Tag: los angeles

MERCY (2026) – review

Screens! Aargh! There’s the bane of modern life, for many in the older generations (guilty, as charged), and the source of a new challenge to parents (as they must battle their offspring over “limiting screen time”). Well, according to this new thriller set in the not too distant future, the “screen reliance” will only strengthen. That’s because, in this story’s plot, they can literally be the deciding factor between life and death. By legal execution. Yes, this is a science fiction-tinged tale of crime and really quick punishment. And with this “ice cold” tech advance, there’s little room on the legal system’s “hard drive” for even a gigabyte of MERCY.


Before the mystery really kicks in, we’re treated to a brief prologue explaining this radically new and improved (?) world of 2029. It seems that crime was overwhelming the “city of angels” with entire “ever-expanding” blocks cordoned off as “red zones”, packed with the dregs (addicts, career criminals) of society. To stem the tide, the court system is given an extreme “overhaul” for those accused of capital crime (mainly murder). Every device (phones, security cameras, monitors) are linked to the “cloud” so that when a suspected assailant is observed, the police scoop them up, and whisk them to the monolith Mercy building in downtown LA. They are strapped to a chair in front of a huge screen that lets them interact with an AI judge (and no jury of their peers). They are given 90 minutes to reduce the probability of guilt icon to 92%. If that number can’t be reached, the prisoner is given a lethal shock through that chair. As the backstory ends, the main action shifts to a large empty room where a groggy Chris Raven (Chris Pratt) awakens in that dreaded chair. He is then told by digital Judge Maddox (Rebecca Ferguson) that he is accused of killing his wife Nicole (Annabelle Wallis). Raven is stunned, since he has no memory of that or of being arrested. Oh, and he’s a cop, the police detective that brought in the first person to be tried and found guilty by Mercy (which has reduced the murder rat, so far, to 68%). Things don’t look promising for him as he sees various screen grabs of him getting into a heated argument with her before “falling off the wagon” and being violently subdued (hence the poor recall) at a local “watering hole”. That ninety-minute clock is ticking fast, so Raven gets “up to speed” by contacting his AA sponsor Rob (Chris Sullivan) and his angry teen daughter Britt (Kylie Rogers), who discovered her mom’s body. With help on those mean streets from his current LAPD partner Jaq (Kali Reis) can Raven untangle this twisty “frame job” before his “trial time” runs out, and he is roasted and toasted by “ole’ Sparkey’?

Though he’s “the guy in the chair”, Pratt ably holds our interest, communicating the plight of Raven though his vocal intonations and facial expressions (no body language to read here). Plus, he’s not cruising by with his engaging charm, giving us the dramatic heft missing with much of his post-Starlord roles in direct-to-streaming shows. He can even keep us in doubt as to Raven’s guilt (most of the time). Now “the lady on the big monitor screen” (accented in black naturally), is the terrific Ferguson who we just saw reacting to screens in A HOUSE OF DYNAMITE. Here’s she’s almost as limited as Pratt, since the AI judge is incapable of expressing any emotion (to a point). Yet, she intimidates with her strict adherence to protocols (and her programming), and stubbornness with Raven (raising the guilt percentage ruthlessly), though she almost smiles when called “your honor”. Sullivan embodies the caring sponsor/pal who wants to help, but thinks Raven is guilty. Ditto for Rogers, though she’s full of rage and tears. And much of that is true for Reis, who will fly into the fire for her partner, despite her pessimistic persona. There’s also some strong supporting work from Kenneth Choi as raven’s former partner and BFF, along with Jeff Pierre as a slippery stranger with a link to Raven’s wife.

Now, here’s a nifty idea on the police procedural/crime “whodunit”. Perhaps it may be the only months away dystopian future that recalls MINORITY REPORT, ROBOCOP, and the various incarnations of JUDGE DREDD (comics and films) that makes the plot seem fresh. That cynical take on tomorrow’s lawmen even provides a knowing satirical wink at the current political climate. The use of the various screens is pretty inventive as we watch Raven furiously figuring out a way to exonerate himself while tracking down the killer. Director Timur Bekmambetov juggles the various images (much like his last computer thriller PROFILE), with some reality TV-like dust-ups and some nifty gadgets (there are single-sized police copter/drones). Unfortunately he tosses these elements aside in the last twenty or so minutes to indulge in some “destruction porn” out of the FAST & FURIOUS franchise, with a dash of THE BLUES BROTHERS (I image Michael Bay telling him to “reign it in” a bit). Any semblance of subtlety and drama is replaced by near non-stop carnage and urban mayhem. It’s quite exhausting, and a real shame since there are some interesting concepts and commentary for much of MERCY.

2 Out of 4

MERCY is now playing in theatres everywhere

GOOD FORTUNE (2025) – Review

This big new studio film release takes a tough look at the social economics system in place today. So, it’s a hard-hitting drama or maybe a “searing” slice-of-life documentary? No, it’s a comedy. Stranger still, it’s a fantasy comedy about the “haves” and “have-nots”. It’s about what happens when a rich guy and a “barely scraping by” guy switch lifestyles. And yes, its makers openly acknowledge the 83′ TRADING PLACES, even lifting a “needle drop” as a tribute. So, the fantasy element? It’s not a witch or a djinn or even a fairy godmother (or father). Instead, the “status quo” is upended by an angel. And he’s a bit inept, but (due to the casting) always “awesome” as he delivers a much needed (but is it deserved) “batch” of GOOD FORTUNE.

In the opening moments, we meet that angel watching over the streets of modern-day LA from a rooftop. He’s Gabriel (Keanu Reeves), who may be considered a “second string”, “budget”, or a “minor” angel (his fairly small wings are a hint), who is tasked with alerting those highway menaces who “text while driving”. Gabe pops into their car’s backseat, touches their shoulder, causing them to look up from their “holy” screen. He’s kept busy, but Gabe wants to do more. Perhaps that’s why he takes an interest in one of his “humans”, Arj (Aziz Ansari), an aspiring documentary filmmaker who is mired in the “gig economy” (he’s a “task sergeant”) while trying to get his “big break”. Later, at a meeting of angels, Gabe tells his supervisor Martha (Sandra Oh) that he wants to aid Arj much like adored “lost souls” angel Azrael (Stephen McKinley Henderson). She sternly tells him that he must “stay in his lane”. But Gabe still hovers near Arj as he becomes an assistant (for a one-week trial period) to a wealthy “tech bro” Jeff (Seth Rogan). But when Arj uses a “work charge card” for a surprisingly expensive date with a cute union organizer at a “big box” hardware store, Elena (Keke Palmer), Jeff fires him (despite Arj telling his account that he’ll pay it back). Arj is at his lowest point when is car (also his bedroom) is towed at a Denny’s lot. Then Gabe appears to him and offers him a chance to switch places with Jeff, thinking this will teach him that money isn’t everything. But Arj loves it (Jeff is his poor, hapless aide). Gabe appears to Jeff, and confesses the life “swap”. Things get more convoluted when Martha demote Gabe (no wings, no magic, just human). Can he and Jeff survive on the mean streets long enough to get Arj to go back to his old existence, which will get Gabe his old job back (along with those “heavenly perks”)?

The marketing big selling point is Reeves as Gabriel, though many may think of him as an action movie icon (forever Mr. Wick to some). Here he reminds us of his considerable comedic “chops” as he scores near constant laughs as the dim adult-cherub whose line delivery almost echoes the much adored iconic Ted Logan. But Reeves adds so much appreciated pathos to Gabe as we see his childlike wonder, and eventually annoyance, over the ways of “reg’lar folk” (loves them chicken “nuggies”). Also hitting the “pathos button” hard is Azari has the constantly “dumped-on” Arj who is a good man dealt a very “bad hand” by life. He still retains a sweetness beyond the snark, especially in his interactions with Elena (the talented Ms. Palmer builds on her similarly-themed “under the radar” comic romp from earlier in the year, ONE OF THEM DAYS). Sure, Arj is ecstatic over the “turn of events”, though Ansari conveys Arj’s guilt over a life unearned (but not ready to leave). The very busy Mr. Rogen (with two terrific streaming comedies, “The Studio” and “Platonic”) is strong as the somewhat spoiled app-investor who finds out how his impulsive decisions can really impact other, when he becomes one of them. His arrogance is soon squashed as he confronts the challenges of the “now”. Though we only see her briefly, Oh adds the proper gravitas (and is the perfect comic “straight” to Reeves) as the somber Martha, while Matt Rogers is effective as Arj’s new “big bucks” buddy Peter.


In his big screen directing debut (after the still shelved BEING MORTAL). Ansari directs with a light touch, slipping the jokes “in” quietly and avoiding lots of frenetic bombast. There is some slapstick as Arj almost echoes the often hapless Everyman played in the silents by Keaton and Lloyd. The LA locations are used well, from the ultra swank home of Jeff high above the city, to the street-level squalor that he now roams with the “de-winged” Gabe. The opening act is so strong that it makes the rest of the story a bit sluggish. This may be due to the structure of Asnari’s script (with elements of CITY OF ANGELS, THE FAMILY MAN, IT’S A WONDERFUL LIFE, and the aforementioned TP) which jarringly shifts focus after the switch. We’ve been following Arj so closely that it’s difficult to suddenly being with Jeff and Gabe nearly all through the last hour. This makes its length feel much greater than just under 100 minutes. And while a lot of the plot is a zany romp, it takes a rather preachy detour, making the case for corporate empathy (which will properly be ignored by the 1%), even shifting to Elena’s push for a union at her hardware store. It’s a shame that the final result falls short on the inspired premise and casting (particularly for Reeves). Now, that would certainly be some prime cinematic GOOD FORTUNE.

2.5 Out of 4

GOOD FORTUNE is now playing in theaters everywhere

ONE OF THEM DAYS – Review

So what’s the cinema antidote to the brutal and frozen tundra outside our doors (and let’s not get into the West Coast)? How about a raunchy, rollicking buddy comedy? Hmm, that’s usually Summer popcorn fodder, but that’s not the only “rule” that this new flick is breaking. Rather than two mismatched male comic actors, this focuses on the friendship (though strained at times) of two twenty-something African American women. That’s a nice “flip”, along with the pairing of a screen “vet” and a star from the world of hip hop (and R&B/pop). Now that’s a combo sure to end those winter doldrums, along with its “Cali” backdrop. So that’s the setting, as the principals frantically try to survive a zany twenty-four hours that certainly qualifies as ONE OF THEM DAYS that will put their bond to the test.

It’s the morning of the first day of the month, and the head waitress at one of those family diner-style chain restaurants, Dreux (Keke Palmer) is making sure her staple of longtime “regulars” are enjoying their breakfast. When her shift ends, Dreux waits for a ride from her BFF/roommate, struggling artist/painter Alyssa (SZA) to pick her up and return to their shared apartment. Later that afternoon Dreux will have what could be a life-changing interview at the corporate HQ of the eatery chain, in hopes of snagging a a manager spot at a location. After saying hello to several of the neighbors, more like surrogate “aunties” and “uncles”, they head into their upstairs (above the courtyard) unit, where Alyssa’s hunky but between jobs and homes bae, Keshawn (Joshua David Neal), is snoozing. Suddenly there’s someone pounding on the door. It’s the no-nonsense landlord Uche (Rizi Timane) demanding the $1500 rent (it is the first) from Dreux, otherwise their furnishings will be on the street at 6 PM. When he leaves, Dreux double-checks that Alyssa has already given him their combined rent amount. Sure, she gave the cash to Keshawn to give to Uche. The duo tries to confront him, but Keshawn has split. Through the “gossip grapevine,” they find out about his “side girl”, the aggressive, always angry Berniece (Aziza Scott). At her place Alyssa grills Keshawn about the dough, but he’s already “invested” it. Then Berniece barges in and makes Alyssa and Dreux her target for revenge. Can the desperate duo raise the rent by six? And will Dreux make it to that big interview? And what happens when the BFFs incur the wrath of a brutal crime kingpin named King Lolo (Armin Joseph)? The clock is ticking as they wonder what else can go wrong…

The film soars on the effervescent energy of the two lead actresses. First off, the vet I mentioned is Palmer who builds on the street-smart, slightly manic persona we saw in supporting roles in NOPE and HUSTLERS. Her Dreux is the quick-thinking brain of the duo, always creating a new angle (or line of BS) to try and succeed. And yet she has an endearingly awkward quality as she tries to flirt with a new neighbor in an early scene. Palmer also has a “clown’s grace” as she uses her body language to convey the chaos of this long day. Ms. Palmer is also an excellent scene partner with the confident and sassy SZA as Alyssa, and it’s amazing that this is her first major acting role, though she’s been featured in many music videos. Alyssa is the more spiritual of the two (“Gotta put it out in the universe!”), though SZA delivers some great profanity-filled tirades when not utilizing her zaftig charms (watch her work her “magic” on a food cart vendor). And though her head is often “in the clouds”, SZA displays a gutsy talent for slapstick comedy right from the classics (there’s a lot of Lucy and Ethel in these two “besties”). Neal is the perfect dimbulb but well-endowed “boy toy”, while Scott is a hard-twerking Tazmanian Devil, With a bit of Tex Cobb from RAISING ARIZONA as the “rageaholic” Berniece. There are also some great comic turns by Maude Apatow as the bubbly new tenant Bethany (who is the only white resident, much to Uchi’s delight), Katt Williams as the ironically-named street “prophet” Lucky, and Lil Rel Howery who figures in one of the big cash schemes.

Director Lawrence Lamont keeps the pace rolling along at a brisk clip while hitting all the playful dialogue exchanges of the duo provided by screenwriter Syretta Singleton. Lamont ups the suspense factor by slapping on reminders of the time passed with a bit of foreboding (“Six hours till eviction”) that reminded me of the 80s cult comedy THREE O’CLOCK HIGH, which had a similar sense of urgency. Yet, with all the calamity, Singleton delivers some smart satiric jabs at the “cash advance” industry, along with the warm feeling of community in the apartment complex (the “matriarch” there has set up a “mini 7-11” in her living room). Unfortunately, there is the frequent, for comedies, lull just past the hour mark as the buddy romp cliche has to include a big blow-up between the pals that threatens to split them up for good. Nah, I didn’t buy it because their bond feels impossible to break. And while many may feel that all the subplots get resolved too neatly, almost with a big sparkly bow, by the final moments, the laughs and the chemistry between Palmer and SZA are so strong and engaging, not to mention the great LA locales, that those small missteps are wiped clean by the high-spirited hijinks that fill up ONE OF THEM DAYS.

3 Out of 4

ONE OF THEM DAYS is now playing in theatres everywhere

THE GREATEST HITS – Review

Here comes another time-traveling fantasy, but with a twist. As the kids on Bandstand used to say to Dick Clark, “It’s a gotta’ good beat. You can dance to it”. Maybe you could even do the twist. That’s because the force to send this story back through the decades isn’t a big machine, like the one H.G. Welles conjured or even the beloved DeLorean that Doc Brown modified. Nor is it hypnosis ala’ SOMEWHERE IN TIME, though the brain is involved along with…the ears. You see the gimmick here is music, specifically certain pop tunes that propel a twenty-something woman into the past. And just what is she doing six or seven years ago? Making “sure bet” investments perhaps? No, she’s trying to save a “lost love”, so this is really a romantic fantasy with a soundtrack that’s this couple’s take on those old “compilations” that were touted as THE GREATEST HITS.

Ths tale’s “traveler” is a lovely twenty-something woman named Harriet (Lucy Boynton) who is haunted by her departed love and spends her nights trying to change his fate. We meet her in her dark, but spacious LA apartment as she prepares for her nightly ritual. After a cocktail or three, she looks at her “mission board” that takes up most of the living room wall. It’s filled with index cards, photos, and bits of art denoting specific years (“2017”, “2020”, etc.). Across from it are stacks of boxes filled with vinyl AKA LP records, each box with a different designation (“safe”, “unused”, etc.). Harriet puts a record on her turntable, gets it spinning, sits on her big comfy chair, and passes out as the world spins about her. She awakens at a concert in the past where she met her love Max (David Corenswet). With different songs, we see flashes of their romance, culminating seconds before a fatal car crash that Harriet can’t prevent. She finally returns to the “now” just in time to put in her earplugs and headphones (so that some background music doesn’t “trigger a trip”) and go to her job at the nearby library (lots of quiet there). From work she drops in to see her BFF, aspiring DJ Morris (Austin Crute), who shares her secret without judgment, though he urges her to “move on” while providing her with access to vintage vinyl. Then it’s off to the grief support group run by the sympathetic Dr. Bartlett (Retta). Then one day, Harriet’s routine is broken by a new addition to the group, the friendly but somewhat sad (he just lost both parents) David (Justin H. Min). They two begin to connect, but will the possibility of a new romance stop Harriet’s “music mission”? And just what will he think of her when she has a “spell” and tries to explain her dives through the decades via timeless tunes?

The role of Harriet seems well suited to Boynton as perhaps part of her “pop music trilogy” with roles in SING STREET and BOHEMIAN RHAPSODY. Aside from her camera-ready looks, she conveys a real passion for the melodies, while also being fearful of being blindsided by a tune that will expose her “gift”. Boynton also expresses a yearning for the past and a need to put up a wall to ward off a new connection. That is her developing kinship with Min as the slightly melancholy David who is also clinging to the past, mainly his takeover of the failing antique shop of his parents. He too needs to step away from the legacy, but Min shows us David’s unease that saps the sparks with Harriet. Corenswet doesn’t really break a sweat (sorry) as the effortlessly cool charismatic “dream guy” forever frozen in happier times. It’s a nice supporting role for him before we see him zooming over Metropolis next year. Crute brings some energy and a bit of snark in the thankless now rom-com cliche gay cheerleader pal of the story’s heroine (though it’s hinted that Morris is probably bisexual). He deserves better. And that goes for the warm compelling Retta who does get a nice speech about grief before she tries to guide Harriet into a healing mode.

Writer/director Ned Benson evokes a bit of the spirit of David Boyle’s YESTERDAY mixed with a very generous amount of John Carney for this love letter to LPs and live music, complete with a nice acting cameo from a celebrated singer. And that word seems to sum up the whole enterprise…nice. Harriet, David, and Max are all very nice people, but aside from Harriet’s music mania, they’re all sort of bland, It’s a surprise after the risks Benson took with his Eleanor Rigby trilogy a few years ago. The LA locations are fairly familiar with opulent apartments that feel like the fantasy digs of a sitcom. Everybody seems to be just drifting along with any concern over “paying their dues”, though David is torn about the family biz. I was pleased that they found an engaging clever way to thwart fate and avoid all the timeline “hoo-hah” of flicks like FREQUENCY (doesn’t hold up to logic, though it’s lotsa’ fun). All the principals are ultra-cool to the point that they never come close to the boiling point of passion, aside from their zeal to grab a rare disc. In the cinema subgenre of time travel fantasies, this trifle wouldn’t have a spot in THE GREATEST HITS.

2 Out of 4

THE GREATEST HITS streams exclusively on Hulu beginning on Friday, April 12, 2024

WHITE MEN CAN’T JUMP (2023) – Review

So, do you have an appetite for sports films after the entertaining true life-inspired AIR from a few weeks ago (which, BTW, is now streaming on Amazon Prime Video)? To be more specific do you have, as Cheech and Chong most famously proclaimed, a “basketball jones”? Oh, here’s the movie for you! Now unlike the earlier film, this isn’t set in the 1980s, though it has a connection to a previous decade. And it’s not “inspired by true events”. This is more of a rollicking “buddy comedy” and is a remake of a movie from over 30 years ago (the decade being the 1990s). Perhaps it will once and for all either prove this true or false per the still provocative title, WHITE MEN CAN’T JUMP.


Speaking of time, this version starts with a flashback going back only six or seven years. It’s a telling TV interview on a cable sports show profiling high school basketball phenom Kamal (Sinqua Walls), though the interview is dominated by his boasting blustering Papa Benji (Lance Reddick). We then are taken to a big championship game soon after, as Kamal has an off day leading to…an “incident”. Jump forward to now as Kamal works as a delivery driver and shares a small apartment with his mate Imani (Teyana Taylor) and their adorable five-year-old son Drew. She’s tired of styling hair in their home and is saving toward space for her own salon. Towards that, Kamal hangs out with pals Renzo (Myles Bullock) and Speedy (Vince Staples) at the basketball courts of the LA area to “hustle some cash” via “pick-up games”. But this day, an unlikely hoopster hustles them, the goofy “Whole Foods whiteboy”, Jeremy (Jack Harlow). He’s determined to work past the surgery in both (!) knees and try out for the minor leagues. Of course, he keeps that a secret from his live-in girlfriend, Tatiana (Laura Harrier), who wants to be a professional dance director. Jeremy tells her that he’s a personal trainer, and his goal is to move them out of his childhood home (he was literally born there). When he and Kamal clash again at a fitness center, an idea occurs. There’s a big hoops contest in a few weeks with a big cash prize (5 figures), but it’s got an entrance fee of over a grand. They’ll take their “act” on the “road” and accumulate the cash from “ballers” all around the SoCal area. But can these very different personalities mesh together and move past their personal demons to grab the life-changing jackpot?

Though the duo at the heart of the story aren’t major screen veterans they have an easy-going chemistry and a real rapport. Walls as Kamal may have the more compelling backstory, which he conveys just below the surface of his snarling swagger. And in his haunted eyes, Walls conveys the regrets and frustrations of a man whose future should have been “gold”. And some of that is in Harlow’s Jeremy, who keeps plugging along even as his body fights his efforts. Mainly known for his music, Harlow is a terrific screen presence with a great sense of comic timing aided by a wonky, off-kilter line delivery. Taylor is tough and tender as Imani, who also has her dreams but is angered by her role as the “planner” of her family’s destiny. Much as with Harrier, who has a softer side, until she “reads the riot act” to Jeremy when he’s too wrapped up in his goals while dismissing hers. The supporting comedy players are Bullock, who also has a quick quip ready while constantly eating, and Staples as the picked-upon (for his romantic choices) Speedy. Ah, but the real gem here is one of the last big screen performances by the much-missed Lance Reddick who turns Kamal’s blowhard daddy into a strong guiding force and later a tragic inspiration for his son. Few actors could give us such a wide character arc as this gifted man.

In the director’s chair is music video ver Calmatic in her second feature film after recently rebooting another comedy classic from the 90s, HOUSE PARTY. He brings lots of flash and rapid energy to the game sequences, while never ignoring the big dramatic beats in the script from Kenya Barris, Doug Hall, and the original’s scribe, Ron Shelton. The competitions are intense, and so are the passions between the two men and their partners. Some would zero in on the goofball antics of Jeremy and his “fish out of water” persona, but we see how the friendship with Kamal is healing for both of them, especially as Kamal learns to quiet his failure-fueled nightmares. Sure, we didn’t need a “redo” of the Snipes/Harrelson crowd-pleaser, but this “take” has some new things to say and its own retort to that put-down WHITE MEN CAN”T JUMP, because with the right pal, you can soar.


3 out of 4

WHITE MEN CAN’T JUMP streams exclusively on Hulu beginning on Friday, May 19, 2023

AMBULANCE – Review

So, from this film’s title, you’re thinking it’s a “fly on the wall” documentary with the filmmakers doing a “ride-along” with EMTs on a typical day, full of drama and danger, right? Or maybe it’s a docudrama following a young emergency worker going from their training and studies right up to the first week of their hospital assignment (with maybe a romance with another “lifesaver”). Well, I can give a big “nope” to both presumptions. Sure, the title vehicle is the main focus of this film, but it’s the kind of loud, noisy, frenetic action thriller that we usually get sometime in the Summer. And was a multiplex staple of the 90s. Well just coincidentally (well, maybe not) this flick is directed by the “unofficial kingpin” of those blockbusters from that era (hey, if Adrian Lynne can come back with a sexy murder mystery, then…). So clear the aisle in the theatre and make room for a very fast AMBULANCE.


But it doesn’t all begin with that “hospital-on-wheels”. After a nostalgic daydream-like sequence of two young boys at playtime, the story shifts to the present as former soldier Will Sharp (Yahya Abdul Mateen II) is in “phone hell” trying to get medical coverage for his ailing wife. He needs that aid since he’s “between jobs”. A frustrated Will tells his wife that he’s going to the job center after she tells him that brother Danny has called (followed by her plea to not return those calls). Meanwhile, EMT vet Cam Thompson (Eiza Gonzalez) responds to a gruesome car accident involving a pre-teen girl as her rookie driver tries not to faint. After a trip back to the hospital she tells him that her concerns end after those rescued leave the vehicle. Cut to Will who, naturally, shows up at the “car storage center’ run by brother Danny (Jake Gyllenhaal). Will begs for a loan to cover the quarter-million procedure to save his wife. Ah, but Danny has a way for him to earn that…and a whole lot more. As if his “auto service” wasn’t shady enough, turns out that he’s put together a crew to grab some in-transit cash that’s being held temporarily at a downtown LA bank. Oh, that “grab” will net them 32 million bucks. Will agrees and is riding with the gang minutes later. Of course, things go sideways immediately. Will accidentally shoots a young cop, the getaway vehicle is destroyed, and the two brothers are fleeing on foot. Wouldn’t you know that Cam and her driver pick up the wounded cop, and are then hijacked by Will and Danny (after knocking out the driver). Thus begins a harrowing chase through the town via highways and side streets as the police try to stop them without endangering their ‘fallen brother”. A grizzled police captain (Garrett Dillahunt) must work with a preppy FBI agent (Keir O’Donnell) who has a personal connection to Danny. Meanwhile, he’s hoping to get some help from a pal of his late gangster father, a vicious criminal kingpin named Papi (A Martinez). With all the ensuing carnage and destruction can Cam keep her patient alive while also struggling to survive the desperate duo?

Oh, Mr. Gyllenhaal, you should be more selective than this. To be fair he does imbue Danny with lots of energy, swinging from motor-mouthed snarky goofball to hair-trigger lunatic. But really, didn’t you learn anything from PRINCE OF PERSIA: SANDS OF TIME? Sure he’s believable as a whipsmart hustler, though his frenetic delivery just wears out its welcome. Mateen II is the calmer, more reflective counterpart, sort of “good thief/bad thief”, but he’s either tortured by guilt or straining to reign in Danny while matching his level of histrionics. Gonzalez breaks out of the “eye candy” mold as the often cynical healer who knows that she’s “in over her head’ trying to keep her “charge” alive, appealing to Wil’s “better angels”, and defusing Danny’s white-hot temper. She’s the anchor for the story’s many ludicrous missteps. An equally excellent supporting player, Dillahunt, has little to do but grumble and squint as the grizzled “hardcase-in-charge”. who must trade verbal barbs with the arrogant “fed” played by O’Donnell as a prickly alarmist whose pleas fall on deaf ears (or maybe it’s just the nonstop noise). Martinez attempts to inject some humanity into the sinister gang boss, but he’s reduced to a final act subplot.

You know you’re in trouble when the film’s director “name-checks” two of his previous films in the first 20 minutes. And that’s just what the aforementioned action flick impresario Michael Bay does. After finishing up five giant robot flicks, he’s back to trash loads of vehicles (makes THE BLUES BROTHERS look restrained) that can’t transform and speak. Well, their circuits might have overheated trying to process the clunky dialogue in the screenplay by Chris Fedak which adapts a 2005 Danish flick (no doubt much was lost in translation). The overworked Bay directorial touches are in overdrive here, almost to the point of parody. The big first reunion between the “brother’ has the camera in constant motion, spinning around the duo (pass the Dramamine). A few moments later, as the caper is put into motion, the millisecond editing begins its unending assault (I guess a shot can’t last more than two seconds). And now a new “toy” gets overused: the camera drone. Establishing shots must “loop the loop” before landing on the characters (more like cliches, really). The visual gymnastics are only briefly paused for a stilted scene in a therapist’s office involving a gay couple (now that’s some edgy comedy). It’s ham-fisted, heavy-handed, and just lazy (did I mention the infrared “body-heat” shots). The most jarring example may be from its final moments as we’re treated to another hazy silent “memory” of the brothers as boys playing “cowboy. Now there’s supposed to be, say 33 or 35, right? So were kids playing HIGH NOON in 1995, complete with a Sheriff costume that looks to be from the 1964 Sears catalog? That just adds to the irritation as this excruciating nonsense does its damage to our senses (think of a 137-minute pummeling to the head with a ball-peen hammer). After this endurance test (or torture) you might just wish your drive home from the multiplex was an AMBULANCE. Serenity…stat!!

1/2 Out of 4

AMBULANCE is now playing in theatres

ANNETTE – Review

This weekend sees the release of a “follow-up” film to a delightful documentary I had the pleasure of reviewing about two months ago. Yes, you read that right. This can be called a “follow-up” rather than a sequel or even a “spin-off”. The previous feature doc in question was the adoring film “fan letter” from Edgar Wright all about the fifty-year-plus musical partnership of the Mael brothers, Ron and Russell, the duo behind the rock and roll band known as Sparks (that doc’s title was the fittingly-named THE SPARKS BROTHERS). The early part of that film told of the brothers’ love of film, as they delved into the “New Wave” classics of the 60s while in college, and made some “cinema” themselves. After their music success, they hoped to branch into the movies with proposed collaborations with (most famously) Jacques Tati and Tim Burton. To the Maels’ consternation, none of them materialized, and aside from their many music videos that were in near-constant rotation on MTV (yes, they ran music videos), their only feature film work was as themselves playing at an amusement park in the 70s Sensurround “potboiler” ROLLERCOASTER. But there was hope as the doc’s last minutes told of a movie musical that was going forward (they did both the songs and script). And here it is finally. That long-in-the-works Sparks-created flick is simply called ANNETTE.

Fittingly one of the first images we see is Ron and Russell in a recording studio as they lead the film’s opening song, which has the main characters and several minor ones singing and walking down the neon-lit nighttime streets of LA. They soon split up as the story unfolds. And, at its beginning, it’s a love story between two unlikely loves at the near-opposite ends of the entertainment industry. Ann (Marion Cotillard) is a celebrated operatic soprano, selling out orchestra halls and classical music venues all over the planet. Henry (Adam Driver) is a performance artist/stand-up comic, whose one-man show “The Ape of God” has a fervent following that packs the theatres nearly every night. And after he finishes his angry, often sick and twisted, rants he hops on his motorcycle and scoops up Ann, whisking her away from her “stage door” admirers, much to the delight of the “paparazzi and theTV show biz reports. Their passion leads to a secret wedding, and later to a daughter, Annette. But then things change, professionally at first. As Ann’s star continues to rise, Henry’s career begins a fast descent, as his fans reject his darker, more intimate screeds. A restorative vacation at sea ends in tragedy, which somehow inspires an unexpected, miraculous change in Annette. Could his daughter somehow inspire a new chapter in Henry’s life, or will Ann’s former accompanist, now an orchestra conductor (Simon Helberg) derail Henry’s plans for himself and his “uniquely gifted” baby girl?

Driver dominates this musical drama experiment as the glowering, mostly anti-social, angry all-the-time Henry, only managing a semi-smile when he’s around Ann or his infant. Luckily he possesses a strong singing voice, which helps in advancing the tale somewhat. And though he’s clearily a parody of the stadium-filling 1990s misogynistic mega-stars, his Henry never really commands the stage despite his turning his microphone into a nose-smashing bolo, Cotillard is a more serene, calming presence as Ana, though her singing voice doesn’t quite fill the cavernous venues we see her work, and often a considerable distance from the audience. And while she conveys well Ann’s explosion of erotic ecstasy, we can’t quite buy them as a domestic couple, as Henry looms over Ann at every other moment. Helberg lightens things up a bit as the never-named “conductor” (which Henry calls him in a song as “my conductor friend”), especially in his big solo number. As he details his unfulfilled passion for Ann, he tells us “Excuse me for a moment” as he whips a full orchestra (and a chorus) into a rousing crescendo.

Oh my, where to start. Yes, that opening group number is catchy, but the rest of the songs just evaporate as they drift past our ears. Now there are stretches of spoken dialogue, but the singing drops in at the oddest times, almost to the point of camp. Henry can warble a melody as he…well…performs his “husbandly duties” in one of many achingly awkward sex scenes. Ah, but Ann gets equal time as she tosses off a tune while smoking and “takin’ care a’ bizness'” while on the “throne”. Oh, about the smoking…yecch! Driver’s Henry puffs away while shadow-boxing and eating a banana (!) in prep for his concerts (he really chain-smokes through the whole darn thing). And when he does make his stage entrance he sputters and hacks as he complains about the cloud of stage smoke (ala solo singers) he walks through. And who knows why he tosses off the chorus of Tom Lehrer’s “National Brotherhood Week” (now there’s a classic song), much to the delight of his lemming-like fans, who along with a quartet of lady singers (a comic has backup singers) form a massive “Greek chorus”. This is one of many bizarre choices of director Leos Carax. A scene at sea has a rear projection backdrop that would be more at home in a 50s “B” picture. But I’m skirting around the “elephant in the room”, namely the title character of Annette. Though she’s hidden in the trailer, other media news outlets have let the “secret” out. It is a puppet, or to be more precise a marionette, one that looks to have hopped (or skittishly glided) out of an early 70s Gerry Anderson kids sci-fi show. When I came to the realization, I was stunned (I can imagine movie audiences with their mouths agape similar to the reaction to “Springtime for Hitler” in the 1967 THE PRODUCERS). A friend explained to me how a doll or puppet is a staple of stage operas. Well, this is a movie and it couldn’t be more distracting. Whew, glad I vented. But this is representative of the stilted script from the Maels brothers that combines elements of so many basic cable TV “marriage misery” films with, not joking here, the theme of the Chuck Jones Looney Tunes classic “One Froggy Evening” (sorry Mr. Jones and Michigan J.) This is pretentious “artsy-schmartzy” drek that aspires to be a scathing commentary on the times. I just hope that theatre owners make sure that their now spartan staff have plenty of “return” screening passes for patrons who can’t make it through all 140 excruciating minutes (it would be barely tolerable as an extended music video or an experimental short), I think the “Sparks brothers’ are talented music-makers, but…maybe Tati and Burton really wisely listened to their instincts. At least I can say that the scenes of LA at night, as Henry races down the Sunset Strip, are well done. But as for the drivel around those scenes, well, somebody please toss a net over ANNETTE (let me at least delight in a pun)! Hey Geppetto, come get yer’ kid!

One-Half Out of 4

ANNETTE is now playing in select theatres

THE HIGH NOTE – Review

So this weekend brings another new film that’s set in the world of “things we could do three months ago”. Last week it was world travel with Steve and Rob in THE TRIP TO GREECE along with Kristin and Sharon singing in a choral group in MILITARY WIVES. This week the “now verboten” activity in concert-going. Well, that’s really just a part of the flick’s story, but it’s a big part. There are several scenes with one of the characters filling big stadiums and amphitheaters, usually for “one-night-only” shows, and often not knowing the locale (“Good evening…um..where are we?”). Now the story’s main focus is not the chart-bustin’, seat-fillin’ superstar, but their lowly assistant, the “errand-runner” actually. We saw a bit of that in the recent A STAR IS BORN remake, to a lesser degree in the indie drama THE ASSISTANT, and as fodder for TV comedies like “Entourage” and “30 Rock”. And there was LATE NIGHT from last year, which, oddly enough, was from the same director as this flick. So, in this current effort, does she hit THE HIGH NOTE?

Much like the central character, this movie hits the ground running as we observe “star aide” Maggie (Dakota Johnson) embarking on several “morning missions” for her boss, pop diva Grace Davis (Tracee Ellis Ross). “Pick up this” “Grab that” until her now packed to the roof “seen better days” car arrives at the Davis mansion somewhere in Hollywood. In addition to the “pop diva”, Maggie must also deal with long-time, usually surly (oh, can he give the “stink-eye”) talent manager Jack (Ice Cube) and the “dim bulb” housekeeping supervisor Gail (June Diane Raphael), who seems to think that she’s a font of wisdom. Grace is at somewhat of a career “crossroad”. Should she keep playing big arenas around the globe, doing “one-nighters” and belting out the old familiar hits, or should she go with Jack’s idea to hook up with a Vegas casino to be an “artist in residence” and croon the same tunes in the same showroom for several months (maybe a year or two). But Maggie hopes to offer another alternate. In her precious “downtime” she’s been using new software and apps to give her standards a bold “new” sound without “drowning out” her still sharp vocals. Soon she’s got another “side gig” when she “meets cute” the owner of a produce chain, David Cliff (Kelvin Harrison Jr.) who is also quite the pop balladeer. Maybe Maggie can produce some songs with him, if she can keep things “professional” (a big challenge with the charming Cliff). But will this interfere with her work with Grace? Could she make “beautiful music” with both of them?

In a big break from the FIFTY SHADES trilogy, Johnson brings a low-key charm to her “everywoman” role as the often unappreciated Maggie. Her aide role is close to the classic “plate-spinner” act as she tries to keep track of Grace’s itinerary while trying to predict her abrupt mood changes while brushing aside those who would curry favor or exploit her. Johnson gives us the “vibe” that Maggie is forming a “hard shell”, putting on armor, while fretting over losing her own sense of empathy for others. Unfortunately her character is not as compelling or complex as Grace, played with a dramatic flourish by the commanding Ellis-Ross. Sure the comparisons to her famous mother Diana are evident, but Ellis-Ross resists the notion of turning her into a petulant, campy primadonna. The film only comes alive when she switches personas on a dime, from demanding dictator (at a party Maggie spits out a drink when caught in Grace’s icy stare), to gossipy gal pal, to the uncertain artiste, showing her vulnerability as she regrets past choices and faces an uncertain future, being a minority singer of a “certain age”. She’s paired with a great sparring partner, as Cube struts and growls as he presents his talent, but makes sure to get in every photo or video. At times they behave like an endearing but often bickering old married couple. Though he grumbles we know that Jack would do anything for his Grace. Like Johnson, Harrison tackles another real “change of pace” role, coming off his superb dramatic 2019 “one-two-punch” of LUCE and WAVES. His Davis is pure silky-smooth laid-back charm as he flits into Maggie’s orbit. And when he gets to the mike stand, she (and many others) will almost swoon at his charisma wrapped in some powerful “pipes”. As for the rest of the comic support team, Raphael is underutilized as the daft Gail, while Zoe Chao is a very funny encouraging roomie to Maggie. On the male side, veteran Bill Pullman strides in for the final act, while real-life tech music guru Diplo appears to be having a great time skewering his hipster image.

The aforementioned director, Nisha Ganatra, ably conveys the twirling hectic life of a professional “go-fer” in the opening scenes giving us a sparkling “city of dreams” in the often familiar California backdrops (plus Catalina Island looks idyllic in the final moments). And when we’re following in the bedazzling footsteps of Grace, the glow of superstardom is mesmerizing. Unfortunately, the script, from newcomer Flora Greeson, cuts away to the rather limp romantic subplot, along with lots of “sound mix” collages. The Maggie and David courtship fizzles (some chemistry clashes), as we wait…and wait… to get back to Grace and (gone for most of the middle hour) Jack. In the last half, much of the comedy lands with a clunk (and there are some very funny people on screen). And then, in the last few minutes, a twist/curve is sprung on the audience that’s both ludicrous (not in a comic sense) and frustrating, with characters making “off-kilter’ decisions just in order to provide some dramatic conflict. And despite tossing off bits of pop music trivia, and kissing pics of superstars that adorn the hallways of Capitol Records, Maggie never seems plausible as a musical mastermind. Ellis-Ross, on the other hand, feels like the “real deal” although we’re cheated on any full vocals until the near fade-out. Oh, her wardrobe from Jenny Eagan is worthy of a pop queen. Ultimately though, THE HIGH NOTE is one off-key backstage tune. And here comes the hook…

2 Out of 4

THE HIGH NOTE opens in select theatres and drive-ins. It is also available as a Video On Demand on most cable and satellite systems and is streaming on demand via most apps and platforms

STUBER – Review

Here’s good news for those needing a brief break from the superhero epics, franchise flicks, and assorted reboots. How about a good ole’ cop buddy comedy? I know we had variations of that staple in this summer’s so-so sequels MEN IN BLACK: INTERNATIONAL (basically two mismatched space cops) and SHAFT (not buddies, but family, one P.I., one C.I.A.). Luckily this new entry has a bit of a twist since it really focuses on the laughs (much like THE HEAT), and one of the guys isn’t a cop (shades of MIDNIGHT RUN with the ex-cop bounty hunter and fleeing mob accountant). The civilian here was the star of the best comedy of 2017 (he nabbed an Oscar for co-writing it), and the “man” is a part of one of those big comics-inspired franchises (we just saw him in action ten weeks ago). And just what is up with the one-word title? Well, that’s the source of some chuckles (and a chunk of the plot) in STUBER.

This starts with a flashback several years ago to the “cop” part of the story. We meet hulking bespectacled detective Vic Manning (Dave Bautista) and his partner (one of his co-stars from that “super series”) as they try to arrest the vicious, brutal drug kingpin/assassin Oka (Iko Uwais). Of course the bust goes bad (Vic’s darned eyeglasses) and Oka vanishes into the crowd exiting the LA Staples Center. Cut to today, and we’re at the big box sporting goods store where Stu (Kumail Nanjiani) does his 9 to 5 gig. He’s just signed the papers with longtime “galpal” Becca (Betty Gilpin) to open a “spin” exercise center. To help pay for this business venture, Stu uses his leased electric car as an Uber driver after clocking out (this is why his obnoxious retail boss calls him “Stuber”). Meanwhile, Vic is still on the force and still trying to track down Oka. Unfortunately, his boss, Captain McHenry (Mira Sorvino) informs him that the “feds” are taking over the stalled case. This on the day he’s to get laser eye surgery. But Vic gets a visit from his artist daughter Nicole (Natalie Morales) reminding him of her gallery reception that night. How can he get there after getting his peepers zapped? She takes his phone and registers him for Uber. Later, after the surgery, as he’s resting in his dark apartment, wearing his shades, Vic gets a call that may lead him to Oka. So is he gonna’ let a little thing like temporary blindness get in his way? And who’s his Uber driver? Well, it’s gotta’ be Stu? But he wants none of that track down stuff since Becca drunk called him saying she broke up with her cheating NBA star beau. She just may want more than a shoulder to cry on. But somehow these very diverse strangers bond over a deadly night in the mean streets of Los Angeles. So, just what will Stu do to get a treasured “5-star” driver review?

Nanjiani proves that his SICK success was no mere fluke by being a solid comedy anchor for this satiric studio action/thriller. Should be no surprise since his vocal performance in the latest MIB a few weeks ago was one of that dreary flick’s few bright spots. His Stu is an endearing “fussbudget” in the same vein as Felix Unger, at least when it comes to his auto devotion, making his pleading cries of “It’s a lease!” a most hysterical “call back” bit. And somehow Stu is an also another screen “everyman”, especially in his romantic frustrations concerning his “torch” for Becca. She opened the locked door on her “friend zone” cage one glorious night, and Stu thinks that one more “booty call” will release him forever. It seems his one big hope after thinking that he’s got to forget career passions in order to survive in LA. All that, plus Nanjiani’s dry line delivery and brutal verbal stabs make Stu a memorable but unique action hero. A more standard hero is the surly, brawny Bautista, who gets a great chance to stretch his dramatic “chops” and deliver caustic put-downs in a style similar to the beloves galactic brute Drax. Vic’s haunted by his past tragedy and is singled-minded in his own quest for justice. But he’s also eager to repair the crumbling relationship with his grown daughter (though her talents are perplexing). And his “slow burn” glaring looks at Stu always deliver. Morales as Nicole is a most engaging screen partner to Bautista, always standing up and chipping away at his stubborn “old school” behavior. It’s great to see Oscar-winner Sorvino back on the big screen, though her taciturn boss with a twist, is one that seems too familiar. Finally, Uwais is a most compelling martial arts human cyclone as the relentless Oka who is a convincing threat to Bautista’s “wall of muscle”. After the RAID flicks, and MILE 22, this dazzling film fighter deserves his own studio franchise.

Director Michael Dowse deftly handles the laughs (he’s a TV and film comedy vet) along with the bone-crunching action set pieces. The elements are fairly evenly balanced in the script by Tripper Clancy, which gets in some inspired jokes at pop culture (when a thug won’t talk, Stu makes him “sing” by grabbing his phone and tweeting his love for a certain hunky actor). It all clocks in at a fairly lean 93 minutes with little footage wasted, as they make use of some interesting LA locales (zipping from a MAGIC MIKE-style club to a hot sauce factory). The only thing that may take some viewers away from the clever comedy bits is its extreme violence. That “R” rating is truly earned in the opening moments when high caliber blasts make heads explode like ripe juicy melons (shades of Gerard Butler’s FALLEN flicks). Plus the sex jokes are plenty raw, particularly in that earlier mentioned club. But if you’re a fan of the lead actors, there’s plenty to enjoy in the inspired pairing of Nanjiani and Bautista in the bullet-riddled STUBER. And since we don’t go to five, I’ll give this ride and the driver a solid….

3 out of 4 Stars

DESTROYER – Review

 

Nicole Kidman stars as Erin Bell in Karyn Kusama’s DESTROYER, an Annapurna Pictures release. Photo credit: Sabrina Lantos / Annapurna. Courtesy of Annapurna Pictures

This is not how we are used to seeing Nicole Kidman. Kidman plays snarling, violent, even grizzled Los Angeles police detective bent on vengeance, in the gritty crime thriller DESTROYER.

Kidman also plays a younger, more innocent rookie cop version of the character, Erin Bell, in flashback. As the younger version, Kidman looks like herself, as we are used to seeing her, but as the older, hardened cop, she is nearly unrecognizable.

That Kidman’s character is damaged goods, and was once a far different person, as made clear by the reaction of her police co-workers when she appears unexpectedly at the crime scene that opens the film. A body with bullet holes is found in a little-visited area near the Los Angeles river, sparking a murder investigation, but a tattoo on the body hints at a connection to another long-ago crime in Detective Erin Bell’s past.

The script, written by Phil Hay and Matt Manfredi, film toggles back and forth between the investigation linked to that murder scene, and flashbacks to a younger version of that character (a prettier Kidman), who as a rookie participated in an undercover investigation that went horribly wrong. Those events basically created the snarling animal we meet in that first scene, and who haunts the film throughout, as she hunts down the criminal leader Silas (Toby Kebbell) involved in that life-changing earlier investigation.

Kidman is not the only actor whose appearance is unconventional, or whose character’s life was transformed by the events that twisted Erin Bell, in this noir-ish drama.

The film never makes clear who or what is the “destroyer” in the title, but it may be the main character played by Kidman. When the crime figure who masterminded the robbery that so impacted the detective’s life re-emerges, Bell sets out to finish old business, tracking down Silas’ old gang members and collaborators, stepping over the line as the quest for vengeance unhinges her.

Revenge is a theme but so being held accountable for one’s actions, as Erin is not free of guilt herself. Kidman’s work is supported by a good cast. Sebastian Stan plays Chris, Erin Bell’s partner in the earlier undercover operation, who we see frequently in the flashbacks. Tatiana Maslany plays Silas’ lover Petra, while Jade Pettyjohn plays Erin’s teen-aged daughter Shelby. Bradley Whitford plays the money launderer Dennis DiFranco

This crime thriller is very much a character-driven story. Director Karyn Kusama takes a neutral, non-judgmental approach to this often-unlikable, violent character. She is a puzzle whose pieces are gradually assembled for us throughout the drama.

This is a film that is likely to stay with you, to haunt you, after its end, particularly the unforgettable character at its center. But this is a film that requires patience. You have to stay with it to the end to fully appreciate what it is doing. There is a bit of misdirection in the film and audiences will think they know what kind of story they are watching only to discover it is something else. It takes us down several rabbit holes, but clears up the questions it raises in its powerful conclusion.

Audiences are more accustomed to seeing male actors in this kind of gritty, unlikable anti-hero role. Of course, It is not the first time a beautiful actress has gone through this kind of physical transformation – we have certainly seen Charlize Theron do this more than once – but this is the first time we have seen Kidman tackle this kind of risky role. Not only makeup transforms Kidman’s appearance, as the actress bravely embraces this challenging character. Kidman adopts a squinting look, a stooped posture and a rolling walk that suggests a cowboy, along with a gravelly voice in a menacing monotone.

The film is visually striking, and the fine cinematography by Julie Kirkwood is one of its strengths. The action often takes place at the margins of the city, where broken pavement or overlooked spaces under bridges allow the natural environment to unexpectedly poke through.

The reference to Westerns are not just in Kidman’s portrayal. In fact, although the film is set in contemporary LA., subtle visual references to classic Westerns abound. The out-of-the-way locations are seedy, but they are also wind-swept and sunlight with a harsh light that recalls the dry, high plains of the West. While the drama has the shadows of film noir, occasional stabs of bright light that pierce that darkness, reflecting the influence of Michael Mann and ’70s films like THE FRENCH CONNECTION. But those moments of bright light are often through pale grasses growing in the margins. The film was shot entirely in and around Los Angeles, which gives it a distinct realism. The faded, spiky grasses suggest Western prairies, as if the natural Western landscape that L. A, was built on is struggling to breakthrough and reclaim the space.

DESTROYER is worth seeing for Nicole Kidman’s remarkable performance alone. While it is not a flawless film, it is worth the effort and patience, and that patience is well rewarded by the film’s devastating conclusion. DESTROYER opens Friday, Jan. 18, at Landmark’s Tivoli Theater and Plaza Frontenac Cinema.

RATING: 4 out of 5 stars