Tag: based on the comic book

THE BEANIE BUBBLE – Review

Well from the sea of pink still filling multiplex lobbies all across the country it appears that moviegoers are wild about toy property-based movies. Perhaps we can officially call it a genre. And this new film could be a “sub-genre” as it details the creation of a beloved plaything in, well not a docudrama, but more like a “docu-comedy”. This new flick is perhaps closer to TETRIS (same producers), with elements of AIR and BLACKBERRY. Making it more engaging is that it was something of a pop culture “craze”, maybe even a “fad”. And it also benefits from a cast with some major comedy “creds”. They’re all involved with the tiny dolls that collectors thought were a big investment, which, in turn, created and inflated THE BEANIE BUBBLE.


That refers, of course, to the Beanie Babies, a 1990s sensation spearheaded by company spokesman (and face of the fad), Ty Warner (Zach Galifianakis). But, this isn’t a standard “bio-pic” about the man on the “tags”. Instead, the film is focused on three women who made a big impact on his personal and business life. The structure jumps about through a decade or so timeline, so I’ll zero in on the first of the ladies, Ty’s neighbor in their high-rise apartment building, Roberta AKA Robbie (Elizabeth Banks). She’s rushing between her job as an auto mechanic and her duties at home where she tends to her wheelchair-bound hubby. Then Ty befriends her and brings her into his fledgling toy business, a niche stuffed version of Himalayan cats. Robbie proves to be a superb saleswoman and is pivotal in the idea to make smaller animals plushes that aren’t stuffed to the seams with foam. Maybe more like the “beans” in beanbag chairs, though very ‘floppy”. Soon she and Ty are a real “couple” as the line grows. Enter med student Maya (Geraldine Viswanathan) who is hired on as an intern. Ty enlists her to “work the desk” at a toy trade show. There he sees her using a “hook” to reel in retailers. Maya cons them with stories of investors making tons of money by scooping up these “limited edition” variants whose value increases (y’know like Action Comics #1). Besides having the “gift of gab”, Maya is forward-thinking and designs a Beanie site for the just emerging worldwide web. This is also fueled by another burgeoning site, eBay. The expansion, and fractured relationship with Robbie, leads to Shelia (Sarah Snook), who is a lighting designer working on Ty’s big fancy new mansion. After a terse first meeting, Ty begins to romantically pursue the single mother of two adorable preteen girls (who contribute ideas for new Beanies). The lives of all four intertwine as the stock keeps rising and Maya awaits the inevitable collapse. Ah, but those critters are too cute, so it can’t happen, right?

And since they inspire the “chapter headings” for the story, I’ll start with the trio of talented actresses involved. Banks, who has an impressive directing resume, is a true force of nature as the tough but also kind-hearted Robbie. We see the conflict across her furrowed brow as the lure of wealth attached to Ty begins to dissolve a very difficult marriage. It’s clear that Robbie yearns to spread her wings despite the stifling pangs of painful guilt. When Ty shows his true nature, Banks makes Robbie a seeker of justice and equality. Much of that could apply to Viswanathan as the initially bright-eyed and eager Maya, who also has a dream beyond the medical career her parents have planned for her. There’s the delight in her smile as an idea blossoms and bears fruit, mainly in her early internet ambitions. And then Ty squelches them, and Maya must find her own way out before the kingdom crumbles. Much of that escape applies to Snook as Shelia, who fortifies a wall between her and the amorous Ty, only to have it be slowly chipped away by his charm and flattery, plus his bond with her beloved daughters. She’s isolated from his shaky company dealings, but eventually, Shelia has to tell him that she’s not in need of a new child, especially a “man-child”. And as the man in the center of their stories, Galifianakis gets to showcase his dramatic skills alongside his impressive comedic “chops”. His version of Ty is a swaggering peacock, always looking in mirrors to see if a “touch-up” is needed (and even suggesting one for his future stepdaughter), while looking to promote himself and gobble up all the glory (and cash). He even believes that his ego can stop the gradual downslide started by public disinterest. Mr. G truly immerses himself in the role, trading in his scruffy beard for a black pompadour and big dark-framed glasses, offset by a variety of wild pastel suits and ascots.


Unlike the aforementioned AIR and TETRIS, this isn’t a story of triumph, but the sharp direction and a clever script keep us engaged in this rags-to-riches-to-rags cautionary fable. Co-helming the film (with director Damiian Kulash) and penning the screenplay adaptation of the Zac Bissonnette book is Kristin Gore. And yes, she’s the daughter of former veep Al Gore, who is branching into features after a long stint on the writing staff of the witty TV series “Futurama”. She smartly juggles the timeline and switches the focus from one woman to the other until it all seems to converge and intersect in surprising ways. Sure, there are laughs garnered by the fashions of the 90s along with the “ancient” tech (the long screech while you’re sent to the world wide web), and the use of actual archival news footage of retail riots, but Gore really gets to the emotional heart of the characters (Shelia’s “wake-up” rant to Ty). It all makes for a briskly paced true-life romp that has us rooting for the heroines even as we know of the product’s eventual fate. THE BEANIE BUBBLE is bursting with terrific acting and insightful dialogue. You could say that it is not at all over-stuffed.

3 Out of 4

THE BEANIE BUBBLE is now playing in select theatres and it streams exclusively on AppleTV+ beginning on Friday, July 28, 2023.

THE FLASH – Review

As you can tell by the rising temps when you step outside, it’s really Summertime, and so it’s also superhero cinema season with a biggie speeding into the multiplexes this weekend. Oh, but hold your horses (or horsepower) we’re not diving back into the Marvel Cinematic Universe (last month we took a possibly final space spin with those Galaxy Guardians). No, Warner Brothers is showcasing another possible franchise from their spandex stable at DC (Detective Comics, though the late, great Stan Lee referred to them as the “distinguished competition” when he wasn’t jabbing them as “Brand Echh”). We visited their “cinematic Universe’ a few months ago with SHAZAM! FURY OF THE GODS (correction: few of you did as that sequel left a massive crater in the box office stats). Ah, but they’re hoping that this won’t be a repeat as one of DC’s most enduring heroes (not part of the Supes, Bats, or WW trinity) makes his solo big-screen debut. Really, he’s been a TV staple since 1967 (via Filmation cartoon shorts on CBS Saturday mornings), so the big screen is more than ready for the premiere “scarlet speedster” himself, THE FLASH.


it all begins in Central City where Barry Allen AKA The Flash (Ezra Miller) is having a “day”. He’s going to be late again at the forensics lab where he works because his go-to server is not at his fave coffee shop to create his high-calorie breakfast sandwich. Of course, that’s when he gets an emergency call from Alfred Pennyworth (Jeremy Irons). Batman (Ben Affleck) needs some backup in Gotham City as he’s in pursuit of some virus-stealing baddies while a big sinkhole is about to swallow a hospital. Naturally, the rest of the Justice League is AWOL, so he dashes away. Near the end of the rescue, Barry realizes that his super sprinting has broken the time barrier landing him in the Speedforce and its time arena (resembling a massive zoetrope with multiple images of past events). After talking on the phone to his dad Henry (Ron Livingston), who’s incarcerated at Iron Heights Prison before his scheduled execution for the murder of his wife, Barry’s mom Nora (Maribel Verdu), which he did not do, Barry returns to the past to revisit that fateful day of Nora’s demise when he was only nine or ten-years-old. Zipping to the present he confides in Batman who warns him of tinkering with history (that pesky “butterfly effect”). But Barry believes he can get in and out without causing a dangerous “ripple”. He goes back to that awful day, then ahead a few years and bumps into his 18-year-old self, right on the day of the accident that will give him his powers. They make it to the spot in time, but it goes awry, and “old Barry” loses his speed, while “younger Barry” gets the ‘gift”. And they’re going to need it as General Zod (Michael Shannon) and his Kryptonian army demand the other Krypton survivor. But there’s no Superman in this reality, but there is a Batman (Michael Keaton). Can the “Barry twins” enlist his help to locate that missing Man (or person) of Steel and stop the forces of Zod from claiming Earth as their new Krypton?

In the lead role, which turns into dual roles, Miller conveys the giddy joy of a youngster playing with an unexpectantly fun new “toy” (his fantastic speed). But his Barry is frustrated to be thought up as a “clean-up guy” for the JL and haunted by his family tragedies. Miller also taps into his comedic skills as he fumbles over a budding romance with an old college pal and becomes a bickering comedy team with his younger self. He’s good, but the film’s real MVP is the return of Keaton to the role that cemented him as a movie star. It’s hard to believe that it’s been over 30 years since he donned the cape and cowl. His Bruce Wayne goes from reclusive gazillionaire (shades of Howard Hughes) to the snarky mentor to the Barrys. Ah, but he reverts to that guttural growl as soon as he finally suits and becomes the grim, yet sometimes grinning, dark knight (with all those “wonderful toys”), complete with a snazzy reworking of that lush Danny Elfman 89 theme. Rounding out the quartet is the soulful Sasha Calle as Kara the true name of a familiar comics hero. Years of captivity have almost drained the spark from her dark brooding eyes, but with the help of her trio of rescuers, she proves to be a powerhouse protector. We’ve got to mention the other caped crusader as Affleck gives us a hint of what a terrific action romp his solo Batman flick would have been, alas. Livingston is a kind and supportive papa while Verdu shines as the nurturing doomed Allen matriarch. Irons makes a superb “man at the desk” as the tech overseer Alfred, while Shannon returns as the regal and menacing demigod General Zod.

Director Andy Muschetti confirms his talent for mixing action, comedy, and pathos in this epic superhero tale. Of course, much of the wit comes from the screenplay by Christina Hodson and Joby Harold (reportedly with some input from the team of John Francis Daley and Jonathan Goldstein). which offsets the rapid-fire quips with fun pop culture nods and inspired slapstick (Barry’s gotta’ fuel up whenever he can). The new red suit looks swell, especially as it lights up right before Barry takes off (from a Greek statue-like pose). The action sequence in Gotham City is breathtaking, though the final act feels a bit too drawn out and somewhat chaotic (it seems like Zod’s army was tougher in MAN OF STEEL and not he pixel fodder in this). The effects used to depict the high-speed journey of The Flash are very imaginative (Star Wars lightspeed to the nth level), but some of the CGI used in the hospital rescue and the speed force zoetrope feels a tad off looking as though some dead-eyed denizens lumbered out of the Uncanny Valley. But the big “crashing of alternate worlds” finale is lots of geeky fun filled with insider winks and cozy nostalgia. In the DC cinema-verse, this flick is one of the high points, not quite up to the glories of WONDER WOMAN, but miles above her dreary sequel and last year’s BLACK ADAM. Though another Aquaman is being prepped, this action fantasy would be a good “capper” for the DCCU (or as some call it, the “Snyder-verse”). Those in need of a comic book hero fix should be pleased with the fun and very fast antics of THE FLASH.

3 out of 4

THE FLASH is now playing in theatres everywhere

SPIDER-MAN: ACROSS THE SPIDER-VERSE – Review

Maybe the multiplex should seriously consider adding seat belts to their plush reclining chairs (maybe dump the seat warmers). An odd notion you might say, but with this weekend’s huge film release, well you may just agree. So, it’s a sequel and yes, we’ve gotten a few of those already in this summer movie season. And it’s a superhero flick, along with three other flicks this year. And it’s also animated, just like that ground-breaking, game-changing Oscar winner from five years ago. Back then some thought, that this was a “cash grab”, that Sony was trying to squeeze the last penny from their live-action franchise. Wow, were those folks proven wrong. Hey, heads up the much-rumored “super-hero fatigue”, because here’s the “cure”. It’s finally time to swing into SPIDER-MAN: ACROSS THE SPIDER-VERSE, which might leave you with a big “Stan Lee-sized” grin on your face!


They’re not “playing it safe’ this time, as this new entry actually begins far from the main setting of the last one. Over at Earth-65 we get some “backstory’ on their arachnid hero, er heroine, Gwen Stacy AKA Spider-Woman (voice by Hailee Steinfeld) whose worries aren’t drowned out by her pounding drum solo (right before she quits her band). Her dad, Police Captain George Stacy (Shea Wigham) is determined to arrest that masked vigilante. After a tragic accident, he nearly gets his wish until a strange portal opens out revealing two other “spider-beings”, chopper riding (with a “bun in the oven”), Jessica Drew (Issa Rae), and the brooding and buff Spider-Man of 2099, Miguel O’Hara (Oscar Isaac). They’re part of a team that protects the “Multiverse” and they quickly recruit Gwen. And then we’re suddenly back on Earth-1610, the home of Brooklyn’s defender Miles Morales AKA Spider-Man (Shamiek Moore). And this high school sophomore is late, as usual, for a meeting of his parents, Rio (Luna Lauren Velez) and soon-to-be-police-captain Jefferson (Brian Tyree Henry), with the school’s guidance counselor to map out a college plan. But Miles has to stop an ATM robbery at a bodega, Oh, but this isn’t an ordinary hood. He’s a former scientist who was transformed by the dimensional collider five years ago. He’s now a faceless white creature adorned with black dots that open up holes in distant points in nearby space. That’s why he calls himself the Spot (Jason Schwartzman). When he disappears into one of those holes, Miles thinks he’s defeated him. That is until he gets a most welcome unexpected visit from Gwen. It’s soon revealed that this is not a social call, because the Spot can now pop in on other realities and threatens the Multiverse. Thus begins a journey for the old friends as they travel to different worlds, meet other heroes, and face a pre-ordained destiny that could destroy all the countless realms of existence.

The stellar vocal cast returns with renewed vigor and confidence emboldened by a new incredible supporting ensemble. Moore once again carries the emotional heft of Miles, balancing his smooth swagger with a true vulnerability as he looks toward a very uncertain future. He’s half of the story’s soul, along with Steinfrld’s heartbreaking reprise of Gwen, as she believes her beloved papa is her fanatical foe. There’s a real affection for Miles as she’s torn between bonding with him and preventing him from repeating her mistakes. Velez and Henry are again warm and wonderful as the concerned but caring parents of Miles. As the other Spider-Woman, Rae is cool but stern as she mentors Gwen and tries to keep her on the right “path”. She’s the “good cop” who tries to balance the unyielding force that is O’Hara who Isaac gives a scary growl that hides his own tragic past. Of the other “spider-folk”, Daniel Kaluuya is very engaging as Hobi, a guitar-toting Spider-Punk from a totalitarian world who chafes at the rules of O’Hara, just another oppressive “man”. On the flip side, there’s Karan Soni as Spider-Man India who embraces the joys of service and web-swinging. There are many other great talents behind the microphone, but who wants to spoil some super-surprises?

Not me, that’s for sure (they’d take away my official Merry Marvel Marching Society fan club button from 1967). What I can write about is the incredible work of hundreds of gifted artists, spearheaded by the directing trio of Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. How could they oversee and co-ordinate such an astounding variety of art styles (perhaps they pulled in extra clones from other dimensions)? Early sequences with Gwen have the look of delicate watercolors highlighted by an ever-changing pastel palette. The offsets the closer to our world surrounding Miles and his family, with locations that could be on any busy street corner. Then there’s the shading and tones of the individual character designs with the bright vibrant hues of Spider-Man India and the grungy, clip-and-paste graphic take on Hobi (he seems to have jumped off an early 1980s record jacket). This is multiplied a hundredfold as the “spider-world” expands with one character looking as though he leaped right from a comic book panel complete with pen and ink cross-hatching and melodramatic dialogue (comic fans will enjoy this “take” on a controversial storyline). Some reviewers have said that you can’t take in every visual flourish on two screenings. I like to think this would be the ultimate home video (with streaming services cutting back on content, discs are a solid future investment) as you can pause to savor every frame worthy of hanging in a gallery (and making for a gorgeous coffee-table “art of” hardcover). Of course, this would all be intoxicating eye candy without the clever and heartfelt script by Davis Callaham, Christopher Miller, and from the original, Phil Lord. They’ve elevated the “universal stakes” while still focusing in on the complexities of the Morales household (mainly the keeping of secrets). This is no mere rehash but instead an epic exploration of the superhero mythos, one that energizes the whole genre and the medium of animation art. Find the biggest theatre screen around in order to immerse yourself in the wit and wonders of SPIDER-MAN: ACROSS THE SPIDER-VERSE. I can almost hear “the man” cheering, “Excelsior!!”.

4 Out of 4

SPIDER-MAN: ACROSS THE SPIDER-VERSE is now playing in theatres everywhere

GUARDIANS OF THE GALAXY VOLUME 3 – Review

Ah, May is finally here! The temps are rising, the sun’s shining, the flowers are blooming and it’s time (as it has for the last ten years or so) for another trek into the Marvel Cinematic Universe (MCU) courtesy of your friendly neighborhood multiplex. Now for this flick, we can accentuate the U, because after “getting small” in the Quantum Realm three months ago and diving deep into the ocean waters near Wakanda we’re going to catch up with that “bunch of A-holes’ zipping around the fringes of way, way out outer space. It seems like it’s been a long time, but they’ve kept busy in other MCU franchises along with Thor and the Avengers, and even had their own streaming holiday special last year on Disney+. As this is their third solo outing, the filmmaker at the helm has promised that this is his last, perhaps marking the end of the “official trilogy”. And so let’s grab a seat on the good ship Milano, crank up that killer soundtrack, and brace ourselves for GUARDIANS OF THE GALAXY VOLUME 3!

As shown in the aforementioned holiday “special presentation”, the old crew is still fixing up the ramshackle floating spaceport Knowhere. Peter Quill AKA Starlord (Chris Pratt) is hitting the bottle hard as he still yearns for Gamora (in ENDGAME we know that she’s now an “alternate previous version” who never fell for him). And while everyone is still fixing up the “joint”, Rocket (voice of Bradley Cooper) is reflecting on his past, going back to when he was “genetically enhanced”. His memories are interrupted by the destructive arrival of the super-powered space being Adam Warlock (Will Poulter), who comes to “retrieve him” for his “mother” Ayesha (Elizabeth Debicki), and her new “overseer”. Luckily the interloper is brought down and captured, though Rocket is wounded and in a coma. He’s not responding to the medical equipment leading Nebula (Karen Gillan) to discover that his “upgrades” can only be fixed by finding his project “data file”. So begins a mission to go to Orgo HQ and steal it. But they need the aid of the Ravagers, which leads to Peter working alongside their second-in-command, Gamora (Zoe Saldana). Oh, but it turns out that Orgo, led by the cruel scientist known as the High Evolutionary (Chukwudi Iwuji) is out to thwart them as he unleashes all of his forces to reclaim his “property”, Rocket. So can the combined might of Starlord, Gamora, Nebula, Groot (voice of Vin Diesel), Mantis (Pom Klementieff), and Draz (Dave Bautista) save Rocket’s life and keep him from the clutches of this fiend, or could this be their last planet-hopping adventure?

Thinking back on the story, it becomes clear that its main focus is Rocket, other than his importance as the desired “force” (with the Guardians wanting to save him and the Orgo group wishing to “retain” him). Though he’s unconscious for most of the action, the story in his mind, his “origin” is the most compelling. Cooper’s voice is “tweaked” in order to give us a view of him as a youngster, just becoming “sentient” after the “tinkering” by the “lab coats”. Also the bonding between him and the other “projects” is heartbreaking, especially his affection for the otter Lylla (voiced by the affecting Linda Cardellini). As for his humanoid pals, Pratt may have his most complex character arc, going from self-medication right into a courageous leader, who is almost undone by being near that former love. Pratt conveys that aching while being frustrated that he can’t break through to her, to rekindle what was taken away. Saldana as Gamora, is all business, blocking Quill’s romantic pleas, while slowly showing a touch of sympathy to this “wounded puppy”. Her toughened exterior is matched by Gillan as her sister, who puts up a brave front while also mourning the Gamora she once knew. Providing much of the film’s humor is the terrific Batista whose Drax still has a socially awkward nobility, while we now see that his treatment from the others cuts into his pride as he fears being labeled a simpleton. the comes out in his great pairing with Klementieff’s Mantis (they were the heart of the inspired holiday special), whose affection is tested by Drax’s often stubborn nature. But she cares for him nearly as much as she does for her newfound brother (again from the special). And once again, Diesel does wonders with the same three words, eliciting the correct emotions needed by the now teenaged creature (a toddler in the last flick, now a beefy oak-like creature, far from the tall strolling “driftwood” we first met).

Hey Marvel maniacs, here’s the first full-fledged appearance of Adam Warlock as drawn by the great Gil Kane!

And now we meet the “newbies” to the series. At the top of the list is this story’s “big bad”, Iwuji as the demented megalomaniacal mad scientist the High Evolutionary, a narcissist to rival his inspiration Dr. Moreau of the classic H.G. Welles novel (and the 30’s fright film ISLAND OF LOST SOULS). Unlike many researchers, he’s not interested in aiding others, but instead desires to be in control, crushing any who stand in his way, and treating his “projects” with callous casual cruelty. Iwuji tosses aside any humanity to give us perhaps the most interesting MCU mastermind since Thanos (who really thought he was helping save several worlds). His greatest asset may be Poulter as the naive Warlock, whose dedication to “mother” makes him a very powerful ‘loose cannon”, more like a super-powered adolescent in need of better guidance, someone who will keep his raging ego in check. Also bringing in extra comic relief is Cosmo the Spacedog, now voiced by Maria Bakalova (Borat’s daughter) who is an asset to Knowhere while irritating the testy Kraglin played once again by Sean Gunn (who still can’t do that “arrow tick” like his late mentor Yondru).


And that filmmaker in charge is returning director/solo screenwriter James Gunn, bidding a fond farewell to the MCU (he’s now the co-boss of the, as Stan Lee would say, the “Distinguished Competition”, and plotting the return of Superman himself). He’s tried to make this an epic romp, but many may be stunned at that very dark “origin” story at its center. It’s perhaps only a sixth of the film’s runtime, but its grim intensity may induce nightmares in the small fry and perhaps “trigger” older pet-owning viewers in its condemnation of animal testing and experimentation (message received “loud and clear”, Mr. Gunn). Aside from that, we get more of the freewheeling teamwork of the GOTGs and the rapid-fire comic turns (although it begins to be a tad repetitive by the third act). The soundtrack’s not as bouncy and fun as in the previous two outings, though it does bring the melodies into the 21st century. Kudos to the many artists that helped create these stunning new vessels and alien landscapes. Unlike those two movie “star” franchises. many of the sets have a clay-like organic feel rather than the shiny metallic surfaces seen in most space flicks. There’s also a nice retro-feel to many of the otherworldly creatures, especially on Counter-Earth which is a 70’s suburbia populated by Orgo subjects whose full-face prosthetic designs recall the original PLANET OF THE APES and previous Moreau adaptations. The main problem with the film is one that continues to plague most action epics (comic book inspired and others). The chaotic climax doesn’t really know when to conclude, giving us multiple finales. with one set exploding while something else must be resolved before we get the big expected “showdown”, which is delayed by a sacrifice made by a principal (a Tony Stark-ENDGAME riff). Once the debris settles, we get a sweet send-off to some of the crew, while the obligatory mid-credits bonus scene teases us of a possible detour. Despite its bombastic final half-hour (contributing to its overlong 150-minute runtime), franchise fans will relish blasting off for a final time with the GUARDIANS OF THE GALAXY VOLUME 3. Just make sure you have enough Zargnuts to share.


3 Out of 4

GUARDIANS OF THE GALAXY VOLUME 3 opens in theatres everywhere on Friday, May 5, 2923

ANT-MAN AND THE WASP: QUANTUMANIA – Review

(L-R): Paul Rudd as Scott Lang/Ant-Man, Kathryn Newton as Cassandra “Cassie” Lang, Evangeline Lilly as Hope Van Dyne/Wasp in Marvel Studios’ ANT-MAN AND THE WASP: QUANTUMANIA. Photo courtesy of Marvel Studios. © 2022 MARVEL.

So, has it been three months already? A few days more, actually, since we took our last trip into the magnificent Marvel Cinematic Universe with BLACK PANTHER: WAKANDA FOREVER. And as its (most likely) Oscar win looms, we’re taking another trek to that magical place, with a hero we’ve not visited in four years. Oh, and the actual locale is not a foreign land as with the previous flick and last year’s Thor, or the maddening multiverse of Doctor Strange and Spidey. In a few more months we’ll be blasting back to outer space with those Guardians, which leaves us the “opposite destination journey”: inner space. This “area” was a big ‘factor” in the ENDGAME, but it was more of a travel “hub” or station. Luckily we’ve got the perfect pair (along with their family) of tour guides in ANT-MAN AND THE WASP: QUANTUMANIA. As Steve Martin used to say, “Let’s get small”.

This new adventure begins with a look back many years to the survival story of Janet Van Dyne (Michelle Pfeiffer), who’s trapped in the Quantum Realm. But she’s not alone as she encounters strange “beasties”, creatures, and a somber alien explorer we later learn is Kang (Johnathan Majors). The story abruptly shifts to the present day as Scott Lang (Paul Rudd) basks in the glories and “perks” of being part of the Avengers team that “took out” Thanos. Unfortunately, his day of selfies, high-fives, free lattes, and a book reading/signing is interrupted by a call from jail. His now-teenaged daughter Cassie (Kathryn Newton) has been taken into lock-up with several social protesters. After bailing her out, the two quarrel on the way to Pym labs to visit Hope (Evangeline Lilly), now the head of the company, and her parents Janet and Hank (Michael Douglas). The shocks keep coming at Scott as he learns that Hank has made a “shrink suit” for Cassie and that she’s made a device that will send messages to the Quantum Realm. The latter news horrifies Janet who tries to shut the machine down. Ah, but something has taken control of it and the quintet is “sucked into” the micro-universe. The Pyms and the Langs are separated as the weird beings and gnarly natives converge on them. We soon learn that they are fighting a long battle with the forces of Janet’s old pal Kang. Our tiny troupe must stop him, along with an old foe, from acquiring a power source that will make Kang the conqueror of this and all realms.

Naturally Rudd brings his always engaging everyman persona to the role of Scott, though we’re treated to a few more “shades’ of the character. In ENDGAME he explored the tragedy of Scott being denied the experience of his daughter’s pre-teen years, which is touched on here as Scott feels he has to “make up” with surprise birthday events. In the Realm Rudd subtly conveys Scott’s repressed panic as he believes that he’s “out of his pay grade” in dealing with the unpredictable denizens and an intimidating master villain. And Majors is truly menacing and compelling as Kang, who treats Scott and his team as though they were indeed insects he must swat aside in order to complete his destiny. His near-robotic line delivery enhances his threats with an aura of banal evil, making his later enraged outburst even more volatile. Once again Lilly proves to be a terrific partner for Rudd as they come together in battle and scientific strategy to forge an inspired MCU team. Almost matching them are Pfieffer and Douglas as “point one” of the duo, who truly “come through” during the darkest moments. Douglas is still the blunt, but lovable mentor while Pfieffer’s Janet seems to be haunted as the Realm triggers her past despair. Newton, a new addition to the series, pushes past the “annoyed teen” cliches to become a pupil of her pop’s (they bond over times “in the joint”) and a valued ally. Speaking of allies, a couple of the Realm’s freedom fighters shine, namely William Jackson Harper (TV’s “The Good Place”) as an alien whose “enhanced ability” is more of an annoyance at times, and the dynamic Katy M. O’Brian as warrior queen Jentorra, who’s often irritated but always hyper-focused and fiercely formidable (like an entire squad of Wakandan elite guards). I won’t spoil the entertaining returnee to the series, but, since he’s in the trailer, I can attest that Murray almost steals the show in an extended cameo role.

Many folks complain that franchises begin to repeat themselves as they spawn new installments. Now that’s something that Mr. Feige and the MCU have dodged by upping the stakes and the action in this third outing. I’m not sure if this completely works for the devoted fanbase of what had been called a minor Marvel character. Mind you, the 2015 and 2018 were basically “caper flicks’ with Scott and his motley crew trying to pull off a “heist” while dealing with enhanced adversaries (plus the necessary “origin” in the first). While there’s a great rapport with the expanded family in this, I missed the “Lang crew” of T.I. ‘s Dave, David Dastmalchian as Kurt, and especially Michael Pena’s Luis (can you imagine him describing the Realm’s critters). Ditto for Scott’s ex Maggie (Judy Greer) and her new beau Paxton (Bobby Cannavale). Though the hero’s powers seem sillier than other Marvel heroes, Scott’s seemed the most human and “grounded”. But things are more “cosmic” here, reportedly at the request of veteran director Peyton Reed, so after an endearing and funny opening of Scott enjoying his celebrity perks, we’re plunged literally, into the furious fray. There’s still lots of humor (love that “pink goo” guy), though the shifting backdrops and hordes can be disorienting. That’s not to say that it’s done poorly, since this adventure seems even stranger than last year’s STRANGE WORLD. Plus there are lots of cool visuals riffs with multiplying clones and towering golden cities (overrun with Kang’s blue “fishbowl-head” armies). Still, the final showdown feels a bit truncated and the pre-end titles fadeout gag lands with a thud (on average first-time feature screenwriter Jeff Loveless “nails” the landings). As usual, the bonus scenes are fun, particularly the final. Sure this one’s more visually dazzling, but it’s at the cost of the light-hearted hijinks of the first two. Luckily there’s still plenty of wit and charm with “the little guys (and ladies)” of ANT-MAN AND THE WASP: QUANTUMANIA.


3 Out of 4


ANT-MAN AND THE WASP: QUANTUMANIA is now playing in theatres everywhere.

ANT-MAN AND THE WASP: QUANTUMANIA. © 2023 MARVEL.

BLACK PANTHER: WAKANDA FOREVER – Review

A scene from Marvel Studios’ Black Panther: Wakanda Forever. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Face front, true believers! We’re in the last few weeks of the year, so it’s time for family get-togethers, big feasts, and…one more excursion into the Marvel Cinematic Universe! Now this one is another virtual trek to a spot we’ve not seen in over four years. Mind you, we did lots of traveling in the previous MCU outings, from multiverses with Doctor Strange to outer space, and New Asgard, with Thor and his pals. Well, we’re pretty much back on “terra firma” now, although we’ll be diving into the lowest depths of the ocean to meet a new challenge. Did I mention that this is a follow-up to perhaps the most successful (in box office and awards) franchise of the non-group (those mighty Avengers) of the studio? But in those years a lot has changed. That’s because the returning cast is sadly incomplete for BLACK PANTHER: WAKANDA FOREVER.


As we open in that “hidden kingdom”, the unthinkable has occurred. Despite the determined efforts of beloved Princess Shuri (Letitia Wright), her mother Queen Ramonda (Angela Bassett) brings her the news that death has claimed brother T’Challa. And though the family mourns, the populace celebrates their fallen king. Life goes on as the story jumps to the following year. Ramonda addresses a meeting of nations. Its members are growing impatient with Wakanda as they want to get access to their precious Vibranium, which T’challa graciously offered to share years ago. At the same time, a mercenary band attacks a Wakandan research lab to take the metal. But instead, they find the elite Dora Milaje led by Okoye (Danai Gurira). And that’s not the end of the “colonizer’s quest”. At a mining station floating in the Atlantic, another team has detected Vibranium on the ocean floor with a new gizmo (seems that regular metal detectors don’t recognize it). As two divers descend in order to retrieve it something odd happens. The facility is under siege by fearsome warriors who rise up from the waves, led by a very strong airborne man. He later confronts Ramonda and Shuri near a Wakandan beach. We learn that he is Namor (Tenoch Huerta), the immortal ruler of the underwater kingdom of Talocan, who believes that they made the mining invention. After Ramonda assures him that they didn’t create the device, Namor issues an ultimatum. Bring him its designer or face his massive army. After he departs, the duo begins an expedition that will reunite them with US government agent Everett Ross (Martin Freeman) and introduce them to young Cambridge University engineering savant Riri Williams (Dominque Thorne). But even with their assistance, along with old allies Nakia (Lupita Nyong’o) and M’Baku (Winston Duke), can Wakanda survive an attack from Namor’s formidable forces, without the leadership and strength of the Black Panther?

Wright is the first member of the royal family and is the dramatic focus of most of the film. Four years ago I remarked on how she almost stole all of her scenes in that first film. Here Wright ably embodies the heartbreak of her homeland as she struggles to forge ahead while dealing with”survivor’s guilt” and a sense that he’d be here if she only “pushed herself” further. Later we see her deal with an inner conflict of heroism and revenge, which Wright conveys with confidence. But that quality springs to mind when thinking of the “force of nature”, Bassett, as the grieving queen and “mother of us all” who will stand firm as the rest of the world tries to ‘steamroll” her legacy. She’s regal and majestic, but with her closest family and friends, we see her warmth. Though not introduced till the story’s midpoint, Nyong’o is compelling as the “almost queen” who deals with her loss privately but will step up to any enemy. And she (and the other Wakandans) have an intimidating foe in Namor, played with an otherworldly warrior’s grandeur by Huerta. When he softly issues threats to the royales, no bombastic blustering is needed. His intense glare shows that he’s not bluffing. And Huerta expertly handles the role’s physical requirements whether he’s digging his fingers into armored transports or hovering over his enemies. Comic relief is provided by the blustering Duke as the affable and arrogant M’Baku and Freeman as the befuddled and secretive Ross, who’s paired with a current comedic icon (no spoilers). Gurira still dominates the action sequences as Okoye, but she tempers the “ferocity” with a touch of sadness and her own regret as a new threat gets the “upper hand”.And Thorne is a terrific addition as Riri, a “fish out of water” who tries to temper her sense of wonder about the kingdom with the need to aid them and survive to create new scientific marvels (had to get that in).

Hey Marvel maniacs, here’s Namor AKA the Sub-Mariner from over eighty years ago in the pages of Timely Comics as rendered by his creator, Bill Everett! Imperious Rex!


Also returning in the director’s chair is Ryan Coogler, who also co-wrote the screenplay with Joe Robert Cole. It’s a true challenge that Coogler dives into, going from a nation in mourning to a high sea, high-stakes battle between the “hidden realms”.There’s still that sense of mythic pageantry as Wakanda remains a compelling clash of golden mythology and near-magic high-tech wizardry. But he doesn’t turn away from the intimate dramatic moments as the family tries to heal their still-fresh wounds. The big action “set pieces” aren’t neglected (they’re well-done, indeed), but they’re spaced out with long stretches of dialogue-heavy exchanges in too many locales that may test the patience of many viewers in search of the stunt spectacles of the original (does the final battle need multiple flashbacks). Yes, it has pacing problems that threaten to dull the story’s dramatic impact. Part of the problem is the need to tell the backstory of Namor, which could’ve been explored in a spin-off film or a streaming miniseries. Yes, the Talocans have some nifty “bits of business”, from whale-riding to a hypnotic siren’s call, and Namor’s hummingbird-like ankle wings (and he darts through the sky like the critter), but it may add too much to the bloated 161-minute runtime. It all does honor the memory of the late star of the original (the revamped studio logo sets a melancholy mood), but the somber sequences and stop-and-start addled plot momentum weigh the end of Phase Four” and sink it down into the murky depths when BLACK PANTHER: WAKANDA FOREVER should soar.


3 out of 4


BLACK PANTHER: WAKANDA FOREVER is now playing in theatres everywhere.

Black Panther: Wakanda Forever. © 2022 MARVEL.

WEREWOLF BY NIGHT – Review

Gael García Bernal as Jack Russell in Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Okay, who’s ready to take another trip into the Marvel Cinematic Universe (like I have to ask)? Whoa there true believer, hold up, this isn’t a review of BLACK PANTHER: WAKANDA FOREVER. That’s still four or five weeks away. No, consider this an appetizer, a tasty ‘nosh if you will since it’s not quite a feature and it’s too long to really be considered a “short subject’ at a brisk 52 minutes. Oh, and it’s not coming to your multiplex as it will be streaming into your home. This is being called a “Marvel Studios Special Presentation”. I’ll agree with the second word as it explores an “outer region” of the MCU, though it’s not set on one of the alternate dimensions that we saw bits of in Doctor’s Strange’s last adventure. You see this harkens back to a time at Marvel Comics when the self-censoring group the Comic Code Authority loosened some of its rules and allowed monsters (in the classic style, the CCC insisted) to roam once more. And close to the start of this era, now fifty years ago, we met the tragic hero who became a WEREWOLF BY NIGHT.

Hey Marvel monsters, here’s Jack Russell’s first appearance as drawn by the late very great Neal Adams


And it is a dark and stormy (well, windy) night as a group gathers at the country estate of the famed monster hunter the late Ulysses Bloodstone. His widow Verusa (Harriet Sansom Harris) has assembled a group of notorious monster hunters including an unarmed (the rest have their devices) Jack Russell (Gael Garcia Bernal). Oh, and Verusa’s stepdaughter Elsa Bloodstone (Laura Donnelly) has reluctantly returned. But this is no ordinary wake or memorial. Verusa tells them that the glowing red gem that aided Ulysses, the “Bloodstone” will be awarded, per his will, to the victor of a contest. The coveted jewel will be attached to a captured monster and whoever slays the beast will own it. And if the hunters start hunting each other, well… it’s allowed. A roar from the creature sends the group into a maze-like structure outside the dining hall. As if the evening wasn’t already fraught with deadly danger, one of the hunters has a deadly secret that may be more horrific than anything that blood-red ruby harbors. Who will win and possibly survive this night of fright?

Bernal utilizes the full force of his brooding stare as the haunted (those dark eyes) Jack, Although many of the hunters tower over him, he projects an inner strength and ferocity that commands our attention. And surprisingly, he lets his guard down and shares his affable humor when dealing with an old pal (I’m not saying). Donnelly is another smoldering beauty who will not hide her contempt for the family legacy but will risk it all to gain what she believes is rightfully hers (that gem). And most entertaining is the always compelling (really, she should’ve gotten a Supporting Actress Oscar nom for LICORICE PIZZA) Harris who is a raging, venom-spitting queen of this castle (and she’ll make sure you won’t forget it) as the most wicked widow with a most deadly sting.

And the big surprise Oscar-winning talent behind the camera is none other than master film score composer Michael Giacchino (he took the gold guy for UP). He has directed a couple of shorts ( I highly recommend the animated jewel from “Star Trek: Short Treks”, “Ephraim and Dot”), but here he has a real flair for telling a longer story, so let’s hope a full-fledged feature (over an hour) is in the works. Of course, he also offers a superb score with a thriller riff on the Marvel Studios theme, which dissolves into a nifty woodcut illo of Earth’s mightiest heroes. Actually, the whole film looks fabulous in beautiful black and white, eliciting comparisons to those classic Universal monsters of the Golden Age, although the tone may be closer to Britain’s Hammer color horror romps, with even a nod to one of their rivals Amicus Studios. They did a “who’s the lycanthrope” chiller in 1974 called THE BEAST MUST DIE, which in turn was a riff on all those “reading of the will in a spooky house” late show staples. Now although the “black cat’s been out of the bag”, I will only mention that I was delighted by the appearance of another comics icon of that era. So, how about a follow-up “monster buddies” theatrical? Or another entry from the scary side streets of the MCU (I’ll “scream” for “The Tomb of Dracula” or “The Monster of Frankenstein”. We’ll be very lucky if they’re as creepy and as much fun as a visit from the WEREWOLF BY NIGHT. It’s a real howl!

3.5 Out of 4

WEREWOLF BY NIGHT screams…er…streams exclusively on Disney+ beginning on October 7, 2022

WEREWOLF BY NIGHT, exclusively on Disney+. © 2022 MARVEL.

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS – Review

(L-R): Xochitl Gomez as America Chavez, Benedict Wong as Wong, and Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

“Tra la! It’s May! The lusty month of May!” sings Guenevere in Lerner and Lowe’s classic musical “CAMELOT”. Well, if that “lust’ is for big Summer blockbusters, then the song holds true for film fans. Ah, but for the last fourteen years, May also means Marvel, as the cinema season officially begins with another trip into the MCU (Marvel Cinematic Universe). But it was in a later month, October, that Marvel’s master magician made his first big-screen appearance in a splashy solo outing/origin story. And can you believe that it was waaay back in 2016? Pretty long for a follow-up, though the good doc has been kept quite busy in the MCU, conferring with the Norse God in THOR: RAGNAROK, battling Thanos in the last two Avengers epics, and nearly six months ago he attempted to help Peter Parker in SPIDER-MAN: NO WAY HOME with pretty calamitous consequences. Oh, but this one’s his “baby’ as he touches up the goatee (we saw that “coloring kit” in the basement), and irons his devoted cloak of levitation for DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Nuthin’ up his sleeves…

A pin-up by “Sturdy” Steve Ditko!


As that familiar logo fades out, the good doctor, Steven Strange (Benedict Cumberbatch) is right in the midst of a harrowing rescue mission, protecting a terrified young woman from a looming, vicious “beastie”. And things aren’t going well…until he awakens. What kind of late-night snack could’ve spawned that nightmare? Before we can find out, he’s on his way to a wedding involving his former hospital colleague Christine (Rachel McAdams). Of course, the reception is disrupted, as the sounds of mayhem alert Strange to an unknown and unseen destructive force (hurling cars, buses, the standard Kaiju stuff). With the wave of his hand his spiffy tux morphs into his familiar “work uniform”, and Strange leaps into the fray as his spells make the beast visible, a nasty one-eyed massive “land-octopus”. Oh, and that single orb is focused on a teenage woman, the same one from Strange’s dream. Luckily the current Sorceror Supreme, Wong (Benedict Wong) joins the battle royale and the young lady is rescued. The duo founds out her story at a nearby diner. She’s America Chavez ( Xochitl Gomez), who’s a visitor to the city. And this universe. It seems she has a “gift”: the ability to “cross over”, opening portals into different dimensions, a concept Strange dealt with in his team-up with Spidey. He believes that a powerful being used witchcraft to send the monster after her in order to exploit and perhaps steal her power. As Wong whisks her away to the mountain top magic fortress/training camp Kamar-Taj, Strange pays a visit to someone familiar with those dark arts. He finds Wanda Maximoff AKA the Scarlet Witch (Elizabeth Olsen), still in mourning at her secluded rural home. When the menace is revealed, a huge battle at the Taj sends Strange and Chavez on a wild multiverse trek, from “616” to “838” (not area codes), as they try to thwart a crazed masterplan that could destroy theirs and all the worlds.

Once again Cumberbatch reminds us of his “action hero” skills, though if he can be a self-loathing “cow-puncher, then the man can tackle any role. After his last three MCU exploits, he’s balancing the conjuring with an often dry, even brittle sense of humor, which offsets the deadly danger and often incredulous concepts. But here Cumberbatch shows us the good doctor’s somber side as he’s reminded of his life choices and ponders the “path not taken” (he’s caught off guard several times when asked, “Are you happy?”). Of course, he also conveys the doctor’s razor-sharp intelligence, even as he forgoes the “spells’ for some hand-to-hand battles. Matching his mystical methods is Olsen, fresh off her justly lauded work in the streaming series “Wandavision”, who delves further into the emotional depths to make Ms. Maximoff perhaps the MCU’s most conflicted character. She’s literally the “walking wounded”, haunted by the memories of the love she shared with her fantasy siblings (and Viz). But those sad eyes can turn icy cold when those “visions” are threatened, flipping the switch into “danger mode”. Olsen firmly establishes herself as one of the movies’ most talented and interesting talents. We also get another superb actress returning after the first DS epic, namely McAdams, who is given much more to do this time around as Strange’s “lost past love”, Christine. She projects that intense, still simmering passion for him, though it’s tempered by the heartbreaks of the past that remind her that they’re just “not in the cards”. Oh, and the film showcases a terrific new screen star in Gomez as Chavez, a teenager who’s much more than a “damsel in distress” or the prize in an epic “tig-of-war”. She’s dealing with intense guilt over her own past while forcing herself to move forward and find the solution within herself while being careful about the new version of familiar faces and not trusting too quickly. Wong as “Wong” is an excellent verbal sparring partner for the doctor, fighting to protect, but fast to deflate any bit of ego. And also returning from the 2016 flick is Chiwetel Ejiofor as Baron Mordo, Strange’s “frenemy” then, but now perhaps a pillar of support in a multiverse variant that may be an aid in the fight, though Strange keeps his defenses “up”.

Here’s a rare bit of merchandising from the 1960s: A T-shirt put out by Marvel themselves. Can you imagine the comments at school when you wore this? “Dude, izzat’ Vincent Price? Cool”

Earlier I provided a look into what’s really just the first act, or perhaps a prologue, of the film, to keep from spoiling any of the twists and surprises. Yes, it’s really action-packed, unlike many stories set in the “nether-realms”. And it charges right “out of the gate” at audiences, as though “shot out of a cannon” perhaps due to the new force at the “director’s chair’. But we could also call him a “seasoned” one as he’s new to the MCU, but a veteran of Marvel movies. I’m speaking of the masterful Sam Raimi who first brought Spidey to the cinemas twenty years ago (wow), along with two sequels for Sony (before Marvel started their own studio). Now he’s back, working directly for Marvel Studios on the other major “silver age of comics” creation from Stan Lee and Steve Ditko (and with his jet-black goatee and hair, with a side silver streak, Cumberbatch really looks like Ditko’s rendition in the flesh). Hard to believe that Raimi has been making movies for 40 years as he brings the energy and inventive spark of a recent film school grad to this superhero/ horror hybrid. Yes, there’s some truly scary stuff, so parents may want to check it out before deciding if their lil’ MCU fans can handle it. Oh, and Raimi brings much the same ferocity (as Stephen King said on the movie poster and ads) he used in the EVIL DEAD trilogy, the Spidey trilogy, and his pseudo-superhero DARKMAN with a pinch of the “gallows humor” of DRAG ME TO HELL. Plus he uses the new film tech as though he’s a kid in a candy store with swooping drone shots, twisty spiraling dreamscapes, and BEMs (bug-eyed monsters) who seem to have sprung from those Ditko-drawn Atlas comics of the late 50s. I’m most happy to report that he’s not merely “punching a time clock” doing “work for hire”. The wise execs in charge are letting Raimi be Raimi, complete with the signature camera shots and inside jokes and “running gags” that will warm his fans’ hearts. And it’s a blissful reunion with the music maestro behind many of his films, the great Danny Elfman who’s a big aid in a scene that’s a “music throw-down” mixing nods to FANTASIA and THE 5000 FINGERS OF DR. T (really). The screenplay from Michael Waldron provides a great “springboard’ for the fun, though the story’s highlight occurs prior to its third act with a “set piece’ that will make Marvel fans vibrate with glee (giddy doesn’t quite describe it). The MCU knows how to “reward” their fans (listen up, “Distinguished Competition”). But since that sequence is early, the film tends to drag a bit as it could use a bit of a trim (maybe five or six minutes to keep up the pace). And yes, the mid and post-credits bits are great, as this proves to be a most worthy successor to the recent Spidey spectacle. DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is more movie magic from the “house (and studio) of ideas”! Somewhere Stan is flashing that sweet smile…

3.5 Out of 4

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is now playing in theatres everywhere

MORBIUS – Review

Already, it’s been over three months, so who’s ready to return to the Marvel Universe via your nearby multiplex? Now, before the littlest hands “rise up”, be forewarned that this is the “dark, spooky” corner of Marvel. Oh, and technically it’s not the official MCU, but rather the “Sony-verse’ as this is labeled “in association with Marvel”, much as was the Oscar-winning SPIDER-VERSE animated epic and the twin VENOM flicks. But it does tie into our favorite “wall-crawler” as did the former films. To coincide with Spidey’s sixtieth (must be something extra in that radioactive “bite”). we’re getting another villain “spin-off” (insert web-spinning puns). Now, the oozing symbiote was from the 1980s and the “baddie quintet” from December’s blockbuster are all from the 1960s. So what about those swingin’ sparkly 70s? To be precise, 1971 saw a lot of change in the “funny books’ as the Comic Code Authority (a self-regulating group) finally let the monsters rise again. Naturally, Marvel tested the waters by introducing one to face the “amazing y’know”. And now he makes his big-screen debut (after a two-year pandemic delay). So put on your scarves “true believers”, here comes the very thirty vampire known as MORBIUS. As a count named Floyd would say, “ooooo, scary keeds’!”.

After a brief present-day prologue in Costa Rica, we’re whisked back twenty-five years to a childrens’ hospital special unit in Greece where we meet pre-teen Michael Morbius. He’s suffering from a rare blood malady, leaving him very weak and under the care of the kind Dr. Nikols (Jared Harris). We also meet Michael’s newest friend and neighbor (he’s got the bed next to him), Lucian, whom he dubs Milo (after the last occupant of the space). Michael’s already a science whiz, which leads him a couple of decades later to invent life-saving artificial blood. And now Dr. Morbius (Jared Leto) is the “top dog” at the Horizon medical center alongside friend (maybe more) Dr. Bancroft (Adria Arjona). But while Dr. M tends to the kids there, he’s got another project brewing, namely a cure for his own weakened condition. Now because some of his ideas are considered radical, Horizon won’t “foot the bill”, so Michael must turn to Milo (Matt Smith), who’s now a wealthy businessman (though the biz is more than a bit “shady”) and is still tended by Nikols. He really wants that healing “fix” so he hires a cargo ship out of Panama manned by local mercenaries to take Morbius and Bancroft to Central America. Onboard, the two perfect a “serum” which has disastrous side effects for Dr. M. After one of the crew knocks out Bancroft, Dr. M transforms into a powerful bat-like blood-drinking “demon”. When the ship drifts to the coast of Long Island with its crew drained of blood and Bancroft unconscious, two FBI agents, Stroud (Tyrese Gibson) and Rodriguez (Al Madrigal) investigate while searching for the missing Mobius. Meanwhile, he’s roaming the streets of NYC, secretly entering the Horizon lab, hoping to make a cure to his botched “cure” and trying to keep his “inner beast” caged by consuming his own artificial blood supply. But his body seems to crave the “real deal”. Will he turn the Big Apple into his own blood bank? And what about Milo’s mania for the cure? Could this lead to a showdown between childhood pals?

Leto brings some much-needed humanity to his role as one of Marvel’s early anti-heroes (many forget that Hawkeye and the Black Widow originally teamed up against Iron Man) and gives us a look into the conflicted nature of Michael. With dark, haunting eyes, Leto conveys the doc’s empathetic nature, first with young Milo, then with his afflicted child patients, gifting them with a bit of origami. But when the “hunger” overtakes him, there’s a feral intensity in those eyes, showing us that he’ll do whatever it takes to survive. Then the remorse sets in as guilt cast its shadow and Leto’s disturbed doc thinks that he must save the world from himself. Smith is very effective as the “flip side of the coin”, also ailing but with no compulsion about humanity, adding lots of danger to his “dandy” persona from ONE NIGHT IN SOHO. Arjona makes a terrific partner for Leto as the co-worker who challenges him while slowly sliding from the professional to the personal in their relationship. Harris brings lots of father-like compassion to his too-small role as Nikols. Plus Gibson and Madrigal make a good team, call it a “dour cop/wiseacre cop” team as the agents are almost always a few steps behind the monster mayhem.

Hey Marvel-maniacs, here’s the first appearance of Morbius fighting a multi-armed Spidey (don’t ask)!

The horror and superhero elements somehow mesh together under the assured direction of Daniel Espinosa working from the script by Matt Sazama and Burk Sharpless (and based on the Marvel character created by Roy Thomas and Gil Kane). The brief “origin” sequence has a haunting childhood melancholy like a nostalgic nightmare. And that’s the correct way to describe the last part of that origin as the tragic “transformation” turns the cargo ship (check out its familiar name) into a floating deathtrap. Since Morbius becomes a vampire via science and not a magical curse, the effects team has found some interesting ways to twist the horror trope. Morbius in attack mode seemingly bursts into a mass of flying bats or leaves a trail of them in his wake. His speed is slowed down for a few seconds to highlight his animal-like stance and stride. When he must feed his face morphs into the lean angular rodent visage (I thought of the vamps that Buffy dusted on TV). One nice touch is the appearance of ridges in his earlobes when he uses his sonar abilities. Later when he leaps across the city a color trail (the orange jumpsuit) barely catches up to him. Set against the glittering neon cityscape, the visuals are stunning, but it doesn’t quite make up for some of the script’s problems. Nikols is an underwritten enigma, we’re not quite certain of Milo’s true “interest’, and the romance of Morbius and Bancroft feels like a bit of plot motivation. I did enjoy this more than the Venom films, but then I’ve also preferred this character in Spidey’s “rogue’s gallery”, mixing the ferocity of Lee’s Dracula with the romantic sadness of Frid’s Barnabas. And no, he’s not got that dark blue with red highlights open chested suit of the comics, but it’s not really missed in the long run. It’s not at all close to the scope of the last Spider-Man opus but there’s quite a bit of bite in MORBIUS.

3 out of 4

MORBIUS is now playing in theatres everywhere

THE KING’S MAN – Review

Ralph Fiennes as Oxford in 20th Century Studios’ THE KING’S MAN. Photo Credit: Courtesy of 20th Century Studios. © 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.

So, here’s a bit of a “flip”. This pre-holiday Wednesday sees the release of two sequels, SING 2 and MATRIX: THE RESURRECTION (not that unusual for the big studios). So, what almost “balances” them out? Why a “prequel”, naturally. And though you’d think that the first film of this franchise back in 2015 would count as an “origin” story, this one goes further back. Much further, nearly a hundred years really. In that first flick, a super-secret society was in full operation, but we didn’t know how or when it was first formed. Well, wonder no more. It’s time to head down for a “fitting” and learn about that original “sharp-dressed man”, THE KING’S MAN.

It all really begins near the turn of the 20th century, as the wife and son of British military man Orlando Oxford (Ralph Fiennes) visit him at a remote foreign outpost. A surprise attack results in tragedy despite the best efforts of their trusted valet, Shola (Djimon Hounsou). The now widowed Oxford must raise his son alone. As he becomes a strapping teenager, Conrad (Harris Dickinson) displays great fighting skills as he trains with Shola. Ah, but the now Duke of Oxford will not allow his son to follow him into the armed forces. This even after a meeting with old friend General Kitchener (Charles Dance) and his aide Morton (Matthew Goode) concerning foreign agents activity. Most of these operatives are part of the “Shepherd’s Flock” who report to a mysterious shadowy leader working atop a nearly impenetrable mountain mesa. At his table are Mata Hari (Valerie Pachner), Hanussen (Daniel Bruhl), and the sinister Rasputin (Rhys Ifans). They devise a plan to plunge Europe into world war by manipulating King George, Kaiser Wilheim, and Tsar Nicholas (all played by Tom Hollander). When one of these spies tries to kill Conrad, the Duke decides to get involved and confess that he’s using his own spy network of servants, with the help of Shola and housekeeper/nanny Polly (Gemma Arterton). As global conflict looms the quartet travels the globe trying to thwart the master plans of “The Shepherd”. But when war does break out can the Duke stop his son from enlisting? And should he expand his society in order to prevent future masterminds?

After the previous films in the series, it’s a bit of a surprise that the main “man of action” this time out is screen vet Fiennes. He propels the story deftly going from will action, yes I know there are doubles, but it’s still fairly impressive) and moments of great sorrow and angst. Earlier this year he did great work on THE DIG (if you’ve got Netflix make time for this) and NO TIME TO DIE (a pro-active “M”), and he does the “heavy lifting” on the uneven script. The Duke can’t quite bring the same intensity to his son’s character. Conrad is earnest, smart, but a bit bland despite the best efforts of Dickinson. Aside from butting heads with his papa, he’s a catalyst to the agency’s start. Ifans seems to be having a grand time as the truly unstoppable real-life ghoul of history, Rasputin, exuding unbridled lust and feral ferocity. He doesn’t give off the same exotic charisma as Christopher Lee did over fifty years ago, but he’s a worthy adversary for the Oxfords. Hounsou is a terrific advisor and “gadget guru” as he toils in the shadows making much more of an impression than the criminality underused Arterton as third-in-command Molly. She does make a mark in a big action sequence, then seems to vanish for too many scenes only popping up to inspire the Duke and hint at her romantic “pining” for him. My hopes that we’d see a bit of her Gretel role in this film were coldly dashed. Almost having as much fun as Ifans is Hollander who juggles lots of mannerisms and accents in his multiple roles.

Veteran franchise director Matthew Vaughn still brings a lot of kinetic energy to the splashy action sequences, though his jumps into ultra “slo-mo” can curtail the momentum. Unfortunately, these bits of daring feel few and “far between”. There seem to be far too many conversations setting the historical settings and the big action-setpiece final act. Perhaps another “pass’ at the script that Vaughn co-wrote with Karl Gajdusek might have smoothed it out. As it stands, the script lurches about, changing tone so swiftly as to induce whiplash. One minute it’s a tragic adventure, then suddenly it’s a raucous comedy full of buffoonish caricatures, then it’s a tale of high political intrigue. The biggest stumble might be a sequence set during the “last great war’ with the trenches seemingly leftover from the much-better 1917, along with a desperate clash in “No Man’s Land” that pales next to a certain Amazon’s charge toward the guns. Its harsh reality doesn’t fit with the outrageous fantasy elements, let alone the raunchy slapstick of the ghoulish horny Russian. Then all the plots collapse on themselves (blackmail in the White House), in order to get to the “franchise formation”. It just all feels tired and more than a little stale (the film’s been sitting in a vault for two years, so it’s well past its “expiration date”). If you’re in the mood for a big comics-inspired “thrill-machine” there are much better choices than the tepid, tedious, “back-story” of THE KING’S MAN.

1.5 Out of 4

THE KING’S MAN opens in theatres everywhere on Wednesday, December 22, 2021