Searchlight Pictures has released a first trailer for NEXT GOAL WINS.
Directed by Academy Award Winner Taika Waititi (Jojo Rabbit, Thor: Ragnarok), NEXT GOAL WINS follows the American Samoa soccer team, infamous for their brutal 31-0 FIFA loss in 2001. With the World Cup Qualifiers approaching, the team hires down-on-his-luck, maverick coach Thomas Rongen (Michael Fassbender) hoping he will turn the world’s worst soccer team around in this heartfelt underdog comedy.
The cast includes Michael Fassbender, Elisabeth Moss, Oscar Kightley, Uli Latukefu, Rachel House, Kaimana, David Fane, Beulah Koale, Chris Alosio, Rhys Darby, Taika Waititi and Will Arnett.
The film’s score is from composer Michael Giacchino.
NEXT GOAL WINS opens only in theaters November 17th.
With the new year less than a couple of weeks away, Hollywood has made another flick that may be labeled the dreaded (to some film fans) “R” word. Not the MPAA rating, but rather a “reboot”, or has the marketers love to say a “re-imagining” (perhaps it’s from the same “brain trust” that gave us prequel). The story’s source is a beloved 21 year-old kids fantasy/action flick that was an adaptation of a beloved 13 year-old (now 32) children’s book from Chris Van Allsburg (he also gave us “The Polar Express”, which was also made into a big movie). It soon spawned an animated Saturday morning series, but no real sequel (Allsburg’s “Zathura”explores similar themes and was brought to the big screen by Jon Favreau twelve years ago). And despite what the studio says, there are sequel elements in this new take. That 95 version concerned a long-missing man returning to the real world after being trapped in a board game (and the zany jungle creatures who are also released and run amok through a small town). But, as one of this film’s characters says early on, “Who plays board games?”. Hence the major (here’s another “R” word) “re-tooling” that’s at the heart of JUMANJI: WELCOME TO THE JUNGLE.
That bit of dialogue occurs in the film’s flashback prologue set all the way back in 1996 (ah nostalgia!) as we see that original board game’s fate. Its unlucky new owner takes it back to his house where it somehow morphs into a gaming cartridge (of the old Nintendo or Atari variety). Of course he’s gotta’ pop it into his system….and we’re in present day. Frail, nerdy Spencer (Alex Wolff) gets a call from former BFF now football hotshot “Fridge” (Ser’Darius Blain) to meet him before the start of the high school day in front of the local rundown “spooky house” (could that be the same…). Spencer gives Fridge the history term paper that was just printed up (a bit more than the tutoring Fridge told his mom about). Needless to say, the two guys get busted and the principal sentences them to detention that day (Fridge is out of the next big game too). That same day the vain arrogant Bethany (Madison Iseman) earns detention for in class cell phone use, as does the introvert Martha (Morgan Turner) for refusing to participate in gym class. Ah, but the punishment is not after school study hall. The principal tasks them with clearing out an old storage room (taking staples out of old magazines for recycling…okay). Amazingly amongst the clutter is that old home gaming system with the Jumanji cartridge. And there’s an old A/V monitor …so let’s slack off and play this old school game. At the game’s start they each choose an avatar character before things get freaky. One by one they are transported out of the room and into the game’s setting, the lush mythical jungle land of Jumanji. And they become the game’s characters. Spence is the dashing, muscular Dr. Smolder Bravestone (Dwayne Johnson). Tall, buff Fridge is now Spence’s “weapons valet” and diminutive “side-kick” “Moose” (or is it “Mouse”) Finbar (Kevin Hart). The shy Martha is now the gorgeous ginger butt-kicker Ruby Roundhouse (Karen Gillan). And, most startling, blonde bimbo Bethany is now a chunky middle-aged, bespectacled “dude”, Professor Shelly Oberon (Jack Black).
But why are they here? Another game character, Nigel (Rhys Darby), arrives with transport and back story. A power mad explorer named Van Pelt (Bobby Cannavale) has stolen the glowing green gem that was the eye of the jaguar god statue that looms over the land. It possessed him, giving Van Pelt control over all the jungle’s animals (and an endless supply of chopper-riding thugs, it would seem). Of course this puts the land’s eco-system in jeopardy (constant storms and quakes). Luckily Nigel grabbed the gem and barely escaped. He then hands over the gem and the map showing the location of the big statue. The team must return the “eye” in order to restore balance to the land. As they embark on their quest, the foursome realize that the black stripes on their arms indicate “game life” and wonder whether they will die in the real world if all their game lives are used up. Keeping a few steps ahead of Van Pelt’s goons, they enlist the aid of the mysterious Alex (Nick Jonas), who has first-hand knowledge of the game’s secrets. But is his help enough to enable the quintet to finish the game, restore Jumanji, and return to their former lives?
The biggest box office draw this time around is the artist formerly known as “The Rock’. Despite looking like he’s in training for the rumored Doc Savage feature film (just needed the shirt in tatters and a gold skull-cap), Johnson has a bit of fun mocking his action star persona by conveying his inner nerd (the real Spencer), there’s his unabashed joy with his physical prowess (actually exclaiming comic book sound effects “pow”, “bam” as he takes out the baddies) and painful teenage awkwardness as he “goes in” for his first kiss (really bad aim). Hart is his typical manic “motor-mouth” , but more frustrated because of the “downgrade” from tough “jock” Fridge. Gillan, perhaps best known in the movies as the seething, wicked Nebula in the GUARDIANS OF THE GALAXY flicks, demonstrates that she can land a joke as well as a bone-cracking punch. Like Johnson, she’s astounded by her physicality and her appearance, but needs help exploiting it (she’s got to distract some thugs). Black is an unlikely teacher, but then he really seems to be having a blast as the teen queen “B” trapped in an “old” guy’s body. In what could’ve been just a “one joke” role, Black is able to make us believe the ridiculous premise and never resorts to cheap gags. This is especially true as he shares the secrets of entrancing the boys. She sets her sights on the amiable Jonas, who expertly exploits his pop star charisma. Darby is very funny as an Aussie cliché who ‘s there to jump-start the plot and later, wraps it all up. Cannavale has little to do other than grimace, scream at his toadies, and allow lotsa’ creepy crawlers slither in and out of his face. As for the “real” kids, Wolff really nails the sweaty desperation of adolescence while Iseman is exasperating as the selfie-obssessed circa 2017 “valley girl”.
Director Jake Kasdan does his best to keep things moving, but despite the talented cast the film just slogs along. At just under two hours it tends to become repetitious, lurching from one big trap or altercation to the next. And with the promise of more than one “life”, there’s not a lot at stake till that last black arm stripe is showing. Plus, as with its ’95 original, the CGI animals vary in realistic movement. Part of the charm of that previous flick was the cartoonish storybook look of the monkeys and rhinos, but often in this film, they seem to have bounced right out a modern computer game, having little “weight” as they glide toward the heroes. Taking them out of the mix would have helped cut 20 minutes and tightened the pace. that and the many “life lessons” that the characters must ponder and pontificate over (“Who do you want to be?”, “You’ve only got one life” and other inspirational homilies). For this they needed four writers? For really compelling characters and stories, that space epic is still playing down the multiplex hallway. And it’ll still be there long after JUMANJI: WELCOME TO THE JUNGLE is regulated to the underwhelming reboot bin. As they say in the video arcade,”Game over”.
Don’t put away that passport! And stop unpacking! After taking a cinematic road trip to New Zealand last week for the superb documentary TICKLED, we’re back in that lush locale once more. Seems there’s more to that place than elves and hobbits. While David Farrier and friends lived in the city, the action in this fiction flick takes place out in the wild, also known as the “bush”. Our guide/director is the talented film-making actor Taika Waititi. You might recall that gem he released to theatres two years ago, the clever, hilarious “mockumentary” WHAT WE DO IN THE SHADOWS, about a quartet of vampires sharing a big New Zealand estate (it’s streaming via several services, so watch it after you see this). Now it looks like Mr. Waititi has been “called up to the majors”. Those savvy talent scouts at Marvel Studios have recruited him to handle the son of Odin’s third solo adventure, THOR: RAGNAROK (they’re filming right now). But before he crosses the Rainbow Bridge to Asgard, Waititi presents this sweet quirky little character study, THE HUNT FOR THE WILDERPEOPLE.
The person at the center of this hunt is a “husky” (the old kids’ clothing designation) 13 year-old orphan named Ricky Baker (Julian Dennison), a New Zealand lad throughly in love with American “hip hop culture”. As the film begins, a hard-nosed social services rep named Paula (Rachel House) is delivering him to, quite possibly, his last foster home. Considering his age and long “rap” sheet (swearing, spitting, etc.), Ricky’s next stop (if things don’t work out) could be “juevie jail”. His new home is a modest ranch/ farm on the outskirts of the “bush” owned by the warm, middle-aged Bella Faulkner (Rima Te Wiata) and her surly unsocial hubby Hec (Sam Neill). Things don’t go well for Ricky that first night (he wants to be back in the “hood”), so he runs away in the middle of the night. But the ill-prepared Ricky doesn’t get far, and he awakes to find Bella hovering near him. Suddenly Hec’s dog Zag zips past. An energized Bella leaps to her feet and follows. Zag has cornered a wild pig in a ravine. Bella pulls out a big knife from her coat and leaps atop the beast, cutting and slashing. Ricky is horrified and …incredibly impressed. She just may be the coolest “old lady” he’s ever seen! Soon, she’s giving Ricky rifle lessons (the boy hits those targets), and that evening they celebrate his birthday with a cake and a present, an adorable pit bull puppy, which Ricky names “Tupac” (after his hero). Ricky now loves his new home. “Cue” the happy music and “fade-out”, eh? Oh no…
Tragedy takes Bella the next day. A distraught Hec informs Ricky that Paula will soon return to take him back. The heartbroken lad decides to fake his death and escape into the woods with Tupac. But the over-confident kid is no “bush-man” and runs out of food (and he’s hopelessly lost, of course). Luckily Hec tracks him down, but before they can return home Hec injures his leg. While he heals, Paula returns to get Ricky, but finds the ranch empty. She believes Hec has kidnapped the boy. When Hec and Ricky head back, they nearly run into armed authorities. Later they learn that they are wanted, so the mis-matched pair have no choice but to hide out in the forest. Days turn into weeks, then months, as their story turns them into folk heroes and the stuff of legend.
The actor that most film goers will recognize, despite his scraggly salt ‘n’ pepper whiskers is the always engaging Sam Neill. Yes, “dino-man” Dr. Alan Grant is not the smooth intellectual this time around. Hec is a hard scrabble fella’, who’s constantly been kicked in the teeth by fate. But something about his new pal rekindles a spark in his eyes, one that was nearly extinguished by the loss of his mate. Neill shows us that transformation through Hec’s weary eyes and his initial hesitation at making another human connection. It helps that Neill has a terrific rapport with the film’s breakout star, the impressive screen newcomer Dennison as the unpredictable but endearing ball of energy, Ricky Baker. Much like Hec, Baker has built up a defensive wall around him as a swaggering “wanna-be” street punk. Perhaps this wall protects him from yet another rejection, like a bouncing ball from one foster home to the next. And like his partner, he is changed by love. We laugh as he decides to live off the land, but we’re worried about the blustery squirt. With his wide expressive eyes and rapid fire line delivery, Dennison is a real comic discovery.
This unlikely team is most ably helped by an impressive supporting cast. House makes a most impressive pursuer, a tightly wound “Javert” who is all single-focused determination. Her hair tightly pulled back around a constant scowl, Paula is almost a programmed police drone (she even compares herself to the “Terminator”) with a stalled audio system that repeats the old catchphrase “no child left behind” on an endless loop. Her polar opposite is Te Wiata as the nurturing Bella. She stumbles a bit upon her first meeting with Ricky ( looking at his girth, she remarks “Honey, looks like you ate ALL the pies!”), but she wins him over by showing her wild side (that crazed blood-splattered smile after she’s dispatched the pig), and then making Ricky feel welcome and wanted. The loss of this warm, kind woman who took in these two strays because she wanted a family resonates through the story. Some memorable characters interact with the duo during their lengthy time in the bush. Ricky is completely “gob-smacked” by the ethereal beauty of tween actress Tioeore Ngatai-Melbourne as the generous Kahu who meets him while riding her horse (perhaps Ricky thinks that she’s a princess of the forest). And later, there’s the manic, slightly mad “Psycho” Sam played by gifted comic actor Rhys Darby (so good as the leader of the werewolf pack in SHADOWS). Darby is a bolt of pure energy as he shows off his hidden HQ to the bewildered Hec and Ricky. A true wild and wacky wood sprite, Darby’s Sam is a real delight. Oh, and the director himself is a true “hoot” as a befuddled minister conducting an awkward funeral service for Bella.
As funny as his cameo is, Waititi really shines in his double duties behind the camera. Adapting the novel by Barry Crump, the director/screenwriter has delivered a very funny modern fable on family and friendship. Waititi veers a tad into Wes Anderson territory by opening scenes with chapter titles (“Chapter 10: The Tide Turns”, etc.), but never forces the whimsy or humor into “preciousness”. He gets wonderful performances from the cast (Dennison’s Baker is real original) and makes wonderful use of the beautiful vibrant green forests of New Zealand (kudos to cinematographer Lachlan Milne). No wonder the brains at Marvel Studios scooped this talented film maker up! But before they see his version of Thor and the Hulk team up, movie audiences would be wise to join Hec and Ricky on the run in the very sweet and entertaining HUNT FOR THE WILDERPEOPLE.
4.5 Out of 5
HUNT FOR THE WILDERPEOPLE plays everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre
