The Messiah narrative thread with Paul and the Fremen is a bit white-saviour-y, but will hopefully be nipped in the bud in the sequel, and the plot is otherwise excellent: a twisting tapestry of planet-hopping politics, breathtaking sci-fi/action, moody mysticism, and compelling coming-of-age/family drama fare. Strongly acted (Paul and parents in particular), with incredible sound and visuals (lots of big, immersive movie moments–the nighttime assault on Arrakeen being one highlight).
Masterfully shot and acted (TLJ’s weary and witty ETB was my fav), with captivating violence and cat-and-mouse thrills, but it’s the film’s unique dramatic framing that really makes it stands out: namely, its perfect bookends (from the reluctant “OK, I’ll be part of this world” to dreams of warmth and light in “all that dark and all that cold”) and fascinating use of distance throughout (the slow pace, the open landscapes, the lack of interaction between main characters, the removed villain).
The key to this film’s success is that Brolin as a young Agent K is marvelous and has the same entertaining chemistry with Smith’s J as TLJ did. The future-past mash-up, meanwhile, adds both extra fun to the dynamic as well as hints of intriguing character work (“What happened to you man?”; see also the final reveal). Stuhlbarg’s manic Griffin and Clement’s delightfully over-the-top villain (see his hilarious interaction with his past self) are great secondary characters that fill things out.
Foul-mouthed mutant mercenary Wade Wilson (AKA. Deadpool), brings together a team of fellow mutant rogues to protect a young boy with supernatural abilities from the brutal, time-traveling cyborg, Cable. (IMDb)
The distasteful opening mercenary montage makes for a poor start, but then tragedy strikes, sans punchline, and sets off a tonally wild (compare the gruesomely uproarious botched landing with Wade’s lengthy emotional vision) but always potent film that never feels disjointed: the boldness of the risque humour is now shared with the drama, to great results. Deadpool is as wisecracking as ever (Cable’s a perfect straight-man for him) but now he’s been smartly surrounded by an engaging story.
Thanos’ villain still felt a little familiar with his twisted “for the greater good” motive, but he remained an intimidating presence-a good match for the huge cast of heroes which is balanced remarkably well throughout and contributes to plenty of amazing moments both of comedy (see Thor meeting the Guardians) and action (see the Titan attack; Thor’s arrival in Wakanda). With all the superpowers going around some snags in the plot arise but its massive stakes and solid execution overwhelm them.
A stubborn teenager enlists the help of a tough U.S. Marshal to track down her father’s murderer. (IMDb)
Beautiful bleak landscapes, memorable old English banter between a bevy of colourful characters, and a straight-forward engaging adventure plot (with admittedly unnecessary flash-forward bookends) are topped off with a simple piano theme and crossfade scene transitions. Throw in some gunfights, horse riding, and beans cooked over a fire and you have the perfect Western, with the fiery Mattie (loved that water-crossing scene) adding just the right amount of new spice as the atypical protagonist.
The incredible technical aspects (consistently unique and beautiful camerawork with some stunning bird’s eye views, a marvelous use of sound, and two particularly gut-wrenching themes–one dark, one mournful–all impeccably edited–see the captivating convoy journey into Mexico) and solid, subtle acting only make the poorly written script (details are left out and questions arise at every plot turn) all the more frustrating. It’s hard to get engaged when the stakes are constantly unclear.
A Hollywood fixer in the 1950s works to keep the studio’s stars in line. (IMDb)
Despite Gambon’s excellent bits of narration and Brolin’s classic-Coen-crazy central day-in-the-life plot thread, Hail, Caesar! still feels more like a series of skits than anything else-some of them bland (DeeAnna’s dilemma is forgettable), many hilarious (see Hobie on the set of Merrily We Dance; McDormand’s outrageous cameo) and entertaining (see Tatum’s song and dance number among the numerous 50s Hollywood tributes), but all of them feeling rather inconsequential by the film’s abrupt end.