Focus Features has released the first trailer for Wes Anderson’s ASTEROID CITY.
ASTEROID CITY takes place in a fictional American desert town circa 1955.
The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.
Deadline is reporting that the film will debut in May at the Cannes Film Festival. Anderson’s previous films to bow at the festival are MOONRISE KINGDOM and THE FRENCH DISPATCH.
The huge cast includes Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, and Jeff Goldblum.
Focus Features will release Asteroid City in select theaters on Friday, June 16th nationwide on Friday, June 23rd.
Scarlett Johansson in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus FeaturesSteve Carell in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features
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So, did you blow out your vocal cords when you went from house to house caroling this holiday season? Would you rather watch somebody else croon some tunes for your entertainment? And if they’re cute and fuzzy, why all the better! After you knock back some hot tea and lemon, head over to the multiplex because an encore concert is about to start. Encore? Yes, can you believe that it’s been five years and a day since a menagerie of cuddly critters warbled dozens of pop tunes and standards. Yes, that long ago! So take a break from the Christmas “crunch” and shuttle the whole family to the moves to tap your toes (but please refrain from joining vocally) along with the cartoon cast of SING 2.
During those years it appears that all’s going well at the New Moon Theatre. The current musical revue based on “Alice in Wonderland” produced by Buster Moon (voice of Matthew McConaughey) is a smash. He’s so confident that he invites a talent scout from The Crystal Tower Theatre in fabulous Redshore City to catch it, with hopes that her boss will pick them up for a residency. Unfortunately, Ms. Suki ( Chelsea Peretti) is unimpressed and heads to the lobby right after the big “Let’s Go Crazy” number. She tells the pleading Buster that they’re just not ready for the “big time”. But he and his troupe are not deterred, so Gunter (Nick Kroll) blurts out an idea for an outer space revue, and they soon pile into a bus for a road trip to Redshore. After a bit of subterfuge, they make it into the plush penthouse office of Mr. Crystal (Bobby Cannavale) himself. But he’s not interested until the cast guarantees that reclusive music superstar Clay Calloway will come out of retirement to be part of the cast. Crystal gives them a “go”, so now Buster and number one Clay fan Ash (Scarlett Johannson) have to convince the “legend” to perform again. And there’s still plenty of backstage drama to deal with. Male lead Johnny (Taron Eggerton) clashes with the impatient dance director Klaus (Adam Buxton), but he learns the “moves’ with help from street dancer Nooshy (Letitia Wright). Then Crystal insists that his talent-challenged daughter Porsha (Halsey) replace the nervous (afraid of heights) Rosita (Reese Witherspoon). Plus the female lead Meena (Tori Kelly)has no chemistry with vain Crystal Theatre star Darius (Eric Andre), as she’d rather spend time with dreamy ice cream vendor Alfonso (Pharrell Williams). Can Buster and his pals possibly pull everything together in order to avoid the wrath (and pointy fangs) of the vicious Mr. Crystal?
As is the case with many film sequels, I can say with confidence that if you enjoyed the first flick, then you’ll probably enjoy this one, too. I must admit that I’m not in that group. Watching a hundred or so minutes of “fuzzies’ and friends doing karaoke just wears thin on me. Now, you got each main character’s “origin” story last time, so this all hinges on the new plot or “show’ and all the new characters introduced. Buster’s got a pretty fearsome villain to butt heads with in Mr. Crystal, a snarling sociopath in the mode of Shere Khan or Scar, with street guy swagger. Kudos to the filmmakers for making him more dangerous than buffoon-ish, even at the risk of spooking the “wee ones”. And I like his daughter Porsha, who’s more dim than deadly, though she often enjoys flaunting her privilege. Plus Halsey and Carnavale do a great job as their respective “pipes”. But the best of the bunch is Clay, a slow-moving stoic silver lion with a surprisingly warm Texas drawl, considering his vocal “source” ( a true rock icon that I won’t spoil, though he’s on the poster). Also visually pleasing is the background design which makes Redshore a bright shiny pastel-colored near-mirror image of a certain gambling/entertainment mecca. Ditto for the forced perspectives of the outer-space show sets and auditorium with the singers and dancing zipping along on wires that dangle them dozens of stories above the adoring throngs. All this tries to make up for another fairly thin story and some tiresome slapstick bits. Recent films like the superb ENCANTO have set the bar very high for animated musical features, as the tunes reveal more info on the characters while pushing the plot forward, rather than stopping everything for a big brassy solo. And this flick’s hero, Buster, is just pleasant to the point of dull banality. Like its predecessor, it may make a good “first film” for toddlers with its tunes and soft colors. But for more discerning viewers, and fans of the talented folks at Illumination Animation, you may get more than a bit “fidgety’, and wish you were seeing another adventure of Gru and his Minions, rather than the simple show-biz shenanigans of SING 2.
1.5 Out of 4
SING 2 opens in theatres everywhere on Wednesday, December 22, 2021
This holiday season, the new chapter in Illumination’s smash animated franchise arrives with big dreams and spectacular hit songs as the ever-optimistic Buster Moon and his all-star cast of performers prepare to launch their most dazzling stage extravaganza yet …all in the glittering entertainment capital of the world. There’s just one hitch: They first have to persuade the world’s most reclusive rock star—played by global music icon Bono, in his animated film debut—to join them.
Buster (Oscar® winner Matthew McConaughey) has turned the New Moon Theater into a local hit, but Buster has his eyes on a bigger prize: Debuting a new show at the Crystal Tower Theater in glamorous Redshore City.
But with no connections, Buster and his cast—including harried mother Rosita (Oscar® winner Reese Witherspoon), rocker Ash (Scarlett Johansson), earnest Johnny (Taron Egerton), shy Meena (Tori Kelly) and, of course, provocateur Gunter (Nick Kroll)—have to sneak their way into the world-famous Crystal Entertainment offices, run by ruthless mogul Jimmy Crystal (Emmy winner Bobby Cannavale).
In a desperate attempt to get Mr. Crystal’s attention, Gunter spontaneously pitches an outrageous idea that Buster quickly runs with, promising that their new show will star rock legend Clay Calloway (Bono). Problem is, Buster has never met Clay, an artist who shut himself away from the world more than a decade ago after the loss of his wife. Even worse, Buster has failed to realize that Mr. Crystal is an egocentric gangster who would rather drop somebody off the roof of a building than be lied to.
As Gunter helps Buster dream up an out-of-this-world theatrical masterpiece, and the pressure (and sinister threats) from Mr. Crystal mount, Rosita’s leading role in the show gets ripped away and handed to Mr. Crystal’s spoiled daughter, Porsha, played by Grammy-nominated artist Halsey. Desperate to save the show, and his life, Buster embarks on a quest to find Clay and persuade him to return to the stage.
What begins as a dream of big-time success becomes an emotional reminder of the power of music to heal even the most broken heart.
Sing 2 is written and directed by acclaimed returning filmmaker Garth Jennings and features additional new characters played by music superstar Pharrell Williams, Black Panther’s Letitia Wright and comedians Eric André and Chelsea Peretti. The film is produced by Illumination founder and CEO Chris Meledandri and by Janet Healy. Sing 2 combines dozens of hit songs from pop to rock, K-pop to Latin, and from artists including Billie Eilish, Drake, U2, The Weeknd, Prince, Taylor Swift, BTS, Cardi B, Bad Bunny, J Balvin, Shawn Mendes and Camila Cabello. With electrifying performances, breathtaking artistry and Illumination’s signature humor and heart, Sing 2 is sure to be the definitive feel-good cinematic event of the year.
Cast: Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Taron Egerton, Tori Kelly, Nick Kroll, Bobby Cannavale, Halsey, Pharrell Williams, Letitia Wright, Eric André, Chelsea Peretti and Bono.
The Wait is Over When Marvel Studios’ BLACK WIDOW Lands Early on Digital August 10 and 4K Ultra HD, Blu-ray and DVD September 14th Includes Nine Deleted Scenes, Bloopers and More…
Marvel Studios’ Black Widow arrives early on all major digital platforms on August 10 and on 4K Ultra HD, Blu-ray and DVD on September 14. Black Widow fans can enjoy the film in stunning Ultra HD quality and immersive Dolby Atmos audio along with never-before-seen bonus footage, including nine deleted scenes, bloopers and featurettes. The aspect ratio is 2.39:1. Additionally, the 4K Blu-ray will be released in high dynamic range on the HDR10 format
In Marvel Studios’ action-packed spy thriller Black Widow, Natasha Romanoff — aka Black Widow — confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises. Pursued by a force that will stop at nothing to bring her down, Natasha must deal with her history as a spy and the broken relationships left in her wake long before she became an Avenger. Scarlett Johansson reprises her role as Natasha/Black Widow, Florence Pugh stars as Yelena, David Harbour portrays Alexei/The Red Guardian, and Rachel Weisz is Melina. Black Widow — the first film in Phase Four of the Marvel Cinematic Universe — is directed by Cate Shortland and produced by Kevin Feige.
Marvel Studios’ Black Widow Bonus Features*
Bloopers – Take a look at some of the fun mishaps on set with the cast and crew of Black Widow.
Deleted Scenes
Grocery Shopping – Natasha heads into a grocery store to prepare for her journey through Norway. After a long drive, she arrives at her destination: a mysterious trailer in the middle of nowhere.
Bike Chase – Tailed by assailants, Natasha and Yelena speed through the city in order to escape their nemeses.
Gulag Fight – Alexei squares up against several enemies and is quickly overpowered. When all hope seems lost, Natasha leaps in to lend a hand in the fight.
Smile – The Taskmaster protocol is activated in a tense moment, and an iconic helmet is unveiled.
Come After Me – Secretary Ross and Mason discover an important message Natasha left behind.
Walk and Talk – Alexei and Melina have a playful exchange. The Taskmaster arrives and faces off with Alexei.
Widows in Training – Yelena and Alexei awaken in captivity. Melina hands the Taskmaster vials while the Widows train.
Kiss – Alexei and Melina reunite after the action. Natasha grieves over an untimely demise in the brutal aftermath.
Ohio – Natasha witnesses the carefree nature of the Ohio suburbs through the neighborhood children.
Filmmaker Introduction Featurette – Director Cate Shortland introduces the film and her vision for it.
Sisters Gonna Work It Out Featurette – Watch Scarlett and Florence as they train, fight, and bond to become the sister duo in Black Widow. Listen as the cast and crew discuss the characters, rigorous training, and building the dynamic between the two fearsome siblings.
Go Big If You’re Going Home Featurette – Step back to appreciate the size and scale of Black Widow’s solo film. Shot around the world, the film balances family and drama with mind-blowing action. The cast and crew reveal the intricacies of stunts that made the film so action-packed.
*bonus features vary by product and retailer
Cast:
Scarlett Johansson as Natasha Romanoff/Black Widow Florence Pugh as Yelena Belova Rachel Weisz as Melina David Harbour as Alexei/Red Guardian Ray Winstone as Dreykov O-T Fagbenle as Mason William Hurt as Secretary Ross
New character posters were revealed for Marvel Studios “Black Widow,” an action-packed spy thriller that launches simultaneously in theaters and on Disney+ with Premier Access in most Disney+ markets on July 9, 2021.
Natasha Romanoff aka Black Widow confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises. Pursued by a force that will stop at nothing to bring her down, Natasha must deal with her history as a spy and the broken relationships left in her wake long before she became an Avenger.
Scarlett Johansson reprises her role as Natasha/Black Widow, Florence Pugh stars as Yelena, David Harbour portrays Alexei/The Red Guardian, and Rachel Weisz is Melina.
The feature film is directed by Cate Shortland and produced by Kevin Feige, “Black Widow”—the first film in Phase Four of the Marvel Cinematic Universe.
And just a reminder what’s is also coming up in Phase Four as well as Disney+.
STAR WARS: THE BAD BATCH
· Debuted on May 4, 2021 on Disney+ (Lucasfilm /Disney+), weekly series
CRUELLA
· Debuts on May 28, 2021 in theaters and Disney+ Premier Access (Disney Live Action / Disney+ Premiere Access and theatrical)
Ah, this film’s poster promises the adored end result of many a typical “rom-com’, or even a full-fledged “hearts and flowers” love story (with part of that in the title itself). There are two “A” list actors (each part of major “tentpole” franchises) happily nuzzling each other while an adorable child (perhaps the product of their screen coupling) seems to be giggling in the photo’s lower half. But looks, along with movie “ballyhoo” can be most deceiving. Especially with one of our most acclaimed “indie” writer/directors is given the big credit above the title. Just what is his “take” on the institution in this very modern MARRIAGE STORY?
Said story certainly begins on an uplifting note as we’re dropped right in the middle of two montages that deliver “warm fuzzies” that most greeting card commercials try to elicit. Nicole (Scarlett Johansson) narrates the snippets that support her remarks concerning the strengths of Charlie (Adam Driver) as husband and father, followed by his singing (well speaking) of her praises. And where is this “admiration society” meeting taking place? Well, it’s the office of a marriage “mediator”, because these two are separating. Nicole storms out, loudly proclaiming these lists are bull…um…nonsense. They try to go back to their jobs, which is tough since they work together. She’s part of an avant-guard off, off-Broadway theatre troupe and he’s the founder/director. Nicole makes it clear that after the production opens and is “on its feet” she plans to return to LA with their nine-year-old son Henry (Azhy Robertson). Her mother (Julie Hagerty) and sister (Merritt Wever) live out there so they can help with Henry while she tries to return to movies or TV (prior to NYC she starred in a hit teen comedy flick). At the suggestion of some new industry friends, Nicole talks to, and soon hires, high-profile family attorney Nora (Laura Dern) to work on the divorce and the custody agreement. When Charlie flies out for a visit, he’s blindsided by her news (“I thought we were leaving out the lawyers”). After a brutal meeting with legal “pit bull” Jay (Ray Liotta), Charlie finally finds a lawyer Nicole hadn’t contacted, a semi-retired entertainment attorney now family lawyer Bert Spitz (Alan Alda). As Charlie attempts to establish a California residence while flying back and forth to NYC (his new play may be headed uptown), he and Nicole realize that their marriage can’t be saved, but, for the sake of Henry, will they still be able to remain a family?
This is a film filled to the brim with superb performance, with Ms. Johansson delivering perhaps the best dramatic work of her twenty-plus years in movies. For about the last half of that time she has mainly bounced from “rom-com” heroine to SF/fantasy femme fatale (we’ll get to see her Marvel work one more time in this May’s Black Widow prequel), however she goes through the full range of emotions as the often conflicted, eventually determined Nicole. At first, she seems to be a cliche “flighty” actress, rejecting counseling, and discarding her family over career ambitions. Then there’s her riveting revealing confessional to her possible lawyer Nora. It’s a powerhouse one-take “no cuts” several-minute monologue in which she truly “bares all”, going from being an exposed “raw nerve” to focused “crusader”, liberated by finally giving voice to her frustrations and disappointments. We get another sample of her considerable skills much later as she goes “toe to toe” in another long dialogue (like a mini two-act play) with the equally talented Driver. His character Charlie changes as well, starting as the victim, a “good dad” “sucker-punched” until we see his often stubborn selfish nature as his artistic goals are nearly smothering his partner. Driver also puts a fresh spin on the “fish out of water” riffing on the East-Coaster aghast at the shallow trappings of “La La Land”. At times he’s a clueless lost traveler in a confusing tangle legal web. He’s pretty funny too, as he fails to predict his son’s impulses and especially when a sight gag goes terribly wrong. Also bringing the funny, Hagerty as Nicole ditzy mother (she doesn’t understand that she can’t remain pals with her kids’ exes), Wever as the jittery, flustered sister (she ‘s gotta’ serve “papers” to Charlie), and Wallace Shawn as the most senior member of Charlie’s acting troupe (look at the faces of his much younger costars as he repeats another story about his “glory days”). And of course, there’s comedy icon Alda whose mild-mannered Bert is almost eaten alive by the legal sharks led by the formidable Dern who is truly a barracuda in high heels, in one great scene she roars back at society’s double standards that shackle her gender. Equally fearsome on the flip side is Liotta whose Jay is pure macho swagger in a thousand-dollar tailored suit.
Noah Baumbach expertly brings his moving, unpredictable script to vivid life with no false steps or cardboard villains. Though they’re battling in the courtrooms, Nicole and Charlie still share moments of kindness and compassion, all for the best of reasons, namely the well-being of son Henry. Though they clash there’s still the underlying respect so that Henry never hears a “burn” from one parent about the other. There’s no flashy camerawork, though Baumbach knows just when to cut in for a telling look or glance. But his biggest strength is as a guide to the cast through the emotional minefield of a disintegrating relationship. Everything is real with no easy fixes or reconciliations. It’s the end of a romance, but the partnership begins to morph into something else. In that way, the tale of these two (three really) is actually hopefull. Though often unbearably raw, MARRIAGE STORY is an uplifting modern ode to a family’s resilience.
3.5 Out of 4
MARRIAGE STORY opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre
This week’s new comedy/drama is a most unexpected entry in the career of a gifted international filmmaker. After making a name for writing and directing television shows (“Flight of the Conchords”), and a few low budget movies (BOY, EAGLE VS SHARK) in his native New Zealand, Taika Waititi finally scored worldwide success (a critical darling and some modest box office numbers) with WHAT WE DO IN THE SHADOWS, a parody putting vampires in a realty “sharing a house” TV show. His next effort HUNT FOR THE WILDERPEOPLE had big laughs along with loads of heart. Then, who should take notice and “come a’ calling”, but Marvel Studios. Sure, they had made a “rep” for enlisting “indie”, largely unknown directors, but this seemed a pretty big gamble in handing over the third flick in one of their most lucrative franchises to him. Luckily THOR: RAGNAROK was a smash as Waititi deftly balanced the big cosmic action sequences with an “off-kilter” sense of humor. He even acted as alien rock-like behemoth Korg (which he reprised in AVENGERS: ENDGAME). So, is he staying in the big “blockbuster” lane? Well, he’ll soon be helming another Thor epic, but first comes a quirky mix of social satire, coming of age drama, and whimsical fantasy, enlisting some “name” actors, all set against the backdrop of 1940s Nazi Germany. It seems that dark time was the playground of a young lad nicknamed JO JO RABBIT.
Yes, ten-year-old Jojo (Roman Griffin Davis) is a typical young lad living in Germany during that turbulent time. He’s got a best pal, Yorki (Archie Yates), along with an imaginary buddy. For most kids that might be another boy or even a six-foot talking bunny, but Jo Jo has Adolph Hitler (Taiki Waititi). It figures since he’s a most enthusiastic member of the Hitler Youth and hopes to serve his Fuhrer as a loyal soldier. Jojo’s mother Rosie (Scarlett Johanssen) tolerates her son’s energy as she runs the household alone. Her hubby is missing in Italy and an older daughter passed on years ago. The youth camps are in session, presided over by Captain Klenzendorf (Sam Rockwell), though “K” is fine by him. After failing a test of cruelty, the older lads add “Rabbit” to Jojo’s name. Ah, but he’s got a plan to erase that derisive moniker. But his impulsive act of bravado soon proves disastrous. Jojo is still able to help at a local military office, but a future in combat is kaput. And he spends more time at home, trying to occupy himself as Mum runs her “errands”. It’s during one of those long days, that Jojo discovers her secret. Hiding behind the walls of their “flat” is a teenage girl named Elsa (Thomasin McKenzie). And she’s Jewish. What’s a good Ayrian boy to do? His mother will be punished if he reports Elsa. So, he mustn’t let her know he knows (a bit confusing). As the war drags on, Jojo’s inner conflict nearly tears him apart. Is she the evil creature from his studies? And does he feel empathy, or something more, for her?
The story is expertly carried by the energetic natural performance of Davis, who ably conveys the title character’s youthful euphoria, especially in the opening sequence as he “Siege Heils” nearly everyone in his eye-line. Thanks to the influences of his mother and Elsa, Davis also shows us a big change in Jojo’s spirit as he slowly develops sympathy, perhaps a conscience, as he questions the beliefs drilled into him over most of his young life. His wide expressive eyes become a window into his evolving soul. His demeanor is best shown in conflict with the two positive female influences on him. As mom Rosie, Johanssen really gets to explore her playful side as a life-affirming, smiling “sprite” who detests what her beloved homeland has become. As her heart nearly breaks, we see that she’s not about to give up on her son, appealing to the playful, happy-go-lucky boy that’s still somewhere buried inside a future “goose stepper”. And then there’s the formidable Ms. McKenkie (so good in last year’s indie gem LEAVE NO TRACE), whose Elsa has an indomitable spirit, a survivor who must earn Jojo’s trust, but who still challenges him as she becomes a “consultant” on his literary aspirations. McKenzie exudes both fearlessness and intelligence in a terrific supporting role. Speaking of great support, how about Oscar-winning Rockwell who seems to be having a great time as the sour, surly Captain ‘K’, who must endure the onslaught of kids? Still, he finds a kindred spirit in Jojo, as he dreams of glories perhaps still attainable, even designing colorful outfits (lots of frills and capes). One of his underlings is the wonderful Rebel Wilson, freed from studio “rom-com” Hell as the too-helpful Fraulein Rahm, who’s happy to send her charges off to doom with a smile and an encouraging word. The three biggest scene-stealers are first, Stephen Merchant as the most affable Gestapo agent ever, who grins through each threat as he towers over his black-clad minions. Then there’s the sweet work of Yate as pal Yorkie who pops up to cheer up his pal Jojo. His round face with Harold Lloyd glasses makes him resemble a cartoon cherub, yearning to escape the battlefield and get in some play (or cuddle) time. And finally, there’s Taititi as Jojo’s invisible (to others) confidant, buddy AH, who becomes a petulant diva at the least affront from Jojo. It’s a truly tricky role, but Waititi hits every note with confidence and superb comic timing.
Mr. W is quite the triple threat here as he also wrote the screenplay, based on the novel by Christine Leunens. Though some may question making Nazis the object of ridicule, I’m reminded of the musings of Mel Brooks (who was slammed by many for his first flick, THE PRODUCERS, over 50 years ago), who has said in countless interviews that the worst humiliation for the Reich is still be mocked and made the butt of jokes. With their recent resurgence, the time’s more than ripe for this barrage of satiric salvos. But as with last year’s classic BLACKkKLANSMAN, Waititi doesn’t erase the deadly dangers of the group. Yes, as with KKK’s white hoods, these near-robots in their colors of black, grey, red, and brown look like clowns, but their sting is still full of poison. In the town square, Jojo must pass by a public gallows with an ever-changing quartet of “traitors”. These are especially driven home in the story’s final moments, as the war winds down and it’s time to “face the music” (oh, the film is peppered by several great post-war pop songs sung in German by the original British and American artists, from the Beatles to Bowie). There’s great use of locations in Prague, which doubles seamlessly for those German villages. Yes, there are loads of laughs, but Waititi knows just when to slow things down, as Jojo begins to ponder the mysteries of his heart. This work showcases the maturity of this emerging screen storyteller. Before we return with him to New Asgard, we should all take a sweet, surprisingly funny and moving stroll 75 years in the past with JO JO RABBIT.
Writer director Taika Waititi (THOR: RAGNAROK, HUNT FOR THE WILDERPEOPLE), brings his signature style of humor and pathos to his latest film, Jojo Rabbit, a World War II satire that follows a lonely German boy (Roman Griffin Davis as Jojo) whose world view is turned upside down when he discovers his single mother (Scarlett Johansson) is hiding a young Jewish girl (Thomasin McKenzie) in their attic. Aided only by his idiotic imaginary friend, Adolf Hitler (Taika Waititi), Jojo must confront his blind nationalism. Jojo Rabbit with a screenplay by and directed by Taika Waititi is based upon the book Caging Skies by Christine Leunens and stars Roman Griffin Davis, Thomasin McKenzie, Taika Waititi, Rebel Wilson, Stephen Merchant, Alfie Allen, with Sam Rockwell and Scarlett Johansson.
JOJO RABBIT Opens in Theaters October 16th. Check out this new trailer:
Jojo Rabbit offers
a sharply funny, yet profoundly stirring, child’s-eye view of a society gone
mad with intolerance. Drawing on his own
Jewish heritage and his experiences growing up surrounded by prejudice,
writer-director Taika Waititi (whose mother is Jewish, while his father is Māori)
makes a powerful statement against hate with this pitch-black satire of the Nazi
culture that gripped the German psyche at the height of WWII. Waititi takes a story almost too appalling to
approach with sober solemnity—that of a boy who, like many at that time, has
been brainwashed into absolutely gung-ho devotion to Hitler. He then mines from
it a dark, mesmerizing comedy that ultimately unravels the toxic ideas of
anti-Semitism and persecution of the other.
Balancing on a comedic high-wire, Waititi mixes the fury of satire with
an insistent sense of hope that fanaticism and hate can be overcome.
The film follows very much in the footsteps of some of Waititi’s personal filmmaking heroes: Mel Brooks, Charlie Chaplin, Ernst Lubitsch and Stanley Kubrick to name a few. Like those directors, Waititi was in search of a fresh way to re-visit the most unsettling of topics through the paradoxically moral force of out-and-out parody. Waititi echoes Brooks in particular, as a Jewish actor disrupting the enduring power of Hitler’s image with a zany, ridiculing portrait. But much as the film owes to its bold forbearers, Jojo Rabbit feels very much of our times, with its deeply human characters whose blinded foibles might amuse but whose inner predicaments are deadly real and pointedly relevant right now.
Wow. Ten years. Really? Must be since they incorporated the fact into their logo, so it’s gotta’ be true. So, time really zips by when you’re having fun. And fun is the often overused word when it comes to the prolific (19 and counting) output of Marvel Studios. Like many great achievements, people scoffed at first. That comic book juggernaut, nicknamed the “House of Ideas” by Stan “the man” Lee decades ago, thought the best way to bring their big staple of characters and properties to cinemas would be to make the films themselves. Or at least they’d make sure their beloved heroes would be portrayed with respect to the source material, and would delight their millions of fans across the globe. That scoffing came from movie reporters and analysts who thought this was pure folly. After all, Marvel’s biggest stars, the X-Men and Spider-Man, were off-limits, since their cinematic exploits were licensed to Fox and Sony, respectively. Plus the subject of their first film was Iron Man, a “B-lister”, and the star was an actor whose career had seen better days, Robert Downey Jr. ( the punchline for many late night talk show hosts). I wonder how those nay-sayers enjoyed their “humble pie” (à la mode, perhaps). All the Marvel Studios films have opened at number one with most in the top ten box office “grossers” of their release years (and a few like MARVEL’S THE AVENGERS and now BLACK PANTHER in the all time top ten). As “Phase Three” of the Marvel Cinematic Universe” (MCU) comes to a close, multiplexes will be packed once more to experience the longest, most ambitious, character-filled superhero epic yet. Face front (toward the screen, true believers) for AVENGERS: INFINITY WAR.
This will be one of the toughest review to write, since I’ve got to avoid all the delights and surprises in store. Talk about “walking on eggshells”! Well, I’m not giving too much away by saying that the film begins soon after the end of last year’s THOR: RAGNAROK, when the starship carrying the last survivors of Asgard, guided by Thor (Chris Hemsworth) and Loki (Tom Hiddleston), encounters a massive space vessel. As suspected, it is the battle cruiser of the mad Titan Thanos (voice and motion-capture by Josh Brolin). He and his aides, which he refers to as his “children”, are looking for several “infinity stones” which, when inserted into slots in a gauntlet (or glove for reg’lar folks), will make Thanos all-powerful and nearly unstoppable as he brings “order” to the cosmos. After a brief battle, the master sends his kids off to acquire the other gems. One duo takes a smaller ship to NYC to grab one that is guarded and worn by the sorcerer supreme, Dr, Strange (Benedict Cumberbatch) as the center of the “eye of Agamotto”. Luckily for the doc, he is joined in battle by his trusted aide Wong (Benedict Wong), along with Tony Stark AKA Iron Man (Downey), his apprentice/intern Peter Parker AKA Spider-Man (Tom Holland) and a frustrated Bruce Banner (Mark Ruffalo), whose “performance issues” thwart his AKA. Another Thanos pair goes after the stone imbedded in the forehead of the “synthoid” called the Vision (Paul Bettany) who is hiding out with Wanda Maximoff, the Scarlet Witch (Elizabeth Olson) in Scotland, after breaking out of a maxium security facility at the end of 2016’s CAPTAIN AMERICA: CIVIL WAR. But where are the other wanted ex-Avengers: Steve Rogers/Captain America (Chris Evans), the Falcon/Sam Wilson (Anthony Mackie), and Natasha Romanoff (Scarlett Johansson)? Meanwhile, in the deep reaches of space, the sextet of the stars, the Guardians of the Galaxy, literally bumps into Thor. When the Asgardian tells them of Thanos’s plans, Gamora (Zoe Saldana), who was raised by the Titan as his adopted daughter, knows that her “pop” is headed to the planet Knowhere. Thor hops in a pod ship along with Rocket Racoon (Voice of Bradley Cooper) and teenage Groot (voice of Vin Diesel) and speeds off to the planet of a weapons maker, while Peter Quill (Chris Pratt) pilots the main ship, the Milano to help Gamora, Drax (Dave Bautista),and Mantis (Pom Klementieff) take on the mad Titan. After many fights and escapes, all the heroes gather their forces inone location, the country of Wakanda, and fight to save the universe alongside King T’Challa (Chadwick Boseman) and Steve’s old pal James “Bucky” Barnes (Sebastian Stan). But is Thanos too mighty for the “Earth’s mightiest heroes”?
Looks like there’s no egg-shell pieces between my toes, so let’s get into some specifics. Hey, how about this cast? Of course most of the ensemble have played these characters many times, so it’s often like slipping on an old comfortable pair of slippers (for Downey it’s seven features and a cameo as Stark, for Evans as good ole’ Cap it’s five and two). Despite the horde of heroes, some actors are given the time to show us a different side to them. Downey’s still got the genius swagger, though it’s tempered with a mounting, sweating anxiety. He’s a man who now seems to be living the nightmares that have plagued his nights for years (at least six). Cumberbatch is exuding more confidence, along with a different swagger, as the wondrous wizard, using the skill and courage from the last act of his solo flick. Same’s true for Holland, who, in this film’s final moments, reminds us that Peter is still a sensitive young lad (still a lot of boy in the Spider-Man). The film’s romantic heart, in addition to Quill and Gamora, is the unique romance between the Vision and the Scarlett Witch. Bettany’s artificial man is more caring and compassionate than most men made of flesh and blood. It’s a wonder that the longing looks from the formidable Olsen don’t melt his circuitry. As mentioned, there’s lots of heat on that space ship, but it’s mixed with dread. Saldana must finally confront her past, knowing that she may be consumed by it. Her later scenes with Thanos allow her to really flex her dramatic chops. Special mention should be made of Ruffalo who balances pure fright and comic frustration with supreme skill.
And in the opposite corner (from the good guys), is a villain every bit worthy of this wave of wonder men and women. Thanos is a true marvel, expertly crafted by an army of incredibly talented craftspeople and artists (and certainly “leagues” beyond another “baddie” from last year’s multi-hero flick from the “Distinguished Competition”). This seven foot purple-hued behemoth has real weight and brawn (we can imagine the planets buckle beneath his boots) as he swats away his foes as though they were annoying gnats. Yes, he looks like a monster, but his humanity breaks through, thinks in large part to the excellent work of Brolin. We see the unpredictable brutality, the amused glint in his eye before delivering a fatal blow. But in the later scenes and flashbacks the brute displays a tenderness and an aching, regretful sorrow. Andy Serkis has cultivated a reputation for being the premiere motion capture actor in his work as Gollum and Caesar (from the PLANET OF THE APES series). Brolin’s Thanos is a most worthy successor. As for his “children”, Carrie Coon intimidates as the towering dark-eyed Amazon-like Proxima Midnight. And Tom Vaughn-Lawlor is pure smirking, sinister savagery as the effete telekinetic Ebony Maw. Oh, and I don’t want to leave out the always superb Peter Dinklage as …oops, don’t want to give that away…it’s one of the film’s most delightful surprises.
Thanos as drawn by his creator Jim Starlin
And what one director could keep all these “plates spinning”? Well. there’s two men keeping this entertainment express on track, the Russo Brothers, Joe and Anthony. Here they’re building on the terrific work they accomplished in the last two Captain America films. We know they can map out those multi-hero battles, but they somehow pace (really it just zips along) the story to allow for many intimate sequences, truly fleshing out the drama and bringing the laughs (don’t be put off by the somber marketing, the jokes are there). The Russos are the first film makers since the talented James Gunn to work with the Guardians, who pivot seamlessly from last year’s VOLUME 2 (it helps that Gunn’s one of the executive producers). Somehow everyone gets a moment to shine (amazing, even though this is the longest MCU flick at two and a half hours). Much of the credit there must also go to another impressive team: screenwriters Christopher Marcus and Stephen McFeely (this is their fifth MCU effort). As I said, they haven’t neglected the humor, an element essential to the Marvel franchises (other comic book flicks are finally wiseing up to this), but this is darker story than we’ve really seen before. Sure, the Earth’s been in real jeopardy, but with the fearsome Thanos and company at play, we get that it’s for “all the marbles”. The scars, physical and psychological, may never fully heal. That’s even reflected in the incredible score from prolific film composer Alan Silvestri. The biggest “game changer” may be the last act which, the producers have been fairly upfront about this, has an EMPIRE STRIKES BACK feel. The studio’s detracters can’t complain about them sticking with a tried (or trite) and true formula. It’s big, but never bloated. More importantly it makes us eager to see the Marvel-ous movies that will follow the truly epic AVENGERS: INFINITY WAR. Nuff said!
The Hi-Pointe Theater, at 1005 McCausland Ave in St. Louis, is the best place to see a Wes Anderson movie. Something about its city locale, its nostalgia factor, its retro interior, and the fact that they sell wine by the bottle make me think that Anderson would be happy to know that his newest, ISLE OF DOGS, is currently playing there. It’s been showing at Landmark’s Plaza Frontenac Theater (a fine venue) for the past week and I certainly don’t begrudge anyone who already saw it there. After all, I did claim ISLE OF DOGS “deserves a prominent spot in the run for this year’s best-animated feature Oscar.” in my 5-star WAMG review last week (read my complete reviewHERE), but The Hi-Pointe is the place to be and is where I’ve already seen it a second time and will likely indulge a third.
Here are the showtimes for ISLE OF DOGS at The Hi-Pointe:
Monday, April 9 -Thursday, April 12: (5:30), 8:00
