial expression. The two form one of the most emotionless pairs I’ve ever seen. There are a few scenes in the film that did evoke some feelings, but none of them coming from the main characters is a problem. Instead it’s Newt (Thomas Brodie-Sangster) and Brenda (Rosa Salazar) who are genuinely intriguing characters and stand out as the best performances of the film, as well as worthy of the most feels. Sadly, their strength just further shows the weaknesses of the leads so enjoyment is offset by disappointment. And when it comes to villains, Janson (Aidan Gillen) is about as cookie-cutter as they come. Gillen’s role in this series was clearly increased due to his rising fame from Game of Thrones, and I’m not a fan of his performance at all.

Eventually the film shifts back into pure adrenaline-fueled action, which Wes Ball has shown he can do well. The finale is chaotic in that everything-must-blow-up-because-bigger-is-better way. There are definitely some great (and dangerous looking) practical effects, but also plenty of moments that push the boundaries of realism so far into ridiculousness that it’s hard to take seriously. Where in the past Ball seems to have shown some restraint, there is none to be found here, and the movie is worse for it.

VERDICT

The Maze Runner is a series that offered so much potential, but Wes Ball’s final installment does not earn the emotional stakes its conclusion hinges on. Though I still believe Dylan O’Brien can be a star, his lack of range in this performance does leave me a little worried. I can’t help but compare this adaptation to its source material, where it uses the same characters to tell a much more interesting story, but even when taken on its own merit The Death Cure just isn’t that interesting. It’s too long, with a weak melodramatic center, and overly frantic seizure-inducing action that is the worst of the series. Fans of the series should probably still check it out, and may come away with a slightly better experience, but don’t hope for much more lest you be as disappointed as I am.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: 12 Strong

Posted on by Aaron White.

12 STRONG (2018)

GOING IN

12 Strong is a film based on Doug Stanton’s non-fiction book Horse Soldiers, that dramatizes the true story of a U.S. Special Forces team who deployed to Afghanistan in the wake of the attacks on September 11, 2001. They were some of the first American military to engage in unconventional warfare against the Taliban and al-Qaida forces. As the title of the book and all of the film’s marketing shows, this group in particular used horses as part of their fight against enemy forces. Chris Hemsworth leads an interesting casts that includes Michael Shannon (who I don’t see as a special forces soldier), Taylor Sheridan (in his first acting gig since becoming a hot new writer/director), Trevante Rhodes (coming off an incredible performance in Moonlight), Michael Peña (most likely for some comedic levity), William Fichtner, and more. The film is directed by Nicolai Fuglsig, a former war photojournalist making his directorial debut, which means it should at least look good. I also expect the film to be rousing and patriotic, and as someone who was serving in the military and stationed in the Middle East at the time of the attacks, it will probably be quite affecting regardless of quality.

2 Hours and 10 Minutes Later.

COMING OUT

9/11 is one of those days that most everyone can remember in vivid detail. Each year on Patriot Day, it is common to hear the question “Where were you when…?” whispered around the office as co-workers somberly reflect on the tragedy of the World Trade Center attacks and share their stories, additionally observing a moment of silence at 8:46 am. It is nearly impossible to not feel those emotions of grief and sadness again, as we collectively remember those who lost their lives because of hate. And so, early in 12 Strong when footage of the crashes is shown, I’ll freely admit to immediately becoming emotionally invested. Then we are introduced to some of the soldiers that make up the team at the center of this story, and we watch as they struggle with feelings of anger and rage. They want payback, and they want it now. They know that it means leaving their loved ones, but these are men of ideals and they must fight. Again, emotion washed over me as I remembered my time in the Middle East, learning of the attacks and then sitting in my off-base apartment armed and watchful as demonstrations took place at a local mosque across the street. I, too, wanted payback. 12 Strong begins by presenting us with this background and bringing us back to that moment that we realized safety on our own soil was no longer a guarantee. It is a powerful and evocative opening act.

At the heart of 12 Strong, as with most good war films, is brotherhood. Captain Mitch Nelson (Chris Hemsworth) leads a Special Forces team that includes many men older and with more combat experience than himself. He is fiery and determined, though, and his natural leadership has them gladly follow him into a dangerous mission as the United States seeks to work with a local Afghan warlord to take a key city back from Taliban. The one thing that will quickly sink any war film for me is an inaccurate portrayal of military life. Thankfully, the team is shown in way that is very reminiscent of my own experience, effectively capturing the camaraderie that exists between these men who must rely on each other for their very lives. Also accurately shown is the way in which Chief Warrant Officer Hal Spencer (Michael Shannon), the grizzled vet, supports and provides advice for Nelson, understanding the role in leadership that he has and helping the young officer to make wise choices. The relationship between the entire team is a joy to see, but there is a special bond between Nelson and Spencer – a strong mutual respect. At one moment as the men are about to embark on their mission, Spencer muses “It’s a hell of a thing we do. How do you love your family and leave them to go to war?” Honor, of course is partially the answer, but brotherhood sure makes it easier.

Once in the mountains of Afghanistan, Nelson and the team meet up with General Dostum (Navid Negahban) who serves as a guide and provides his army to help the Americans regain control of the city for them. Negahban’s performance is wonderful and was the surprise of the film, outshining the solid work by Hemsworth, Shannon, Peña, and others. Dostum and Nelson must learn to work together in what starts out as a tenuous relationship but ultimately provides a great example of what it means to grow to trust one another. What 12 Strong does differently than so many films set in this era is use this relationship to remind us of the Aghani people who were victims of al-Quaida and the Taliban themselves. General Dotsum is a truly great man who led his people in opposition of the Taliban and went on to become Vice President of the country in 2014. Here we see why, as he mentors Captain Nelson, teaching him the difference between a soldier and a warrior, and forming a bond that has grown into a lifelong friendship between the two men. This relationship as depicted in the film was probably my favorite aspect, and amidst the chaos of war it provided some dramatic character depth and an arc of growth for Captain Nelson.

The one thing that I dislike most about 12 Strong is the choice to include a villain. Around the beginning of the second act we are introduced to the Taliban leader who has taken control of the city and are shown examples of the horrific way in which his group operates. I did not feel this was necessary because we have enough real-life motivation to root for our heroes already. His addition was a distraction somewhat during the action and removing him might have trimmed off 10 minutes or so and made the film feel a little tighter. His inclusion doesn’t sink the film by any means, he just felt a little out of place.

Technically, the film has many strong qualities, chief among them the sound design. Gunfire and explosions sound crisp, real, and terrifyingly close. Cinematography is also very good, which is not surprising given the director’s photographic background. The film is full of beautifully framed shots, the likes of which you would see in a magazine from a wartime photojournalist like Fuglsig, but there is also an inconsistency to this that shows his lack of directing experience. Mostly the film looks and sounds great, with a near non-stop pounding score escalating our heartbeats in rhythm with the tension and action playing out on screen. It’s also a relief to see that the horses are not used as a gimmick at all, but their place in the story feels genuine and realistic (with the exception of one slightly unbelievable, but awesome, action scene).

VERDICT

12 Strong is a tight, tense thriller that retells an incredible story in American war history. It focuses as much on the diplomacy needed between the U.S. and Afghanistan as it does the incredible battles with Taliban fighters to show a well-rounded picture of how the two nations worked together to accomplish their mutual goal. This is not a propaganda film, but it does evoke powerful emotions related to memories of a terrible tragedy, and especially so for those who left their own loved ones to take up the fight themselves. Anchored by strong acting performances across the ensemble cast and without relying on manipulative fake motivational speeches, 12 Strong shows how loyalty works in a military brotherhood, and how powerful it can be. Many elements of the film may feel somewhat generic, but the emotional resonance can’t be ignored, and make this one definitely worth seeing.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Phantom Thread

Posted on by Aaron White.

PHANTOM THREAD (2017)

GOING IN

Paul Thomas Anderson and Daniel Day-Lewis together again. In 2007, this pair of genius artists gifted the world with There Will Be Blood, one of the finest films of the 21st century, which resulted in Day-Lewis’ second Academy Award for Best Actor. Now, after a career of unrivaled success, Day-Lewis gives his final performance as a renowned dressmaker in 1950’s London who finds his muse, bringing love, creativity, and disruption to his methodical life. Paul Thomas Anderson serves as the film’s writer, director, and cinematographer – a rare feat that is no doubt within his ability. The film will almost certainly look and sound incredible, and in an Anderson script there are sure to be surprises along the way. With Anderson and Day-Lewis’ track record of excellence, it is impossible not to be giddy with excitement to discover the secrets Phantom Thread hides.

2 Hours and 10 Minutes Later.


COMING OUT

Reynolds Woodcock. The name of Daniel Day-Lewis’ distinguished dressmaker should have tipped us off. It is a fine, strong name that sounds prestigious enough, but also one that provokes a little private chuckle on the side. And that is exactly what Phantom Thread turns out to be – part period romance melodrama, and part dark personal comedy. At times it felt almost wrong to be letting out an audible laugh when the characters are taking things oh so seriously. Come to find out, though, that is precisely what makes these wonderful moments so funny.

Phantom Thread turns out to be quite unpredictable. In addition to the humor, there is a psychosexual nature to the story that is both fascinating and uncomfortable. Alma (Vicky Krieps) and Reynolds’ relationship quickly becomes something unexpected. Woodcock puts dressmaking first, and Alma soon realizes that her existence is only noticed and appreciated within the routine he allows it to be. What he isn’t prepared for, though, is her push back and willingness to engage and challenge his status quo. Also vying for Reynolds’ attention (though in a much different manner) is Cyril (Lesley Manville), Reynolds’ sister, manager, and closest confidante. This triangle of relationships is always a little uneasy and how they ultimately resolve is the crux of the film.

Anderson’s work as the film’s uncredited cinematographer is incredible. His camera often focuses close-in on the actors’ faces, and much is said in a lingering stare or the slight turn of an upper lip. Though the dialogue is brilliant, so much is conveyed via body language. It speaks to the acting prowess of the entire cast, but also to PTA’s eye for knowing how to capture it perfectly in the frame. The atmosphere and set design of the film is mesmerizing, as well, combining with a beautiful violin and piano based score from Jonny Greenwood to cast a spell on viewers and immerse them in another time and place.

Day-Lewis’ portrayal of the obsessive, controlling Woodcock is pitch perfect. As expected, the method actor whose preparation is the stuff of legend, put in plenty of work to become the sought after dressmaker. For Phantom Thread, Day-Lewis actually learned how to sew, going so far as to hand-stitch a Balenciaga dress from scratch, while his wife (director Rebecca Miller) served as a model. Oh, and he also apprenticed for a year under costume director Marc Happel of the New York City Ballet, sewing 100 buttonholes as he learned the intricacies of the craft. All of this incredible effort leads to a performance that feels perfectly natural. Day-Lewis’ history is so fantastic that it might be easy to compare and call his work in Phantom Thread merely “very good”, but when measured against the rest of the acting field it really is one of the finest performances of the year.

However, it’s not even Day-Lewis that gives the best performance of the film. That honor must go to newcomer Vicky Krieps who is not just his equal, but is able to even outshine him at times. Her patient demeanor is both delicate and fiery, always giving the impression that at any moment she might crumble under Reynolds’ force or powerfully take control of a moment herself. Her acting is exquisite and the ability to emote so much without words makes her performance such a force. Not to be outdone is Lesley Manville, who also holds her own in every scene opposite Day-Lewis as the ever-steady rock of their strange sibling union. Combined these three stars are as good as any other ensemble cast you will see all year. They make every line sing and create characters you won’t easily forget.

VERDICT

Though PTA’s films had never commanded much of my attention before, Phantom Thread captivated me from the opening scene to the end credits and bewitched me unlike any other film experience in 2017. Thematically, it’s exploration of an unconventional romance between the obsessive man and his delicate muse goes in directions you never expect, and never ceases to hold your attention throughout. Cinematically, it is one of the most well-crafted, stunningly beautiful, perfectly scored, impeccably acted dramas I’ve seen in years. PTA’s meticulous attention to detail marries so well with Daniel Day-Lewis’ devotion to character immersion, and newcomer Vicky Krieps owns the screen in every scene. Like the notes left by Reynolds inside the seam of his dresses, Phantom Thread will embed itself in your memory and linger in your thoughts for long after your initial date is over.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Paddington 2

Posted on by Aaron White.

PADDINGTON 2 (2018)


GOING IN

In 2014, a movie based on a children’s book about a talking bear who is discovered in Peru and moves to modern-day London, became an overwhelmingly positive critical success. I’d never have bet on this happening. But it did, and so much so that the British live-action/CGI hit has spawned a sequel. Paddington was recognized for being a warm-hearted family-friendly adventure full of charm, wit, and with a playful sense of humor. It was also filled with gags that made it just plain fun, and my family is excited to see where the immigrant bear’s story goes from here.

1 Hour and 43 Minutes Later.


COMING OUT

Rarely does a film so exceed my expectations that I’m left with a feeling of awe, but my face literally almost broke into pieces from the immensity of my smile as I sat watching one of the most perfect post-credit scenes I’ve ever witnessed follow-up a film so adorable that I wanted to hug it, then see it again immediately. The word awesome may be overused and have a wide range of application, but when expanded to its full definition of something that is “extremely impressive; inspiring great admiration”, it applies perfectly to Paddington 2.

Now with the origin story out of the way, director Paul King is able to show us what Paddington’s every day life in London is like with the Brown family. It still requires some suspension of disbelief to see humans interacting with a talking bear as if it’s routine, but it doesn’t take long to start feeling the joy that Paddington is bringing into the lives of everyone he interacts with and accept him for who he is, and not how he looks. Watching the Brown’s operate as a family is particularly sweet, and each member has their own personal issue of identity that they are dealing with in some manner. Each of these is introduced briefly and King’s ability to pay off each individual family member’s struggle while maintaining a balance of character focus throughout the film is a triumph. As for Paddington, he simply wants to find the best present possible for Aunt Lucy’s 100th birthday, and due to a bad case of wrong place/wrong time he ends up in the most unlikely of places… prison. The rest of the plot takes everyone on whimsical adventures, complete with treasure hunting, plenty of detective work, and hijinks on a train. The film has plenty to say about being yourself, having manners, and looking for the good in others, but it is never distracting and rather genuinely uplifting.

Along Paddington’s journey, one of the characters he meets is former star actor turned dog food salesman Phoenix Buchanan (Hugh Grant). Phoenix wants what Paddington wants and serves as the villain of the film, and boy oh boy is Grant having the time of his life in this role. It’s impossible not to smile and laugh constantly because Grant’s performance evokes these involuntary reactions at every turn. While he doesn’t have the kind of Oscar-worthy moment that is thought of when awards are handed out for best acting work, his consistent greatness in playing this character perfectly should not be overlooked. Also hitting a home run with his performance as Knuckles McGinty, a prison cook, is Brendan Gleeson. McGinty and Paddington enter into a unique sort of friendship that is as much gut-busting fun as it is soft and caring. Paddington is the kind of bear who always looks on the bright side, after all, bringing people together and making the best of whatever situation he is in, and McGinty and the other prisoners find it as hard to resist his unrelenting kindness as audiences do his charm.

All of this is well and good, but what truly raises Paddington 2 to greatness is that it’s not just a wonderful family-friendly story full of laughter and smiles, but also a technical marvel. The blending of live-action and CGI work is really special, never once being noticeable or feeling out of place. The cinematography is always fantastic and often striking with vivid color. Many times I was reminded of Wes Anderson’s work, particularly in The Grand Budapest Hotel, by the way in which a variation of angles were used to frame characters and scenes in interesting ways (usually centered). That color, though, bursting off the screen as if it was alive, added so much to the overall joy of the experience and was a treat for the eyes.

VERDICT

Shocking as it may be to read this early in the year, Paddington 2 is a truly wonderful film that will stand as one of 2018’s best. As the sequel to a great film, this one is even better. More heart-warming, more hilarious, and with outstanding performances by Grant and Gleeson that set it apart from other animated and similar genre pictures. In a world that often gives plenty of reason to frown, Paddington will replace that with pure delight. Take the whole family to see it once, twice, or more. Spending time with this marmalade-loving bear will start your year at the movies off right.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Insidious: The Last Key

Posted on by Aaron White.

INSIDIOUS: THE LAST KEY (2018)


GOING IN

The INSIDIOUS series has always been a guilty pleasure of mine. I acknowledge that it isn’t the best horror out there, but I very much enjoy the first two films in this franchise, and due to a strong final act I even don’t mind the third chapter. The concept of The Further and exploring a place where spirits roam while trying to attach themselves to the living is certainly an intriguing one. While James Wan has gone on to make much more masterful horror films in THE CONJURING series, his ability to create atmospheric dread made the series one I could stomach more than the blood and gore pictures in this genre. Admittedly, INSIDIOUS: CHAPTER 3 was a letdown and Wan’s absence was felt as co-creator Leigh Whannell took over directing duties. Now director Adam Robitel is attached for yet another Lin Shaye led sequel. It’s not unheard for little known horror directors to surprise with a good film, but it is rare that fourth entries in a horror franchise ever live up to their original material. I’m going into this one with pretty low expectations and hoping to be pleasantly surprised.

1 Hour and 43 Minutes Later.


COMING OUT

 

INSIDIOUS: THE LAST KEY begins with a flashback to a young Elise (series star Lin Shaye) living in her home on a prison campus. This insight into her childhood family dynamic and living situation immediately sets the stage for what will be her most personal haunting experience yet, when she returns to this childhood home much later in life to face off against a sinister demon. The details behind this particular occurrence are fairly dark in nature and the plot gets even more serious as it progresses. It’s actually somewhat shocking that the film maintains a PG-13 rating with the heavy content, but like other films in the series it does shy away from blood and guts, relying more on jump scares and atmosphere to provide the audience a sense of fear. Those scares are hit or miss, with a few genuine moments of surprise but many more of the telegraphed typical horror film variety. While some scenes may give audiences a quick jolt, the film never creates any lasting feeling of terror.

Returning to pen this entry (as he did the previous three) is series co-creator (and director of INSIDIOUS: CHAPTER 3) Leigh Whannell. Whannell also stars in the film as Specs, part of the sidekick ghost hunting duo that provide technical assistance to Dr. Elise Rainier. You may notice the wording used in that last sentence and find it odd. After all, Specs and Tucker have never been the focus of any previous INSIDIOUS installments, but rather provided important brief moments of levity to give audiences a chance to breathe and have a break from the tension. One of the major problems with INSIDIOUS: THE LAST KEY, though, is that Whannell has taken Specs and Tucker from fringe supporting characters almost all the way to centerpieces. In a trend that began with INSIDIOUS: CHAPTER 3, their screen time has increased and so have the one-liners and goofy actions. Because of their frequency this makes the film feel like almost half comedy. Instead of the jokes being used as levity, they are gags that bring attention to these characters, taking the audience out of the tension built up. It’s almost like two guys from a buddy cop comedy got dropped into this horror movie. It feels very, very weird. Whannell also really gets lost in his story, and as it gets deeper and darker it also becomes more convoluted. There are some really interesting ideas, but he just doesn’t deliver them in narrative form in a crisp understandable manner. The time travel element that takes place in The Further, in particular, has never been explained well and is no different here. Understandably there is some disbelief that must be had to accept the fantastical nature of the spirit world in the INSIDIOUS franchise, but the decisions here just take that further (pun intended) than most viewers are going to be willing to go.

Also disappointing was Robitel’s male gaze as a director. This is something that I have only recently started to notice, but did so multiple times in this film and one particular scene is an egregious example. It’s because of this scene, which focuses the camera up close on a female’s heaving chest for nearly 30 seconds as she lays on the floor gasping for breath, that it became hard to take the two new young female characters very seriously. So little devotion is given to developing their characters and in the end they are simply a plot device and object of desire for Specs and Tucker. Robitel does manage to create solid atmospheric fright at times. His framing of character faces within scenes where action is taking place in the background was something that stuck out as a positive, and the opening section of the film was quite strong as well. Additionally, the demon design and way in which it attacks is unique and scary, even if it does move a bit like The Crooked Man from THE CONJURING 2.

VERDICT

Continuing the downward spiral after a solid first two films, INSIDIOUS: THE LAST KEY deserves to be locked away and forgotten. Whannell’s script puts way too much focus on himself and his comedy sidekick, while also taking a strong opening idea and making it so complicated that its difficult to take seriously. Robitel’s direction isn’t all bad, and the physical atmosphere is appropriately creepy, but the objectification of two younger female characters is hard to ignore. The INSIDIOUS franchise under Wan’s hand was great, but it has now lost the focus it once had and it’s time to use THE LAST KEY to close the door on these ideas for good.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Jumanji: Welcome to the Jungle

Posted on by Jeremy Calcara.

JUMANJI: WELCOME TO THE JUNGLE (2017)

We live in a world of remakes, reboots, reimaginings and rebrandings. Sequels and franchises dominate the box office. If a studio sees any opportunity to squeeze a dime out of something you loved as a child, chances are it’s already in production. While they’re not all terrible, even the best of them are merely well-produced retreads that lack innovation and imagination. But every once in a while, a sequel or a reboot comes along that surpasses its source material with a fresh take that injects life into the property. This Christmas, we’re lucky enough to have one of those rare diamonds in the rough in Jake Kasdan’s Jumanji: Welcome to the Jungle.

Jumanji: Welcome to the Jungle is a standalone sequel to the 1995 hit Jumanji, directed by Joe Johnston and starring Robin Williams, Bonnie Hunt and a young Kirsten Dunst that spawned an animated television series and multiple video games. Boasting cutting edge CGI for its time, the film told the story of four players stuck in the middle of a mystical interactive board game where you win or you die. I’ve been excited for this film for a while due to my fond memories of the original and the casting of Dwayne Johnson in the lead role. Anyone who knows me knows that the easiest way to get me into a theater is to cast The Rock.

The film picks up almost exactly where the original left off in 1996 with the board game being discovered on a beach where it washed up after Robin Williams’ Allan Parrish attempted to bury it in the bottom of a river in 1969. The man who discovered the game gives it to his son Alex who has no interest in board games but is an avid video gamer. The game transforms itself into a video game and after we see some green flashing lights from outside Alex’s window, the film fast forwards to the present day where four high schoolers discover the video game while cleaning out an old storage room and they one by one get sucked into the world of Jumanji. Having been transformed into the bodies of their avatars (Johnson, Kevin Hart, Karen Gillan and Jack Black), the four students must find a jewel that’s been stolen and return it to its sacred resting place before the perils of the jungle take their lives.

If the plot sounds simple, that’s because it absolutely is. There are a couple of mostly predictable twists and turns along the way, but this film works because of the solid chemistry of its cast. Continuing the on-screen chemistry that was forged in 2016’s surprising comedy Central Intelligence, Johnson and Hart play off of each other well and are the source of a lot of the film’s biggest laughs. Jack Black is as funny as he’s been in years as a self-obsessed teenage girl trapped in the body of a middle-aged man. Karen Gillan is perfectly awkward as an awkward teen suddenly trapped in the body of a stereotypical female video game heroine. The four of them clearly seem to be having a lot of fun together and each character is given their chance to shine.

There are a lot of films out there to see this time of year that will be mentioned come awards season. Jumanji: Welcome to the Jungle is absolutely not one of those films. It’s ridiculous and over the top, but if I were making a list of the most enjoyable movies of the year, it would definitely be in the top five. I enjoyed the action, it made me laugh and there was a surprising emotional punch at the end that I didn’t see coming. If you’re wanting to go out with the family* to have a good time at the movies this holiday season, I have a hard time believing that Jumanji: Welcome to the Jungle would leave you disappointed.

Rating:

*This is a film with PG-13 humor unlike the original that catered to wider audiences. There is some content that might be objectionable to some with younger children. I’m glad I saw it on my own before taking my children who are all under the age of 12.

 

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.