The "Crouching Tiger, Hidden Wakanda" layering on of endless flashbacks and "ancient legends" gets a bit thick (and sags noticeably in the back half), but overall this addition of an Asian superhero story hits all the right notes, powered mainly by 2 early bravura action sequences (scaffolding on the side of a high rise mirror glass tower is especially well rendered). The performances are solid, if not exactly groundbreaking (Michelle Teoh especially has little new to do), and the direction is serviceable. But the whole thing ends in yet another CGI heavy big bass fight that is just... well, way too predictable. Snazzy post credit sequence teases Dr Strange but also adds more mystery to the 10 Rimgs... which is becoming Marvel's staple out: always teasing better content next time. Even that's wearing a bit thin.
Reviews
15 Reviews
You're Gonna Love Me
11 July 2021
Let's be clear: the revival of Kristen Bell's voiceover solves what would have been an obvious problem. By returning us to the voice (literally) of the GG we know and love, the new show makes a serious down payment on respecting what has come before. And that, really, makes a lot of difference. Some problematic plotting, and some questions of tone can get overlooked in a show that understands both the need for fresh stories and respect for familiar conventions. Too grown up, too knowing, these prep school kids are every bit as excessive as their alumni elders, but with plenty of fresh, now we know more, spin. And by adding in fresh class conflict with the teachers, the show takes the necessary dynamic of haves and have nots and sends it sideways. So, too, does reviving the Gossip Girl format in all her casual, unanticipated vindictiveness - as the show's anchoring events merrily whirl out of everyone's control, it's clear that GG itself is going to be key to unraveling the plot - much the way gossip, true or not, takes on a life of its own. Solid performances, capable writing, and that inimitable GG voice make this an irresistible mix. It will be a delicate, but not impossible balancing act to continue to land episodes as strong.
The Boys in the Band
(2020)
A worthy remake
1 July 2021
I have a longstanding admiration for Mart Crowley's play (and Crowley himself), and I wasn't entirely convinced of this Broadway revival or it's screen adaptation. Happily, I was wrong: this is a solid, even reverential attempt to get the play right by a new cast of openly gay actors learning a past that can seem strange and unfamiliar, but one they inhabit fully.
Each version has it quirks and it's standouts - here, most obviously, Matt Bomer and Jim Parsons bring fresh takes to familiar roles. Andrew Rannells reinterprets Larry with a striking freshness that gives both the early and late going a new feel. All of that, though, is rather at the expense of the film's showier parts - Robin de Jesus labors mightily but his Emory never quite finds his place in the ensemble. Michael Benjamin Washington too feels out of place. And while Zach Quinto tears into Harold, I couldn't help wondering if he and Parsons wouldn't benefit from trading roles.
But these are ultimately minor quibbles. What's here is compelling, and the small adds to "open out" the material do in fact add some well observed detail. More to the point, Crowley's deep understanding of the characters continues to be why The Boys in the Band resonates from beyond time and place. Brilliantly realized, and rich in performances, this version may serve to enthrall a new generation... who should go back and see the original, for all it's similar, yet unique strengths.
Each version has it quirks and it's standouts - here, most obviously, Matt Bomer and Jim Parsons bring fresh takes to familiar roles. Andrew Rannells reinterprets Larry with a striking freshness that gives both the early and late going a new feel. All of that, though, is rather at the expense of the film's showier parts - Robin de Jesus labors mightily but his Emory never quite finds his place in the ensemble. Michael Benjamin Washington too feels out of place. And while Zach Quinto tears into Harold, I couldn't help wondering if he and Parsons wouldn't benefit from trading roles.
But these are ultimately minor quibbles. What's here is compelling, and the small adds to "open out" the material do in fact add some well observed detail. More to the point, Crowley's deep understanding of the characters continues to be why The Boys in the Band resonates from beyond time and place. Brilliantly realized, and rich in performances, this version may serve to enthrall a new generation... who should go back and see the original, for all it's similar, yet unique strengths.
The Celluloid Closet
(1995)
Read the book!
1 July 2021
First of all... go buy Vito Russo's brilliant book - an essential piece of film history and thoughtful critique.
I respect the ambitious goal of trying to bring such an important work to the screen - and, at its best, the documentary captures, and illustrates, the best of Russo's insights. But the film can't visually solve what a book can in terms of drawing comparisons and linking complex insights. What's here can feel oversimplified, even somewhat trite. And it's one thing to note furtive, barely seen examples of homoerotic behavior, another to have to try and all but shout them out from clips. It's not a Celluloid Closet because there's a lot of great gay history actually on film; it's a closet because much of our reality just isn't there. Which ultimately, doesn't make for an especially upbeat presentation. It's not clear anyone could better present this material. But that may just underline that this is a book that defies a documentary.
I respect the ambitious goal of trying to bring such an important work to the screen - and, at its best, the documentary captures, and illustrates, the best of Russo's insights. But the film can't visually solve what a book can in terms of drawing comparisons and linking complex insights. What's here can feel oversimplified, even somewhat trite. And it's one thing to note furtive, barely seen examples of homoerotic behavior, another to have to try and all but shout them out from clips. It's not a Celluloid Closet because there's a lot of great gay history actually on film; it's a closet because much of our reality just isn't there. Which ultimately, doesn't make for an especially upbeat presentation. It's not clear anyone could better present this material. But that may just underline that this is a book that defies a documentary.
Madonna: Truth or Dare
(1991)
Defining document of its era
1 July 2021
Essentially documenting Madonna's massive Blonde Ambition world tour, David Fincher elegantly captures the best performance elements of a memorable show. The other, backstage elements of the doc are also fascinating - more revealing of both the star and the rock concert milieu than much of what had come before - but also deeply controlled and in retrospect, perhaps more nervous than they needed to be about the lives of the performers and showing them fully and realistically. That said, the up front, largely unapologetic presentation of gay men as performers was refreshing for its time. And in spite of her own reticence, Madonna can't help but be fully charismatic and direct, even if she'd like everything her way. Fincher, too, was clearly looking for a film as honest as possible, and largely got it. From lovely unforced moments to glorious renditions of material like Vogue and Express Yourself, the film pretty definitively captures the zenith of Madonna's cultural power and presence. Whether that matters after the fact can be debated... but at that moment, the film was everything.
Desperately Seeking Susan
(1985)
One of Madonna's best
1 July 2021
Solid indie comedy gives the real flavor of eighties era lower east side Manhattan and offers a real gem of offbeat filmmaking from the period as well - Seidelman catches the cultural dissonance between eighties suburbia and the gritty artsy world of young city dwellers with no cash (many of whom landed well, ultimately). Easily Madonna's best part - drawn from her early life in NYC - she delivers an instinctive, unforced outsider charm. Arquette, the more seasoned pro, does great work, but Madonna runs away with the film. Throw in understated James Dean level affability from Quinn, and most of the film sparkles. Lots of films emulate the deadpan, downtown, too cool for school world Seidelman captures... but she gives that sardonic take a counterpoint and the space to find actual meaning. Few other indie films hold up as well.
The Good German
(2006)
WW2 plus realism equals... not Casablanca
13 June 2021
Solid acting - especially Clooney and Blanchett - and solid period era filmmaking from Soderbergh can't solve the problem with updating forties war movies to present morality and honest history: when reality intrudes, you can't have Casablanca, however glorious the lighting and the faces. Soderbergh catches the complex morality plays well enough, but he can't make them sexy (or brisk - the film meanders considerably). Any forties era film executive would want clearer notions of good guys, bad guys, and fewer ulterior motives. Also, Blanchett, for all her marvelous qualities, is neither Hepburn nor Bergman, and that too robs her pairing with Clooney of the kind of smoldering interplay of classic screen pairings. A fascinating curiosity with dark morals, The Good German does effectively rip the veneer of wartime era fallacies of easy lines between good and bad, and overly simplistic historic storylines. But that accomplishment can't sit comfortably with an homage to classic golden age Hollywood filmmaking, leaving an interesting exercise bound to not entirely please anyone, chock full of rich visuals, and capable acting. Whether that's enough is up to the viewer.
Angel Heart
(1987)
Gothic Noir
25 May 2021
Billed at the time as a dark retro noir thriller, Angel Heart lays on its elements pretty thick - and mostly so skillfully, you may genuinely try to argue against the obvious solution even as it stares you in the face. In retrospect, it feels a little foolish to have fallen for it - blame it on the mix of hoodoo hooey and overheated sexuality steaming off the leads - but many works have wandered this ground since, and they still make it work. Whether it's Rourke's best performance or just an over the top production that makes him seem subtle, is up to you. It's Bonet who completely up ends all expectations, giving a smart, sexy unapologetic take on a badly stereotyped role. The supporting players are "A" stars on B material, making the proceedings look more classy than seamy, a Chinatown with even looser morals, as if that were possible. It's DeNiro who all but gives the game away, and even he refuses to wallow in the dirt. Classy and sleazy all at once, Angel Heart still works. But with time and distance, it's less art and more clever muck than I once thought.
Sunday in New York
(1963)
Great performers, nutty material
11 May 2021
A fairly bonkers plot about a young woman not wanting to seem like either a prude or a tramp - one of those "only in the late fifties/early sixties" kind of plots - puts Jane Fonda between Robert Culp and Rod Taylor while Cliff Robertson looks on and plays big brother. It's the kind of movie where even a thumbnail awareness of feminism will put much of this nonsense into sharp relief, and while everyone puts in great effort (and Fonda looks terrific on top of her solid performance), the "what exactly was that?" questions are bound to linger. Culp's role is thankless. Robertson and Taylor are fine. But the script, adapted from another "hit Broadway play" of the time, is a mess of sexist tropes and absurd farce. Great jazz score, but indicative of the kind of psychotic, that's supposed to be funny, mainstream Hollywood effort of the early sixties that's just losing complete touch with the realities of audiences.
Barefoot in the Park
(1967)
Best early Fonda, charming Redford
11 May 2021
Sweetly "opened out" from the stage version, one of Simon's best and lightest comedies turns into a winning film. Much of it is Fonda who is cheerfully madcap as the new bride without suggesting that she's lost her innate intelligence onscreen. Redford played the husband on Broadway, but he's often at his best with Fonda and their pairing lifts the film. Add in Mildred Natwick and the droll repeated gag about their top floor walk up, and the whole thing just works.
The cold never bothered me anyway
14 February 2021
Warning: Spoilers
Creepy sci fi overtones (however preposterous), races against the clock, a hint of Mr and Mrs Smith, a dash of Fight Club ... all for a string of plot advancing revelations and strong performances. Definitely a show firing on all cylinders.
Start Here
12 February 2021
At first, Spader's scenery chewing and the over the top plot elements may suggest something like 24, or a somewhat less horrific Silence of the Lambs, or a tv size Bourne. But as the storytelling keeps going sideways, it's clear this is all, and none, of that: The Blacklist stands primarily on 2 mysteries - what is the list and why has Red compiled it; and how does Elizabeth Keen fit into his plans? Trying to find out both, or either, makes for some pretty addictive watching. A solid, strong pilot that sets up many interesting possibilities, and doesn't insult the intelligence of the viewer, with solid performances - including Spader, whose over the top approach has a lot more going on than is apparent at first blush.
More will be revealed
12 February 2021
A fairly conventional "woman of mystery" plot line leads, ultimately, to an unraveling of secrets, setting the stage for finally getting to the what and why if this journey. Worth the wait. And great performances to boot.
Revelations galore
11 February 2021
An episode where "not much happens" but the revelations of character and underlying motives is profound. That the show takes a breath to acknowledge a needless death, accounts for it, and uses it as a moment to redefine so many characters and reveal their feelings and motivations... is why The Blacklist is such compelling television.
Weak sauce
11 February 2021
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