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Posts Tagged ‘Elizabeth Olsen’

Doctor Strange in the Multiverse of Madness

Monday, May 9th, 2022

So far I have watched all the Marvelous Cinematical Unabomber motion pictures and related Disney+ streaming television works, and I have enjoyed the majority of them. But fuck all that. What’s important here is that DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is the first movie Sam Raimi has directed since OZ THE GREAT AND POWERFUL nine years ago. I liked it quite a bit more than that last one, but my feeling about it is kind of similar: it’s just fun to see him working on a giant canvas, putting his spookablastian spin on this other thing, even though I’d much rather see him working with his own creations.

MCU movie #28 with Raimi’s fingerprints all over it is not as good as, say, an original western with Raimi’s fingerprints all over it, let alone an original comic-book-inspired character he made up, but it is, at times, thrilling. MULTIVERSE opens mid-battle as ex-surgeon-turned-ex-Sorcerer-Supreme Stephen Strange (Benedict Cumberbatch, the guy in the dragon costume in THE HOBBIT) and a teenage girl named America Chavez (Xochitl Gomez, SHADOW WOLVES) are super-leaping across chunks of debris floating in space while a tendril-covered demon blocks access to a pedestal holding a magic book called the Book of Vishanti. It’s the good counterpart to the evil Darkhold, which in this context suddenly I realize is the MCU equivalent of the Necronomicon. They’re leap-frogging and parkouring and the camera is deftly moving around them in impossible ways, a natural evolution of all the groundbreaking web-slinging sequences in Raimi’s SPIDER-MAN trilogy. (read the rest of this shit…)

Avengers: Infinity War

Monday, April 30th, 2018

(Honestly it would be hard to spoil everything major that happens in this movie, because it’s hard to keep track of it all. But this review is loose and reckless with SPOILERS)

I learned in 2012 when THE AVENGERS came out to never underestimate Marvel. So on the third AVENGERS movie, INFINITY WAR, I figured they could pull it off – they could combine most of the main characters developed over 17 previous movies (people from the IRON MAN movies, THE INCREDIBLE HULK, the CAPTAIN AMERICA movies, the THOR movies, the AVENGERS movies, the GUARDIANS OF THE GALAXY movies, DOCTOR STRANGE, SPIDER-MAN HOMECOMING and BLACK PANTHER) into one big super hero monster mash. But back when I had first learned that lesson, when they introduced the purple CGI space monster villain Thanos after the credits, I gotta admit I was still skeptical. I didn’t know how they were gonna make that guy cool.

They did it. To me he’s their best villain outside of Killmonger. It’s a cliche to say that comic book characters are the Greek gods of the modern age, but Thanos (Josh Brolin, JONAH HEX) is the villain that most lives up to that description. In fact, one minor problem I had with the movie is that he seems so convincingly powerful I wondered what the hell the Avengers and the Guardians thought they were doing repeatedly going after him. Like, come on Star Lord (Chris Pratt, ZERO DARK THIRTY), why are you pointing a laser gun at this guy and acting like that’s gonna do anything? Are you stupid? (read the rest of this shit…)

Wind River

Wednesday, November 15th, 2017

WIND RIVER, new on video this week, is a thriller written and directed by Taylor Sheridan, who’s on the radar now because he wrote SICARIO and HELL OR HIGH WATER. Jeremy Renner (Catwoman: The Game) plays Cory Lambert, a hunter for the Fish and Wildlife Service in Wyoming. When he drives out to the Wind River Indian Reservation to find what wild animal killed some livestock and spend some time with his son Casey (Teo Briones) he finds a dead woman in the snow. He knows her, her name is Natalie (Kelsey Asbille, THE AMAZING SPIDER-MAN). She’s a good friend’s daughter. When they ask him to help show around FBI Agent Jane Banner (Elizabeth Olsen, OLDBOY) he ends up unofficially joining the investigation with her and tribal sheriff Ben (Graham Greene, DIE HARD WITH A VENGEANCE).

It’s a quiet, broody modern western type of a movie with matter-of-fact badassness in the dialogue and bursts of violence, tonally comparable to the aforementioned Sheridan joints, THE THREE BURIALS OF MELQUIADAS ESTRADA, NO COUNTRY FOR OLD MEN, stuff like that. But unlike any of those the wide-open landscapes are covered in snow. It’s not sweaty, it’s frost-bitten. (read the rest of this shit…)

Ingrid Goes West

Monday, November 13th, 2017

INGRID GOES WEST is kind of like a KING OF COMEDY for the smart phone era. Instead of seeking fame by doing something on television our stalker wants to live a blandly glamorous life on Instagram. But this is not just an update of the ol’ “people will do anything for fame” trope we’ve seen in MAN BITES DOG, NATURAL BORN KILLERS, etc. Sure, Ingrid would love more likes and followers, but mostly she wants attention from one specific person who’s famous on Instagram. So, no big deal, she moves to L.A. to try to find her.

Aubrey Plaza (SCOTT PILGRIM VS. THE WORLD) is outstanding as Ingrid, a multi-layered role that evokes uncomfortable laughs, creeped-out squirms and also some sympathy. She has comic timing, subtle expressions, pathos, and next-level physical comedy in the scene where she first encounters the famous Taylor Sloane (Elizabeth Olsen, OLD BOY) in a store and tries way too hard to browse casually. She’s not so much posing for social media as living life as if she’s inside social media. When she first gets to L.A. she rides around on a bike with a forced “say cheese” smile stuck on her face.

She’s a SINGLE WHITE FEMALE reading what Taylor likes so she can go to the places she goes, eat the things she eats, read (or at least hold) the books she recommends. We watch her struggle to construct the perfect inane one-sentence comment, an online activity soon to be repeated IRL when she finds Taylor and, you know, kidnaps her dog. Just as a way to meet her and start a friendship. It’s all cool, don’t worry about it. (read the rest of this shit…)

Captain America: Civil War

Wednesday, May 11th, 2016

tn_cap3You guys know how these super heroes are. Good guys turning bad, bad guys turning good, Hawkeye getting mind-controlled by a magic crystal, alternate dimensions, recastings, reboots, team-ups, betrayals, fake deaths. It’s no surprise they can’t all get along. I mean, it was hard for Nick Fury to convince them to be The Avengers in the first place – in fact a guy had to die and then he had to cover up that he actually didn’t die (see tv show) to inspire them to even stay together in the first place. So it’s a miracle they went this long without a breakup. The Pharcyde only got through two albums. N.W.A only did one before Cube left.

In what is technically CAPTAIN AMERICA 3, but almost seems like THE AVENGERS 3, the government tries to get the Avengers to agree to being controlled by the U.N. That actually seems better than the original formation under S.H.I.E.L.D., a privacy-invading ultra-spy agency that turned out to be controlled by evil space-Nazis or whatever. But after three years of the Avengers as an indie locally-owned Mom & Pop super-team, Captain Steve R. America (Chris Evans,  STREET KINGS, SNOWPIERCER) – who, to his credit, was never comfortable with S.H.I.E.L.D. – is not about to sell out. He doesn’t want to risk being sent somewhere he doesn’t belong, or not being allowed to go somewhere that he does.

But Tony “the Iron Man” Stark (Robert Downey Jr., NATURAL BORN KILLERS, 1985-1986 season SNL cast member) and some of the others think it’s a good idea. At the actual signing ceremony there’s a bombing that kills the King of Wakanda (John Kani, THE WILD GEESE), and security photos pin it on Steve’s war buddy Bucky T. Wintersoldier (Sebastian Stan, THE COVENANT, RICKI AND THE FLASH), who fell off a bridge in part 1 but in part 2 turned out to be alive and had been frozen and had a robot arm and was brainwashed and was a super assassin and evil but maybe he’s still Bucky inside but now he’s on the run (long story). The police and the Avengers are after him to kill him but Steve believes he can be rehabilitated and wants to bring him in alive. So it turns into a ghost protocol with Steve and an all star team of sympathizers going underground, and the two sides get into some scraps. (read the rest of this shit…)

Disney’s Marvel’s Joss Whedon’s The Avengers in: The Age of Ultron: A Marvel Cinematic Universe Adventure 2D

Monday, May 4th, 2015

tn_avengers2THE AVENGERS PART 2 is probly the most comic bookiest comic book movie achieved by mankind so far, which is to say that most of the action scenes have like 15 different supermen and secret agents and shit flipping around shooting magic beams and power waves and explosive arrows and laser things and doing super punches and alley ooping each other and what not as they fight against an army of flying wiseass robots. There are two main characters who wear capes, one that turns into a giant monster, one that’s from a viking fantasy dimension or whatever, at least two that fly of their own accord and two using the jets on their power suits, one that moves faster than sound and another that does mind control and shoots red, uh… magic I guess?… from her hands. It’s not played exactly “gritty” but it’s not a joke either. It means it.

After writer/director Joss Whedon (SPEED)’s masterful job of combining all the different Marvel characters into one supergroup in part 1, he has an even bigger miracle to pull off, and ends up with more mixed results. Because after you’ve managed the trick of combining all these worlds and characters into one coherent movie (which honestly I didn’t believe could be done), the challenge is how do you do it again and make it seem new again and bigger this time but not worse? And the answer is “it’s hard to say.” (read the rest of this shit…)

Godzilla (2014)

Monday, May 19th, 2014

tn_godzilla14Godzilla is one of those great icons who’s been around for fuckin ever because he re-invented himself many times over the years. Like the Madonna of Japan. He started all depressing and black and white in the ’50s, then he got crazy in the ’60s, kinda psychedelic in the ’70s, a little bit preachy about the environment in the ’80s, kinda garish again in the ’90s. There was that one movie in 1998, Godzilla’s iguana period, a laughable mistake like when MC Hammer tried to go gangsta rap. In my opinion that movie doesn’t even exist anymore since they used the exact same title for this one. Technically there can only be one American movie called GODZILLA, so they had to delete the other one to get this one.

Director Gareth Edwards, who did that found footage movie called MONSTERS that I still haven’t watched but heard was pretty good, is responsible for the one and only American GODZILLA. I think he has the right idea: treat it serious, no wackiness, but let the situations be humorous sometimes. The gloomy, often ashen-gray cinematography and Spielbergian sense of awe (lots of dollying in on kids that notice something dangerous approaching before the adults do) makes me suspect he was going for a little less silly than what he came up with, but I dig what he ended up with anyway. It’s a straight-faced movie where survivors of massive devastation aren’t scared that the giant radioactive dinosaur they’re standing next to is still alive and about to stand back up, because they know he’s the good guy. And I respect that they weren’t ashamed to use Godzilla’s trademark energy breath (though I’m not sure why they didn’t want to build up to it, like he gets some source of radiation that powers him up to be able to use it at a crucial moment). (read the rest of this shit…)