(Special note!: well call this the Last Keviews Before The Apocalypse (?) with the theaters closing and movies being delayed...but that question mark is because surely, eventually, things will be back to normal. Not really a way to see this YET but hopefully those home releases are soon and not too pricey...a little briefer on each mashup mania due to the situation)
Onward
Director: Dan Scanlon
Cast Headliners: Tom Holland, Chris Pratt, Julia Louis-Dreyfuss, Octavia Spencer, Matt Rodriguez
Original Release Date: March 6th, 2020
Pixar's original CGI animated ideas can often be just as exciting as their more famous sequels and licenses. It's these fresh ideas that gave us the whimsical unique worlds of such things as A Bug's Life, Up, Inside Out, Coco, and more. With sequels seemingly behind them from now on, what's ahead is fresh... and even if Onward is something totally new in a good way it has familiar elements used in good ways.
The world of Onward is a “What if” fairy tale fantasy societies progressed past the time of swords and magic. In a time roughly equivalent to modern day (or perhaps a 1960s/70s/80s/90s idealized white picket fence retro tone) species such as elves, trolls, sprites, centaurs, and others live in peace and harmony with modern conveniences. This setting is one of the films absolute best highlights visually and conceptually with locations such as “Burger Shire” or castle-shaped skyscrapers mashing up various archetypes. Magical spells are forgotten but not forever lost.
In this there's the perfectly cast Lightfoot brother duo of younger Ian (Tom Holland) and older Barley(Chris Pratt). Their connection is not always the best as Ian is trying to be cool while Barley is a geeky troublemaker. However in the absence of a late father Wilden(Kyle Bornheimer) they're raised by a caring if possibly overbearing mother Laurel(Julia Louis-Dreyfuss) and her partner cop Officer Bronco (Mel Rodriguez). One special day gives the boys the chance to bring back at least their father's pants as they race against the sunset of the next day to get the rest of him back in a wacky journey across the city and lands beyond.
This is a movie packed with a ton of heart whether its silly laughs or emotional feels. A great script propels the performances. This is especially true of Holland's ever-shy Ian or Pratt's goofster Barley...they bicker in fun ways and grew in important ones. Anyone who's been a sibling, especially a brother, will totally relate to the vibes. No one else gives anything less than a good job either in the otherwise slightly small supporting cast as both their parents have a mix of laughs and love with Louis-Dreyfuss going through some growth of her own and Rodriguez's Bronco having some of the biggest laughs. There's also the Manticore(Octavia Spencer) who is solid too as a once-hero turned peaceful.
It helps that the movie looks very gorgeous aside the fun mashup of genres. Some of the color details may trend towards generic but everything is fluid. Some fun tropes of fantasy such as Dungeons and Dragons give it a very “RPG” influence which is unique and there's actually some cool exciting action in parts. A folksy soundtrack by the Danna siblings just mostly gets the job done however its extra memorable when there's rock and roll being used. This is a classic rock lover's movie fitting of an old fantasy album cover.
There's not much else to say with this which is its ups and downs. It's short, snappily feeling and goes just about as expected as one would without going too much further. However that's a great thing with the laughs and charms along the way. 8 out of 10
(the could not be more different lol..)
The Hunt
Director: Craig Zobel
Cast Headliners: Betty Gilpin, Hilary Swank, many other momentary cameos
Original Release Date: March 13th, 2020
It's ironic that a film once delayed for its politically and violently controversial content may be one of the last movies people had the chance to see becoming very much a part of the conversation. However in its defense it pokes fun at all sides involved showcasing perhaps the truest message of all. Really most of all its a simple bloody comedy-horror combo enjoyable in a dumb way.
The stupidly ridiculous premise that's either great or lame because of its context is that a secret society of far left wing rich people “aka the Manorgate” have kidnapped a group of far right wing conservative victims to slaughter in a bit of a battle royale/Hunger Games / the Most Dangerous Game living being slaughter fest. The victims are not given many weapons to defend themselves with in an area that surreal blends the line between what is part of it or not. It appears to be Arkansas or maybe its Vermont or maybe its Eastern Europe...nothing is ever fully explained.
Its sickly satirical tone is helped by the ultra-stereotypical cast that's involved on both factions. There's actually a relatively all-star large ensemble cast. Amongst the “rednecks” is the likes of “Staten Island”(Neighbor's Ike Barinholtz), “Yoga Pants”(American Horror Story's Emma Roberts), “Gary”(My Name Is Earl's Ethan Supplee), and more. They're as racist and jerks as can bit but an interesting thing is accomplished by making them sympathetic in the face of their hunters.
On the opposing side are those such as “Richard”(It's Always Sunny In Philadelphia's Glenn Howerton), “Crisis Mike” (A Series Of Unfortunate Events' Usman Ally), and more. The backstories of all the participants are slightly touched on in background scenes but its a good thing that things remain surreal and unexplored. This may also be due to the fact that its a quickly-dying cast on both sides leaving its true heroes and villains unknown.
Those who stand out most are protagonist Crystal(Betty Gilpin) and antagonist Athena(Hillary Swank). Each is remorselessly cold and effective in their own ways. Gilpin has a fierce attitude that manages to have some heart. Swank has a polite exterior which hides a vile heart. Some of their dialogues and fights are actually really good if still in a cheesy way.
“Good in a cheesy way” extends to Zobel's directing. Some objectively cool tricks are tried and land at times but other times there's a low budget feel drowning them out. Action and gore is plentiful with some extreme effects. The level of extreme-ness actually adds to the film's darkly comedic tone and helps it stand out like the likes of Cabin In The Woods and Tucker and Dale Vs Evil.
Those in that mindset will enjoy this film most. Get ready to be both scared and laughing of and at everything around them. It's no masterpiece but its a way to pass the time....while making us think about things in moments. 7.53 out of 10
(See you all someday.... who knows when...)
Wednesday, March 18, 2020
Sunday, March 8, 2020
The Invisible Man Review
The Invisible Man
Director: Leigh Whannell
Cast Headliners: Elizabeth Moss, Oliver Jackson-Cohen, technically others
Original Release Date: February 28th, 2020
The Invisible Man is interesting when viewed in its content of a dual heritage. On one hand, it's yet another take on the classic H.G Wells idea of one who can become invisible delivered through a bit more of a realistic modern lense. On the other hand it also marks the first Universal Monsters movie post-Dark Universe (their attempted mashup of creatures in the fashionable sense of the superheroes at the time). This is a film devoid of any connections to a larger horror world which makes it feel very fresh and distinct amidst its typical tropes.
The firstmost unique thing about this reboot is that it places much more emphasis on its main character Cee(Elizabeth Moss) and her situation. A darkly intense opening shows her escape from insane abusive ex-boyfriend Adrian(Oliver Jackson-Cohen). Cee finds relief in her sister Emily(Harriet Dyer) alongside her old friend James(Aldis Hodge) and his daughter Sydney(Storm Reid).
However of course this being a horror, or more accuratelya sci-fi psychological thriller, peace does not last long. Even with Adrian's apparent death she feels an unseen , invisible presence of him in her life haunting her and manipulating those around her into hate. There's also Adrian's jerk of a brother Tom(Michael Dorman) who pressures Cee in various ways to maintain the late inventor's fortune.
There are of course thrills and chills but an unique highlight of this piece is the lead performance by Moss as Cee. It deals with darkly important themes considering her state as an abuse survivor haunted by PTSD in addition to literal threads. One will feel very bad for her with powerful emotional takes. However she has some warmth and momentary humor which eventually evolves into fierceness as she fights back.
Unfortunately the supporting cast is very generic. There's really nothing much of note from the friends and family around her especially with an at times mixed quality of a script. On the more villainous side, Jackson-Cohen's living scenes as Adrian are few and far between but are menacing enough with Dorman's Tom also making for some uncomfortable drama scenes if a bit hammy.
The film's best on-screen star is the complete absence of one. The titular Invisible Man itself, whoever or whatever it may be, is handled very well. Director Leigh Whannell crafts some chilling sequences. A variety of moods are used whether atmospheric slow burns(some of the best moments of the film being through subtle things in the background), pulse-pounding action, or yes a few jump scares. His overall direction / cinematography is also effective as well whether in up close dialogue or more sweeping landscape or action shots. Some of the effects are a bit rough yet also some of the effects are quite fascinating to look at . A sci-fi-tastic score by Benjamin Wallfisch adds to things from electro beats to chilling, horror-typical sctrings.
There isn't that much more to the film aside what it appears to be on the package but that's a fine thing. The scares are spooky and the drama scares in its own way. It's a long two hour plus burn but by its end it becomes most exciting of all. One has optimistic hope for the rebirth of Universal's monster future if they're all like this. 7.95 out of 10
Director: Leigh Whannell
Cast Headliners: Elizabeth Moss, Oliver Jackson-Cohen, technically others
Original Release Date: February 28th, 2020
The Invisible Man is interesting when viewed in its content of a dual heritage. On one hand, it's yet another take on the classic H.G Wells idea of one who can become invisible delivered through a bit more of a realistic modern lense. On the other hand it also marks the first Universal Monsters movie post-Dark Universe (their attempted mashup of creatures in the fashionable sense of the superheroes at the time). This is a film devoid of any connections to a larger horror world which makes it feel very fresh and distinct amidst its typical tropes.
The firstmost unique thing about this reboot is that it places much more emphasis on its main character Cee(Elizabeth Moss) and her situation. A darkly intense opening shows her escape from insane abusive ex-boyfriend Adrian(Oliver Jackson-Cohen). Cee finds relief in her sister Emily(Harriet Dyer) alongside her old friend James(Aldis Hodge) and his daughter Sydney(Storm Reid).
However of course this being a horror, or more accuratelya sci-fi psychological thriller, peace does not last long. Even with Adrian's apparent death she feels an unseen , invisible presence of him in her life haunting her and manipulating those around her into hate. There's also Adrian's jerk of a brother Tom(Michael Dorman) who pressures Cee in various ways to maintain the late inventor's fortune.
There are of course thrills and chills but an unique highlight of this piece is the lead performance by Moss as Cee. It deals with darkly important themes considering her state as an abuse survivor haunted by PTSD in addition to literal threads. One will feel very bad for her with powerful emotional takes. However she has some warmth and momentary humor which eventually evolves into fierceness as she fights back.
Unfortunately the supporting cast is very generic. There's really nothing much of note from the friends and family around her especially with an at times mixed quality of a script. On the more villainous side, Jackson-Cohen's living scenes as Adrian are few and far between but are menacing enough with Dorman's Tom also making for some uncomfortable drama scenes if a bit hammy.
The film's best on-screen star is the complete absence of one. The titular Invisible Man itself, whoever or whatever it may be, is handled very well. Director Leigh Whannell crafts some chilling sequences. A variety of moods are used whether atmospheric slow burns(some of the best moments of the film being through subtle things in the background), pulse-pounding action, or yes a few jump scares. His overall direction / cinematography is also effective as well whether in up close dialogue or more sweeping landscape or action shots. Some of the effects are a bit rough yet also some of the effects are quite fascinating to look at . A sci-fi-tastic score by Benjamin Wallfisch adds to things from electro beats to chilling, horror-typical sctrings.
There isn't that much more to the film aside what it appears to be on the package but that's a fine thing. The scares are spooky and the drama scares in its own way. It's a long two hour plus burn but by its end it becomes most exciting of all. One has optimistic hope for the rebirth of Universal's monster future if they're all like this. 7.95 out of 10
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