Tag: Warner Bros. Pictures

LADDIE: THE MAN BEHIND THE MOVIES – Review

And now the 93rd Annual Oscars are finished. Another one for the records books, it is now history. But how to quench your thirst for a bit more Hollywood history? Here’s the perfect refresher. It’s a warm, interview and clip-filled look back at one of the motion picture industry’s greatest producers. As a matter of fact (and it’s hammered home here) he was the head (or close to) of four of the major studio (really, you’d know the logos). Oh, and he’s still with us, offering his sage advice and counsel to filmmakers and stars. So we’re not talking about the cigar-chomping Golden Age studio moguls who are usually vilified in the non-fiction books and films (The biggest villain of MANK may be the ruthless and controlling Louis Mayer). No, this is about a man whose influence may have ushered in, maybe not a silver, but a bronze age, from the 1970s to just about a decade or so ago. And unlike Mayer and his contemporaries Zanuck, Zucker, Laemmie, and Cohn he truly has movies in his blood (real silver screen DNA). This documentary feature subject is Alan Ladd, Jr., often referred to as LADDIE: THE MAN BEHIND THE MOVIES.

Our genial guide through this remarkable man’s life and career truly knows her subject. It’s his daughter Amanda Ladd-Jones, who tells us that this film began as a birthday present, one that we now all get to share. Unfortunately, the subject has a legendary tendency to be … well tight-lipped. But luckily his former collaborators and friends (and so many are in both groups, surprisingly) are quick to sing his praises. But before those triumphs, there was a difficult childhood. That blood and DNA, well it comes from the 1940s through the 50s matinee idol Alan Ladd, who himself was tight-lipped in noir thrillers (THIS GUN FOR HIRE) and Westerns (the iconic SHANE). But being the son of a movie star is close to hitting the genetic lottery, right? You’d think so, but Laddie was the only son Senior had with his first wife Marjorie. Nearing his teens when papa remarried, Laddie was largely ignored as the star remarried and began a new family with Sue Carol. We hear heart-wrenching stories from stepbrother David (an actor who ended up marrying the fourth TV Charlie’s Angel). Perhaps this helped to motivate Laddie at the boarding and military schools and college. By the time he’s finished his education, his father passes at age of 50 from years of alcohol and prescription pill abuse. Now Laddie was free of his shadow and ready to make a name for himself behind the scenes in show “biz”. In the wild 1960’s he was an agent representing several actors, including Peter Sellars (“Completely mad.” Laddie quickly offers) which lead to film production, then soon taking the reins of Twentieth Century Fox’s European division. Around the time he began his own family with school sweetheart Patricia, the call came in for his return to the states and tasked with saving the flailing Fox (still reeling from the one-two bombs of DOCTOR DOOLITTLE and HELLO DOLLY). He quickly established himself as an exec who valued up-and-coming filmmakers, having an open mind and keen box office instincts. When Columbia balked at Mel Brooks’ insistence to shoot YOUNG FRANKENSTEIN in black and white, Laddie saw the method in his madness and said yes. When Richard Donner brought the script for the horror opus THE OMEN, Laddie defied the studio’s heads and insisted Donner (then known for TV work) direct. And when the hot young director of AMERICAN GRAFFITI needed a home for his weird Flash Gordon-homage, Laddie again irked the board of directors by giving a “green light” for STAR WARS. Soon after the megahit ALIEN (again helmed by a relatively unknown Ridley Scott). Alan left Fox to form his own division, The Ladd Company, which merged with Warner Brothers (studio two). From there it was a leap to United Artists in the late 1980s, before finishing up at Paramount in the 1990s and early 2000s (and grabbing an Oscar for BRAVEHEART in 1995).

Okay, so the director is a tad prejudiced, though Ms. Ladd-Jones hasn’t pieced together a fawning Father’s Day card of a flick about the family patriarch. Its opening (Laddie’s early years) is chocked-full of old school glitz and glamour (Alan Ladd pretty much carried Paramount through the 1940s), the staged studio publicity stills can’t erase the abandonment of Laddie’s teen years (David becomes quite emotional as he recalls the neglect of his poppa to his firstborn). And despite being saddled with that name (teachers couldn’t believe his actor lineage), the story really comes alive as Laddie spreads his creative wings and soars. Happily, most of the folks that aided that meteoric rise pay their respects. George Lucas sings his praises while Mel Brooks slays with some great stories (“Peru just got color” kills every time). One of the more pleasant revelations concerns Laddie’s desire to keep all of his major movie talents on the same floor of the Fox building, as a free-wheeling film school, leading to Brooks helping to tweak the late Paul Mazursky’s script (he’s sadly been gone for nearly seven years, so this footage reminds us of his endearing charm). The doc also benefits from Richard Donner’s laid-back sardonic wit (“Ladd, Jr.? He made that ‘Very Brady sequel’, right?”). As the decades (and great clips) zip by we get Mel Gibson’s BRAVEHEART tales and Ben Affleck (sporting an odd “boy band” hairstyle with a full beard) on Laddie’s help with his directorial debut GONE BABY GONE (“lose the ‘chamber of commerce’ shots”). But there seems to be one artist who continues to pop up in this saga, Ridley Scott. We see a few seconds from his debut THE DUELISTS before the big explosion (poor John Hurt’s chest) of AlIEN. When Laddie heads to the WB lot, Scott follows with BLADE RUNNER, thought of as a box office dud in 82, the film’s influence extends into the current slate of SF epics. Then in a complete turnabout, Scott is convinced to helm the dusty dirty box office smash THELMA & LOUIS (with Laddie influencing its off-beat ending). Aside from STAR WARS, Laddie also throws his support behind award-winning films that his former studios dumped (Fox stepped away, so Warners grabbed the Best Picture Oscar for CHARIOTS OF FIRE). But so that we don’t think of him as too “high brow” we’re reminded that he also started the POLICE ACADEMY franchise (also inspiring the end scene of the first one). Ms. Ladd-Jones also delves into the misfires, particularly THE RIGHT STUFF which rankles Laddie so much that he has never watched it (“lost control, too long and too over budget”). Hey Mr. L, I think it’s still pretty great. And we hear of his sadness at the ending of his first marriage, although his marriage to Cindra has given him great joy and another family (including a talented biographer). And though his office days are behind him, he’s still in great demand for his storytelling instincts and vast knowledge (though many in the film will admit that he can be a soft or “low talker” ala “Seinfeld”). If you’re in the mood for a terrific crash course in the big studio films of the past fifty or so years, then you’ll be informed and greatly entertained by spending a fast-paced 83 minutes with LADDIE: THE MAN BEHIND THE MOVIES.

3.5 Out of 4

LADDIE: THE MAN BEHIND THE MOVIES is available to rent and buy on digital download beginning on April 26, 2021

DUNE, MATRIX 4, GODZILLA VS KONG, THE SUICIDE SQUAD, CONJURING – Warner Bros. Pictures Announces Movies To Release Same Day On HBO Max And In Cinemas In 2021

Today, the Warner Bros. Pictures Group announced that it has committed to releasing its 2021 film slate via a unique, consumer-focused distribution model in which Warner Bros. will continue to exhibit the films theatrically worldwide, while adding an exclusive one month access period on the HBO Max streaming platform in the U.S. concurrent with the film’s domestic release.

The hybrid model was created as a strategic response to the impact of the ongoing global pandemic, particularly in the U.S. Following the one month HBO Max access period domestically, each film will leave the platform and continue theatrically in the U.S. and international territories, with all customary distribution windows applying to the title. All films will be available in 4K Ultra HD and HDR on HBO Max. This announcement was made today by Ann Sarnoff, Chair and CEO, WarnerMedia Studios and Networks Group (of which Warner Bros. is part) and Jason Kilar, CEO, WarnerMedia.

Warner Bros. Pictures Group’s 2021 expected* release slate currently includes The Little Things, Judas and the Black Messiah, Tom & Jerry, Godzilla vs. Kong, Mortal Kombat, Those Who Wish Me Dead, The Conjuring: The Devil Made Me Do It, In The Heights, Space Jam: A New Legacy, The Suicide Squad, Reminiscence, Malignant, Dune, The Many Saints of Newark, King Richard, Cry Macho and Matrix 4. 

“We’re living in unprecedented times which call for creative solutions, including this new initiative for the Warner Bros. Pictures Group,” said Sarnoff. “No one wants films back on the big screen more than we do. We know new content is the lifeblood of theatrical exhibition, but we have to balance this with the reality that most theaters in the U.S. will likely operate at reduced capacity throughout 2021. With this unique one-year plan, we can support our partners in exhibition with a steady pipeline of world-class films, while also giving moviegoers who may not have access to theaters or aren’t quite ready to go back to the movies the chance to see our amazing 2021 films. We see it as a win-win for film lovers and exhibitors, and we’re extremely grateful to our filmmaking partners for working with us on this innovative response to these circumstances.”

“After considering all available options and the projected state of moviegoing throughout 2021, we came to the conclusion that this was the best way for WarnerMedia’s motion picture business to navigate the next 12 months,” said Kilar. “More importantly, we are planning to bring consumers 17 remarkable movies throughout the year, giving them the choice and the power to decide how they want to enjoy these films. Our content is extremely valuable, unless it’s sitting on a shelf not being seen by anyone. We believe this approach serves our fans, supports exhibitors and filmmakers, and enhances the HBO Max experience, creating value for all.”

“This hybrid exhibition model enables us to best support our films, creative partners and moviegoing in general throughout 2021,” said Toby Emmerich, Chairman, Warner Bros. Pictures Group. “We have a fantastic, wide ranging slate of titles from talented and visionary filmmakers next year, and we’re excited to be able get these movies in front of audiences around the world. And, as always, we’ll support all of our releases with innovative and robust marketing campaigns for their theatrical debuts, while highlighting this unique opportunity to see our films domestically via HBO Max as well.”

ISN’T IT ROMANTIC (2019) – Review

“Hello, film lovers, where ever you are…” (with apologies and props to Rogers and Hammerstein). Yes, it’s that holiday, once again, so are the Hollywood studios offering any sort of “movie nightcap” to that special, intimate evening? Well, the flick opening today does have romance (well, a variation) in the title. But look at the lead actress. She’s perhaps best known for raunchy comedies, more “raw-coms” than “rom-coms”. That should clue you in that this flick offers a much sharper take (razor-sharp at times) on the now familiar “kisses and chuckles” feature. This gives several interpretations to the question posed by the Valentine’s Day release, ISN’T IT ROMANTIC. Oh, and don’t try and sneak in any heart-shaped boxes of candy into the multiplex, okay?

The story begins a couple of decades ago, as the camera gives us a full close-up of adorable nine-year-old Natalie, with an expression of pure bliss as she watches (probably not her first viewing) the 1990 classic PRETTY WOMAN. Of course, her weary, life-battered Mum (Jennifer Saunders) walks in to burst her baby’s bubble, warning her that life is very much not like these types of bubbly flicks. Cut to today, NYC, as now thirty-something Natalie (Rebel Wilson) wakes up in her dingy, tiny apartment. After saying hi to her surly unfriendly neighbor Donny (Brandon Scott Jones), she heads to her architect job at a messy, crowded downtown design firm. No one respects her except her frowsy aide Whitney (Betty Gilpin), who spends much of her days streaming, you guessed it, “rom-coms” on her computer screen, and best “work pal”, the ever-encouraging and jovial Josh (Adam Devine). Later that day, a subway altercation KO’s Natalie. When she wakes up in a very comfy hospital bed, it seems like everything’s changed (maybe better, definitely weirder). As she walks out into the now immaculate streets, she has a “meet cute” with an instantly-smitten Aussie billionaire named Blake (Liam Hemsworth). After taking her home in his limo (and giving his “digits”), Natalie is stunned by her now lush and luxurious apartment, with a fully stocked (all those shoes) walk-in closet. And (certainly “out of the closet”) waiting for her (he’s got a key, natch’) is her “BFF” Donny, now friendly and extremely flamboyant, devoted to her alone (does he have a job or an outside life). Things are certainly different at her now plush, upper-crust design office. Oh, but now Whitney is a super-competitive, rhymes-with-witchy rival. Luckily Josh is still the same supportive pal. Ah, but he’s not immune to this “turn of events”, as he starts a fast “meet cute” turned romance with the gorgeous “yoga ambassador” Isabella (Priyanka Chopra). Natalie realizes that she’s in an artificial world based on “rom-com” cliches. Is she forever “trapped” or will she find a way to return to her “real world” before losing Josh forever?

In a role quite different from her usual “party hard” twirling dervish, Wilson makes a solid cynical leading lady, calling out the genre tropes and cliches. Though she’s treated as a “beguiling” (Blake’s go-to phrase) queen, she knows that she must get back to our ole’ cruel world and makes us root for her to complete her “quest”. Plus Wilson uses her slapstick gifts to great effect in several physical gags (stopping a careening kabob cart) and a couple of musical numbers (hey there Amy). Speaking of music, she teams up once more with her PITCH PERFECT partner Devine for scenes that bristle with true chemistry (a real bit of movie “shorthand”). Luckily Devine has toned down the aggressive energy that has made many of his film roles a tad abrasive. This “mellow” almost verges on the cloying, coming off as a needy puppy in the early scenes, but he bounces back when he finds this “new NY” more appealing. Hemsworth has a winsome, goofy vibe as the fantasy “prince of the city”, yearning to take Natalie away in his carriage..er..stretch limo. Chopra is charming as the fantasy femme whose claws come out as she realizes the strong bond between the “normal” duo. Happily, the film has a couple of terrific supporting players who become the story’s true MVPs. Straight from the wrestling ring of the Netlix sitcom “Glow” comes Gilpin, showcasing her versatility in two distinct versions of Whitney. Whit 1.0 is a frizzy, mosey mess, who has been suckered in by movie fibs and spouts silly platitudes to “help” Natalie (“The right man will see your inner light”). Even more fun is Whit 2.0, a crimson-haired barracuda turning the air toxic with her withering glares and savage slams (“I’m taking you down!!”). Oh, but that “f-word” truly describes the “go-for-broke” work of Jones as the (another “f-word”) fabulous Donny, bouncing from every corner of the screen like a martini-swilling Tigger, only slowing down to deliver just the right “pep talk” to his fave “grrrlll”. He’s a real-life cartoon, in the best sense of the word.

There are a lot of truly inspired comic gems and “call-backs” in the witty, satirical script from Erin Cardillo, Dana Fox, and Katie Silberman. I was particularly amused when, in the new “world”, Natalie tries to drop the “f-bomb”, but is constantly drowned out by ambient noise (car horns, alarm clocks, etc.), thus ensuring the coveted(for this genre) PG-13 rating. And the visual bits are executed by the film’s top-notch art directors and production designers. The “RC” NYC is a place of clean streets with adorable lil’ shops for cupcakes, kids books, and bridal gowns (as opposed to the grimy 99 cent stores, bodegas, and check cashing places in the opening), subway stops adorned with potted bouquets, and pristine pedestrians wearing warm pastels and flowery prints. And, of course, no traffic jams (there’s never a car anywhere near Blake’s limo as he zips over the bridge). On the other hand, pointing out the ridiculous nature of rom-coms may be the parody equivalent of “shooting fish in a barrell”, making the film’s main premise seem “stretched” to the breaking, or boring, point. Like last year’s THE HAPPYTIME MURDERS (this new flick is vastly superior, though), we wonder if this might have worked much better as a short subject, or on TV as a comedy special or a bonus-length SNL sketch. It doesn’t help that the direction from Todd Strauss-Schulson is often listless, with lots of “wheel-spinning” (the repeated “morning after” gets tedious fast) between some peppy set pieces (the karaoke number, in particular). The whole enterprise derails in the story’s big finale as they suddenly embrace the cliches they spend the previous hour or so bashing with a Mad magazine-filled sledgehammer (how I wished a person from HR would break up a big office reveal). C’mon ISN’T IT ROMANTIC, you can’t have it both ways, or as those films would show, somebody (a guy named Baxter) has to be left at the altar. Darn, this one had a premise with some promise.

2.5 Out of 5

THE LEGO MOVIE 2: THE SECOND PART – Review

“Toyland, Toyland…”I know, Christmas was seven weeks ago, but that doesn’t mean that we can’t have some fun at the multiplex with some of our favorite playtime pals. The studios have been raiding the toy chest in search of film franchises for decades, from Raggedy Ann and Andy (originally a cartoon short from the Fleischers) to the cult favorite CLUE in the 1980s (trivia question staple: it had three endings). Now with longtime movie series based on GI JOE and TRANSFORMERS, toys have become as much a source material as comic books and TV shows (which were the initial “springboards” in the 80s for Care Bears, Strawberry Shortcake, and countless others). But could these product-spawned flicks actually be witty and (gasp) satirical, even entertaining to adults? Pixar certainly tested the waters with their first hit feature back in 1995 TOY STORY (which included kid superstars like Mr. Potato Head and Barbie alongside original characters). Jump ahead 20 years and some great comedy talents garnered big laughs from lil’ plastic building blocks. It was a surprise smash, so after two spin-offs, we’re finally getting a true sequel with THE LEGO MOVIE 2: THE SECOND PART (just be careful where you step…yeooowch).

Yes, it’s five years later and all seems to be going great for Emmet Brickowski (voice of Chris Pratt) and pals in Bricksburg. But then the destructive Duplo invaders from the Systar (?) System arrive. Despite the efforts of Lucy Wyldstyle (Elizabeth Banks) and her ex, Batman (Will Arnett) the town is transformed into the dusty dirty “heck-scape” of Apocalyseburg. Emmitt’s still his cheery ole’ self until another Systar denizen named Captain Mayhem (Stephanie Beatriz) cruises in to scoop up Lucy, Batman, Unikitty, Benny, and Metalbeard in her spaceship and whisks them away to meet her boss, Queen Watevra Wa’Nabi (Tiffany Haddish). Luckily Emmett is able to turn his dream cottage into his own star cruiser and blasts off to infinity and…no, wrong toy. When his star trek proves too deadly, Brick is rescued by a true galactic good guy, Rex Dangervest, the coolest cat in the cosmos (trained raptors fly his ship). The two team up to stop the destruction of the universe (the “our-mom-ageddon” which would banish them to the limbo region of “Stor-age”) which will be triggered by the swiftly approaching marriage of the Queen and Batman. But are the residents of Systar “un-evil”? And will Lucy finally come to terms with her “sparkly” former life? Most puzzling of all, why is the Dark Knight finally ready to “settle down”? Gosh, what’ll happen to Alfred?

The good news is that the intricate colorful designs and character work are still there, despite the changing of directors, from the team of Phil Lord and Christopher Miller (who still contributed this script with a story assist from Matthew Fogel) to Mike (TROLLS) Mitchell. Because of the returning writing duo, there are still a lot of funny throwaway bits of dialogue (especially the subtitling of the raptors) along with some very sly pop culture gags (“Marvel’s not returning our calls”). And Emmett is still a wide-eyed (big dots really) cheerfull oblivious goof. So why does the film feel…off? For one thing, the Lego world seems a lot smaller. The first adventure involved a near-endless gathering of pop icons from Star Wars to the classic Universal monsters (guessing the licensing contracts took up several file cabinets if they’re still a “thing”). But now, aside from a roll call of time-traveling devices, we’re limited to the Warner home team (though that still includes the DC heroes, the Wizard of Oz, and a Tolkien spellcaster). Perhaps this is because the real world intrudes into the main story too too much. Yes, last time we got a Will Ferrell finale, while this time his home pops up throughout and stops the story flow in its tracks. Luckily another SNL vet cameos as Will’s wife, and earns a few decent laughs, but do we need to see toys lost and gathering dust in multiple sequences? The stakes are raised by other planet’s threats, but it’s not as interesting a “hero’s journey” as in the original. Emmett and Lucy from that get plenty of screen time in this sequel, while their buddies Unikitty and Benny have little to do, as does Batman (maybe because of his solo spin-off) who is easily manipulated, though as a result of one of the film’s best musical numbers, “Gotham Guys” (much better than the “Awesome” wannabee “Catchy Song”). The rampaging Duplos who speak like toddlers is amusing, but most of the new characters barely register, aside from the Queen. Haddish brings a lot of energy to her which matches her ever-changing red, orange, and magenta form (within seconds she’s a horse, a flower, and crazy chart). Rex is a lot of fun, but his “big reveal” doesn’t really go anywhere. Though just over 100 minutes, this film feels well over 2 hours as the jumbled third act finally grinds the story to a cluttered messy halt. Though this contains many of the first flick’s winking wit, families may find that THE LEGO MOVIE 2: THE SECOND PART just feels “played out”.

3 Out of 5

 

MOWGLI: LEGEND OF THE JUNGLE – Review

As the year draws to a close, the march of live-action “re-imaginings” of classic kids’ animated feature films marches on. Well, technically it’s mostly CGI (or motion-capture) mixed with a bit of “live” reality. For the last few weeks the internet has been doing somersaults over the teaser/trailer for the “live” new version of THE LION KING (again, all in the computer since no baboon is going to lift a lion cub over a cliff). Disney Studios got the ball rolling a few years ago with CINDERELLA and THE JUNGLE BOOK, though they nixed most of the songs made famous in the 1950 and 1967 cartoons. What most film fans forgot was that the Rudyard Kipling classic was first a true live action flick in 1940 making its young star Sabu a fantasy adventure film icon. Since that book has long been in the public domain it’s natural that other studios and filmmakers would want to retell the tale. Waiting two years after the Jon Favreau helmed box office smash, Warner Brothers and Netflix have decided that Andy Serkis should present his take on the lad growing up amongst the beasts. And since Serkis is a celebrated motion capture actor (Gollum in the LORD OF THE RINGS and HOBBIT trilogies along with Caesar, the super-smart chimp in the recent PLANET OF THE APES trilogy), the SFX animals would have a very distinctive look and style of movement. So, just how will these “untamed” supporting players work alongside the “real-life” human lad known as MOWGLI: LEGEND OF THE JUNGLE?

The breathy hissing of the giant immortal snake Kaa (voice of Cate Blanchett), establishes the setting of the story, deep in the jungles of India. It’s a tragic beginning as a human couple are mercilessly slaughtered by the savage tiger Shere Kahn (vo: Benedict Cumberbatch) as their infant son watches just out of sight. Luckily an ebony-hued panther named Bagheera (vo: Christian Bale) scoops up the baby and delivers him to a nearby wolf pack. The wolf mother Nisha (vo: Naomie Harris) and father Akela (vo: Peter Mullan)agree to raise the boy as one of their own. Unfortunately one of Khan’s lackeys, a hyena named Tabaqui (Tom Hollander) sniffs the “man scent” and reports to his master. Khan tells the wolf family that he will shred and devour the lad soon when he’s away from the pack. But he somehow evades the tiger and quickly matures into a young pre-teen boy, now named Mowgli (Rohan Chand) who is able to keep up with his wolf “brothers”.He’ll need to if he wishes to be part of the “hunters”. To that end, he’s trained by Bagheera and the lumbering taskmaster bear Baloo (vo: Andy Serkis). But the menace of Shere Kahn still lurks, now aided by a swarm of monkeys, though much of Mowgli’s thoughts are now occupied by the strange sight just beyond the trees and foliage, a “man village”. But even more dangers arise there, since the frightened residents, including the lovely Messua (Freida Pinto), have hired a “great white hunter” named Lockwood (Matthew Rhys) to track down and kill a “man-eating” tiger. Will Mowgli be able to hide from him while protecting his family and friends (and avoid Khan)?

Leading the main trio of “on camera” talent is the engaging expressive Chand as the “boy raised by wolves”. His take on Mowgli is more concerned with staying alive (and two steps ahead of Khan) than with frolicking with new jungle pals, although he does make a real ally with a traumatized elephant. Plus he seems more torn between his animal instincts and his human traits, wanting to keep up with the pack by racing on all fours rather than running on his two feet (which would be much faster). And much like Christopher Lambert’s take on Tarzan, he shows the price for living his “double life” with a multitude of scratches, scars and scrapes. In the film’s final act, Mowgli meets his deadly adversary in Rhys as the sinister, cold-hearted “hired gun” Lockwood who would decimate the boy’s home just for a few coins and trophies of his “skill”. Rhys is a dead-eyed menace while Pinto embodies the more caring side of humanity via her gentle kindness, tempting Mowgli to leave his pack. As for his CGI co-stars, Bale is a stern fatherly mentor as Bagheera, who won’t allow his affection for the boy to get in the way of his strict training. And, in a switch from the more famous versions of the tale, Baloo is just as tough on Mowgli (there’s no lazy river floating or singing of the “bare necessities” with this old furry fellow). Serkis makes him a grumpy old drill sergeant with no patience for the boy’s frivolity, a true master of “tough love”. That toughness is essential when Khan “comes a’ calling”. Cumberbatch makes the tiger a true sadistic thug, a feline kingpin ruling the land with tooth and oh so sharp nail, eager to avenge his old wounds (we see several shots of a closed, lame paw). It’s easy to see why so many, like the hyena and the monkeys, serve him. But he can’t intimate the serpent sublime Kaa who is sinister and seductive thanks to the subtle vocal stylings of Blanchett, who’s both playful and unpredictable with Mowgli.

Director Sekis, thanks to the screenplay from Callie Kloves, delivers a much darker take on the classic story, one better suited for the grade school crowd (maybe 10 or so) than the toddler set. There’s little time for skipping and dancing in this often deadly world (and in a big departure there’s no massive orangutan King Louie to tempt the boy with any ape antics). The tone is established early since our first images of the title hero are as a baby literally covered in his mother’s blood (and there’s more of that flowing throughout the flick). Unfortunately the lighter films do loom large over the film, though Sekis does move the story through those familiar beats with a confident pace. What often distracts is the design choice for the lad’s jungle cohorts. They’re close to the real thing until the unusual shape of their heads (perhaps to make them more expressive) and the human-like eyes, showing so much white they have an other-worldly “vibe”. Maybe the thought was to show us more emotion, but it’s off-putting along with their “bouncy’ movement that gives them a weightlessness. The look of Baloo works, with his hairless exposed forehead showing off his many “worry” wrinkles. Still, the color palette of the backdrops really works, going from lush cool green to the blazing yellows bouncing off the rocks, recalling the terrific abstract designs from 1976 “Mowgli’s Brothers” TV special from the great Chuck Jones. You won’t forget that free-wheeling 67 animated lark (reportedly the last one supervised by Walt himself), but the family (aside from the wee ones) should find lots of thrills and spills with the new spin on MOWGLI: LEGEND OF THE JUNGLE.

3.5 Out of 5

MOWGLI: LEGEND OF THE JUNGLE opens in select theatres and is now streaming on Netflix

TAG (2018) – Review

 

Enough with the frivolity down at the multiplex, we’ve got another film opening this week that was “inspired by true events”. Seriously (usually very very), they’re stories of triumph against the elements (as with the recent ADRIFT) or bravery in the face of injury or disease (BREATHE, STRONGER, and countless others). Just a minute, you’ve seen the TV ads and trailers for the last few months so you know it’s a comedy. Now that’s a real rarity, little seen hybrid mix, like the “jackalope”. Needles to say it’s been somewhat exaggerated or enhanced for the big screen. The reports of a pack (around a dozen) of buddies now in middle age (being generous here) who have set aside one month every year to continue a game of tag started while they were in grade school (so we could say it’s based on a classic game like CLUE or BATTLESHIP, but there’s no boards or dice involved, just hands and legs) has seen exposure in print and on the TV news (CBS Sunday Morning just rebroadcast their profile). For the flick they’ve cut back the squad to five and they guys are trim and in their early forties (and of course, a couple of them are extremely photogenic). Oh, and the game is much more violent (slapstick, you could say), because audiences would expect that for an “R” rated game of TAG.

In the movie’s opening moments we see the elaborate planning of “tag” player “Hoagie” Malloy (Ed Helms) to deliver the “touch” to business tycoon Bob Callahan (Jon Hamm). Bob becomes “it” just as he’s beginning an interview with a reporter from the Wall Street Journal, Rebecca (Annabelle Wallis). She’s intruiged by the ensuing chaos, so the guys explain. Every year, during the month of May, they continue a game of tag begun in their youth. Of course you can’t tag back the guy that just made you “it”. And the fella’ that’s it at the end of those 31 days is the loser (nope, no real winner). This time Hoagie has a master plan to finally make one of their pals “it”. Jerry (Jeremy Renner) has successfully stayed hidden in May (and he’s super fast, too). Seems that Jerry’s getting hitched on the last day of the month in Portland. As Jake Blues would say, “It’s time to get the band back together”. This all seems much more interesting to Rebecca than an interview, so she tags along. But she’s not the only lady, since Hoagie’s wife Anna (Isla Fisher), though not a player, is psyched to help track down their “white whale”. Soon their two other buddies, laid-back herbal enthusiast Randy AKA Chilli (Jake Johnson) and quirky, soft-spoken Sable (Hannibal Buress) join the journey. Their first run at Jerry is disrupted by his nervous fiancee Susan (Leslie Bibb), She’s scared that they will ruin her big weekend. During a truce they set up new ground rules: no tag at the wedding rehearsal, the following dinner/reception, or at the actual ceremony. They all agree, though Hoagie and his crew continue their efforts to get Jerry alone and end his streak and finally make his “it”.

The cast is an interesting mix of comedy TV vets, stand-up comedians, and even an action flick staple. The leader of the mayhem is probably Helms’s Hoagie, who’s doing a less awkward take on his HANGOVER patsy while bringing lots of energy and a demented zeal to his quest. Hoagie’s likable, but completely hyper-focused on his “Jerry hunt”. Almost matching him in his mania is Fisher as wife Anna, whose fiery spirit matches her hair color. Though unable to tag, she’s a valuable addition the the guys’ mission. And Fisher is a most delightful “firecracker”. Plus she gets to team up with a co-star from the 2016 underrated farce KEEPING UP WITH THE JONESES, Jon Hamm, who once again plays against his leading man looks to display his formidable comic skills and getting more physical via the great slapstick sequences. Buress can still steal scenes with his off-kilter line delivery, seeming to “toss off” killer quips. Johnson’s also great with a snarky joke, given with a laid-back wiseguy charm. Unfortunately the constant “weed” bits wear out and become an easy laugh or a scene ender with CGI smoke wafting from his lips. The best surprise may be the work of Renner, doing an inspired parody of his action movie roles from THE BOURNE LEGACY and Hawkeye in the Marvel movies. Jerry has a soft side, but Renner plays him as a closed book for much of the action, preferring to be the smug “man in control”. This makes for an odd pairing with Bibb as his future bride. Susan often comes off as a shrill “fun-killer” and her manic “bride-zilla” can be a bit “over the top”, but Bibb truly commits in her performance. That role is more compelling than Rebecca, who’s mostly the wide-eyed observer and “voice of reason”, but kudos to the striking Wallis for bouncing back from last year’s twins of trash, THE MUMMY and KING ARTHUR: LEGEND OF THE SWORD. Also representing the ladies is Rashida Jones, the talented star of TV’s “Angie Tribeca” and “Parks and Recreations”, who is underused as the former high school sweetheart of two of the guys (invited by Jerry to split the team). Her character is the source of a particularly crude joke about their teen years. Jones deserves better. But there are some nice turns by stand-ups Sebastian Maniscalo and LilRel Howery (so hilarious in GET OUT), along with comic actors Steve Berg (he really wants in the game), SNL vet Nora Dunn, and Thomas Middleditch (love that fabulous ponytail) from HBO’s “Silicon Valey”.

First time feature director Jeff Tomsic does his best work in the movie’s “game” scenes, using the “slow-mo, speed-up, then quick back to slow” effect in some many action flicks, enhanced with some CGI for the facial impacts. This also gives us time to hear the characters’ thoughts as they try to avoid being “it”. But it’s more Three Stooges-style violence were they might only need an aspirin rather than a trip to the ER. Unfortunately Tomsic couldn’t smooth out some of the kinks of the hit-and-miss script this is indeed based on a Wall Street Journal article (written by a dude, though). In one third act plot point a phrase describing a “pregnancy mishap” is repeated so much, that it becomes distasteful, annoying, and insensitive (every mention was fingernails on a chalkboard). But the biggest problem may be the lack of chemistry between the actors. They don’t seem like guys that would still want to hang out for a full month year after year. The hospital-set finale with one player in dire straights feels like a forced attempt at pathos and comes off as clunky. Luckily the flick cuts to a wonderful montage that succeeds in giving viewers the ole “warm fuzzies”. But this and the action sequences aren’t quite enough elevate TAG above its schoolyard roots. Dodgeball, it ain’t.

3 Out of 5

 

READY PLAYER ONE – Review

Well, if ya’ can’t beat em’, join em’. Or exploit em’. And “piggy-back” on em’. An old adage, but that’s been the thinking of the movie studios whenever they’re threatened by other forms of entertainment. Too many folks are staying at home, listening to the radio, rather than filling the movie houses? Turn some of the big radio stars into movie stars (as with Jack Benny and Bob Hope) and make some films based on the popular radio series (as Columbia did with BLONDIE, which was based on the still-running newspaper comic strip). And what supplanted the radio as the preferred home-based entertainment?  Television, adding visuals to keep the “bijou” neighborhood theatres empty. This time the studios offered gimmicks and enhancements that the then tiny screens couldn’t match: 3D, stereophonic sound, and Cinemascope, which lead to Cinerama, not to mention the tricks and tools spearheaded by producers like William Castle (“Emergo”). And later Hollywood raided the tube for stars and subject matter (“Star Trek” started as a TV show, became a movie franchise before returning to its roots). In the early 1980’s the big movie menace were the advent of the video games, first at the arcades, then seeping into homes via popular gaming systems. Disney was the first to try to reach this new market with the ground-breaking 1982 smash TRON (which was given a sequel 28 years later). THE LAST STARFIGHTER made another fictional game part of its plot. And eventually the studios based movies on games, such as STREET FIGHTER, MORTAL COMBAT and countless others. But the movies weren’t alone in their romance of “gamers”. In 2011 Ernest Cline wrote a popular novel set in a virtual world immersed in recent pop culture icons. And who is tapped to helm the film adaptation of this hit book? None other than the famous film maker who was the force behind so much of the pop culture of the last five decades, Steven Spielberg himself. Yes, he guides the controls for READY PLAYER ONE.

 

The story’s hero Wade Watts (Tye Sheridan) fills us in on the dystopian future world of 20145 as the film begins. After the “Corn Syrup Wars” and the band-width battles, the gap between the “haves” and the “have-nots” has grown much wider. The orphaned Wade is in the latter group, living with his aunt in Columbus, Ohio’s “stacks” (literally trailers and mobile homes stacked on top of each other, reaching into the skies like rickety towers). But all classes have the same obsession, the virtual reality world of the game known as OASIS. Playing has grown more intense since the recent death of its creator, the eccentric genius James Halliday (Mark Rylance). Upon his passing, the company released a message from him explaining that the game has three hidden keys that will unlock three “Easter eggs”. The first person to solve the game will get a multi-billion prize, along with the company. In addition to the individuals competing, a rival gaming corporation as entered the fray. IOI headed by the ruthless Nolan Sorrento (Ben Mendelsohn) has an army of always hooked-up players, the “sixers” to find the prize and unlock Halliday’s tech secrets. Luckily, Wade (who adopts the persona of Parzival within OASIS) has a group of buddies he’s never met in the real world: master mechanic Aech (Lena Waithe) and the warriors Sho (Philip Zhao) and Daito (Win Morisaki). Oh, and Wade’s got a major crush on the mysterious video vixen Art3mis (Olivia Cooke). When his research at the Halliday Archives pays off with the first key, the group attracts the attention of Sorrento who sends out his henchman, the game’s I-Rok (T.J. Miller) and reality’s F’Nale (Hannah John-Kamen) to eliminate them permanently (online and on-ground). Can Wade AKA Parzival and company locate those keys and win the prize before Sorrento’s crew locates them?

 

 

Sheridan, after braking into big studio flicks as the new teenage Cyclops in the X-Men series, takes on the plucky hero role with confident energy. His Wade doesn’t mope over the hard life he’s been given, using his brain more than brawn to escape his circumstances. But Wade really comes alive when he assumes the Parzival avatar, a cocky blend of surfer dude and Bowie charismatic cool. He’s the perfect romantic sparing partner for Art3mis, a spike-haired sprite whose charms aid her in outscoring all her opponents. When we meet her in the real world, Cooke as Samantha still has the street smarts along with a sweet vulnerability and a reluctance to opening up to anyone. The entertaining Waithe is pure bravado as Helen and her alias Aech. As for the baddies, Mendelsohn is a seedy unfiltered corporate creep, crushing all in his way. The same is true of his avatar, a smirking beefy cross of Gordon Gecko and HEAVY METAL’s Captain Stern (miss you Berni Wrightson), nearly bursting out of his three-piece suit. John-Kamen is a crisp, fearsome “dragon lady” as Sorrento’s “cleaner”, while Miller is hysterical as the hulking hitman always complaining of a new ailment or minor malady. Simon Pegg has several great moments as sympathetic software guru Ogden Morrow. But the movie’s real scene-stealer is Rylance as his former partner, now “Obi-Wan”-like OASIS mastermind Halliday. He’s a parody riff on real life icons Jobs and Gates blended with the Wizard of OZ and Willy Wonka (no wonder the trailers used the song “Pure Imagination”). Halliday, even in flashbacks, seems otherworldly, gliding above the ground as he reaches for the cosmos, his eyes always at half-mast while  distracted and painfully awkward socially. This is another triumph for the talented and versatile Rylance.

 

After the intimate historical drama of last December’s THE POST, Spielberg lets his imagination run wild in his most spirited high-octane action romp since the his TINTIN CGI flick of 2011, but to somewhat mixed results. Fans may scurry off to a second viewing to drink in all the pop culture cameos (there’s the 66′ Batmobile) rather than any emotional connections to the human characters. Mind you, a second act game sequence set inside a meticulously recreated tribute to an 80’s fright flick classic is lots of giddy geek fun (as is the major role given to the cult classic cartoon hero, THE IRON GIANT), but the film quickly devolves from there into a mind (and backside) numbing “battle of thousands”, though really just millions of pixel on pixel exercises that are too reminiscent of some of the more mediocre computer game-based flicks (the interminable WARCRAFT springs to mind). Plus, it feels as though Spielberg has just rewatched the original MATRIX from 1999, so that the OASIS world is shot with a camera constantly spinning around each avatar (vertigo-time), which makes it difficult for the viewer to focus in on the dimly lit game world (triple the light flares of a J.J. Abrams flick). Back in the real world, we’re not given a real chance to truly bond with Wade, Sam, and the gang before they’re logging in once more. They’re the poor nice kids (The Goonies in VR) against the black-hatted. mustache-twirling Sorrento and his minions. But as I mentioned before, we’ve got the delightful Rylance to bring some much need humanity to the near-endless mayhem. Oh, for a spin-off prequel about the complex Halliday (this shy, introvert builds a digital museum with his every minute of life documented and cataloged). But for the current flick, I felt like a kid out of tokens at the big slick arcade, The gamers look to be having fun, but the twirling flashing screens never reach out and grab me by the brain or heart. READY PLAYER ONE razzles and dazzles the eyes , but does little else.

 

3 Out of 5

GAME NIGHT- Review

 

Yes, Valentine’s Day was over a week ago, but many longtime couples are still trying to rekindle that special spark in their relationship. Of course that “Fifty Shades” flick is still in theatres, but maybe they don’t want to have some time together that could leave some bruises that others would question (guess you didn’t yell “red’ quickly enough). The 2010 comedy DATE NIGHT had Tina and Steve getting away from their kids, and getting mixed-up in a high-octane crime caper. What if the couple are childless and want to enjoy some time with similar couples (now just get those BOB & CAROL & TED & ALICE jokes about that 1969 classic out of your dirty minds)? Well, the year before that “date” flick there was the COUPLES RETREAT romp, but that was an exotic vacation locale. A more casual weekly get-together, just eating cheese, drinking wine, and setting out those Milton Bradley-type classics (and no “Twister’, they aren’t teens…somebody could be on their way to the chiropractor) may be more in order. Hey, what could go wrong with a friendly GAME NIGHT? Enough manic mayhem to fuel this weekend’s new comedy, that’s what.

 

The main gaming couple at the center of this story is Max (Jason Bateman) and Annie (Rachel McAdams). They actually “meet cute” while at a bar’s trivia night. Eventually they even marry at one of those “Dave & Buster”-style arcade emporium eateries. They’ve settled into suburbia and are psyched to be hosting this week’s game night. The usual friends will be there. There’s the other married couple, Kevin (Lamorne Morris) and Michelle (Kylie Bunbury), who have been together much longer than Max and Annie, literally grade school sweethearts. And then there’s ladies’ man Ryan (Billy Magnussen) who shows up with another of a near-endless stream of dim, selfie-snapping bimbos.  Hopefully they can all arrive without creepy neighbor Gary (Jesse Plemons) seeing them. He and his ex Debbie were part of the group, but since she split (or escaped), he makes the gang very uncomfortable. Oh, this night is extra special because of a new addition, Max’s globe-trotting financial whiz single older brother Brooks (Kyle Chandler), who’s in town for a quick business trip. Despite Max’s sibling rivalry issues with Brooks (really messes up his “Scattagory” game play), all goes well. So much so, that Brooks invites everyone to the swanky home he’s renting to have a game night that “takes it up a notch”. The whole crew, Max and Annie, Kevin and Michelle, and Ryan, now with brainy (he thinks she’s British) co-worker Ireland-born Sarah (Sharon Hogan) shows up at the plush pad. But no board games tonight, instead it’s a crime mystery, complete with hired actors. The remaining players will have to find and rescue the “kidnap victim”. As the special “FBI director” (Jeffrey Wright) hands out packs of clues, masked thugs barge in, knock him out, and take off with Brooks. While the “FBI” guy is down, Max and Annie take off as they track Brook’s cell phone. When Mr. FBI wakes up, he tells the other two couples that the thugs weren’t part of his “crime game” acting troupe. Brooks has really been grabbed. Thus begins a night of narrow escapes, double crosses, twists, turns, Faberge eggs, and underground “rich people” fight clubs.

 

 

The palpable chemistry between the talented cast makes their most outrageous antics most entertaining. This is the most energized performance we’ve seen from Bateman in long time. His snarky come-backs and put-down are still flying fast, while displaying loads of affection for his co-stars, particularly McAdams as the sweet, slightly daft Annie. After a slew of serious flicks (and lots of tear-jerkers), it’s great to see her cutting loose in her funniest work since she was the leader of those MEAN GIRLS and the lady in love with one of the WEDDING CRASHERS. Happily they aren’t the only crazy couple. Bunbury and Morris have a terrific running gag about a celebrity “hall pass’ that springs up at unexpected times (Kevin is like a dog with a bone, he will not stop till he finds out the name of Michelle’s famous one-time “hook-up”). Magnussen makes a most believable “him-bo” as a handsome over-confident shallow dimwit, a great sparring partner to Horgan’s smart, sassy Irish “lassie”, who may be falling for Ryan despite her qualms. Chandler is all smooth-talking charm as the oblivious-to-others Brooks until his luck finally runs out, though he still delights in teasing his annoyed lil’ bro’. Wright and Chelsea Peretti deliver great comedy cameos as the crime party actors. But the movie’s MVP may be the scene-stealing Plemons as the weird, awkward policeman next door. Despite the best efforts of Max and Annie to avoid him, Gary just pops up everywhere (like Droopy the dog in those classic Tex Avery MGM cartoons), making time stand still with his dead-eyed stare and unrelenting inquiries (“Isn’t that a lot of Tostitos Scoops for a quiet night in?”), all while cradling his fuzzy white dog. His “off the wall” delivery elevates the story to a loopy, bizarre dimension.

 

The directing team of John Francis Daley and Jonathan Goldstein have followed up their so-so 2015 reboot of VACATION with a much funnier, more original adult-centered comedy caper flick. They get the wild, zany nature of these weekly get-togethers and present an engaging couple at its center, who aren’t perfect (they don’t wanna’ have fun, they wanna’ win), but are equally loopy (not the straight-laced guy and his wacky wifey). The script from Mark Perez may stretch the limits of logistics (can things really be planned ahead so perfectly), but all is forgiven when Plemons is working his magic bizarro mojo (be sure and stay for the inspired end credits). The gags fly fast and furious, only slowing down for some vivid visual gags and supremely silly slapstick. Despite a few too many twists (and endings), audiences should roll the dice and move six spaces to the multiplex for GAME NIGHT.

 

3.5 Out of 5

 

12 STRONG – Review

 

With the start of a new movie year, the multiplex will present another entry in the genre that seems to have become a January tradition: the “inspired by true events” action thriller set in a recent military conflict. Although several had limited December releases in NY and LA to qualify for Oscars, most had a “wide” release this month: LONE SURVIVOR in 2014, AMERICAN SNIPER in 2015, and 13 HOURS in 2016. Many have a “name” action star leading the charge, like Mark Wahlberg and Bradley Cooper. This time it’s Thor himself, Chris Hemsworth, prominent in the posters, looking determined while astride his black stallion. You heard that right, on horseback. So, in some ways this could be a modern wartime western. We just had a reboot of THE MAGNIFICENT SEVEN, so this flick goes five better to tell the tale of a dozen fighting men , they’re definitely 12 STRONG.

 

Using archival news footage, the film begins with a refresher history lesson, showing us the terrorist strikes against the US, emanating from desert soil, going back nearly twenty years. Cut to that chilly September morning in 2001. Watching the towers collapse with his family is Captain Mitch Nelson (Hemsworth).The other special forces “Green Berets” that Nelson had recently led in training exercises, including Hal Spencer (Michael Shannon) and Sam Diller (Michael Pena) hurriedly report for duty. Their commanding officers Lt. Bowers (Rob Riggle) and Col. Mulholland (William Fichtner) are pleased to have them , but balk at their insistence that Nelson lead them (he’s not “battle tested”). They need a small crack unit to aid air support in pinpointing enemy targets in Afghanistan and unite and assist local militia forces during a six-week mission. During the interview/audition Nelson insists he can complete the task in three weeks, well before the crippling Winter snow storms, with no casualties. After a brief debate, Nelson’s team is selected. Soon the men parachute into a remote area, where the leader of one of the major militia forces, Gen. Dostum (Navid Neghban) greets them. Heading to their base of operations, Nelson is surprised to see that they’ve no real military transport other than horses. And there’s not enough for all of the special forces. The team splits, with Spencer waiting for more horses, and Nelson joining Dostum’s group as they relay Al Queda’s location to the planes that will rain destruction upon them. But will Nelson and Dostum be able to work together and meet the seasonal deadline?

 

 

Trading in his Asgardian armor for camo khakis, Hemsworth is still the confident action hero of any genre. With his steely gaze and confidence, it’s no wonder that his men will not question his command. But he still gives us a hint of concern over his ability to keep his promise of getting everyone home for the holidays, And we get a bit of his tender side in the opening scenes at home (kudos to the producers for casting Hemsworth’s real life wife, Elsa Pataky, as Mrs. Nelson). Shannon gets a welcome furlough from his usual sinister scowling villain (so great in the recent THE SHAPE OF WATER) as Hemsworth’s trusted aide and pal (what a terrific team). More soft spoken than his brothers in arms, the sadness comes through his weary eyes when he must bid goodbye to his sullen pre-teen son. Pena provides some welcome comic relief as the eager soldier struggling to control his horse (a ride of any distance seems to be agony to his tender backside). His farewell scene balances humor and tenderness as he begs his wife for a memorable last night. The rest of the squad doesn’t get a lot of back story and screen time, though Trevante Rhodes (the final incarnation of the main character in last year’s Best Picture winner MOONLIGHT) has a sweet subplot involving a young Afghan militia member who follows him constantly (to protect). Negahban is full of bluster and fury as the general who finally learns the benefits of compromise, and make a great sparring partner to Hemsworth.

 

Despite the efforts of the talented ensemble, the film suffers from the somewhat repetitive nature of the mission that propels the story. The troops ride, squabble, joke then encounter the enemy and engage in furious fire fights.Then repeat. Until the big final showdown. Luckily grenades and rocket launchers provide some relief from rifles and pistols (and those head scarfs can hide lots of exploding SFX blood packs). Couple that with the interchangeable desert settings (I know that’s the layout of the land) and director Nicolai Fuglsig struggles in vain to break the pacing monotony that sets in. He does shuffle things up a bit to give the bad guys a human face. One enemy leader named Razzan (in all black with heavy eyeliner, looking like a nomadic Snidely Whiplash) executes an innocent, which sets up a crowd-pleasing final showdown. The story of these brave men is certainly worth of a cinematic salute, but this often sluggish recreation stifles the courageous tale of those heroic 12 STRONG.

3 Out of 5

 

EVERYTHING, EVERYTHING – Review

So the big Summer movie season is a couple of weeks old, and we’ve gotten several of the big action/sci-fi/fantasy blockbusters and a raunchy R-rated buddy comedy (well mom and daughter). What other warm weather genre’s left? Those “family friendly” CGI animated features will be here shortly, but in the meantime here’s another flick culled from the “young adult” section of the library or bookstore (or online lit source). It’s not part of a series like those HUNGER GAMES or DIVERGENT, no teens saving the planet in a dystopian future. This is a “one-off” romance, much like the surprise (to studio execs) hit from three years ago, THE FAULT IN OUR STARS. We’ve got yet another pair of young lovers falling in love while the “grim reaper” lurks close by (GR’s a busy dude between this and the usual onslaught of horror films). Seems to be a popular pairing in these tales, as we learn by the all-encompassing EVERYTHING, EVERYTHING.

 

Eighteen year-old Maddy Whittier (Amandla Stenberg) leads a very sheltered, sterile life, made so by her genetic malady, severe combined immunodeficiency (AKA SCID). Her body has no defences against the everyday germs and microbes of the outside world. She must stay inside the house she shares with her widowed mother, Dr. Pauline Whittier (Anika Noni Rose). There’s a sterilization chamber complete with scrub station at the front door (which looks more like the entrance to a spaceship), that allows Pauline to spend her days working at the hospital. Maddy spends her days with a housekeeper/care-giver Carla (Ana de la Reguera) while she studies online (architecture and literature reviews are her “thing”) and stares out the big windows. But while gazing one day she spots a moving van at the house next door (it’s a high-end “so-Cal” suburb). And who’s getting his skateboard out, but dreamy Olly (Nick Robinson). Later that night he and his sister show up at the Whittier home and present Pauline with a “hi neighbor” bundt cake. She kindly declines the snack and briskly sends the duo on their way. But wouldn’t you know it, the view from Maddy’s bedroom looks right down upon the window of Olly’s. He scribbles his number on the window and they begin a fervent text and email correspondence. She explains her situation, but Olly is not deterred. Knowing that her mother will not allow it, Maddy begs Carla to admit Olly into the home for a daytime visit. But when Pauline finds evidence of the tryst, Carla is fired and a new, strict maid/nurse is hired. This only makes Maddy more determined. After a brief dash outdoors (with no ill effects), she makes a plan. Ordering plane tickets online, she convinces Olly to join her on an adventure. But could it be her last one?

 

 

The producers were truly creative with the casting of this story’s heroine. You might think they’d go with a waif-like model in order to convey Maddie’s fragile condition, perhaps wane and sickly. Stenberg is quite the opposite, her Maddie is an energetic, healthy girl. Beyond appearances, she shows us every emotion through her expressive  eyes and body language. We see her go from a timid mouse to roaring lioness. It’s no wonder that Olly is quickly smitten. Robinson is a teen dream, as if just yanked out of a “boy band”. But her makes Olly more than a fantasy beau, especially as he expresses his frustration with his family’s struggles. Rose makes the best of her role that’s close to being the film’s “bad guy” (other than those deadly germs). There’s a soft tenderness in her scenes with Stenberg, but that dissolves quickly when the outside threatens Maddy’s safety. The opposite may be Reguera as Maddy’s nurturing pal, the “good cop” to Pauline). She’s also protective of Maddy, but often she’s an encouraging giggly older sister. This brings extra depth to her dismissal scene, as if Carla’s being torn from her own flesh and blood.

 

Unfortunately the “deck is stacked” against this engaging cast, their efforts blunted by slack direction and a soggy script. The impact of the romance is dulled by some narrative choices that don’t work. For instance, how can you make texting work on film? At first we see the replies pop up and animate, much like thought “balloons” in a cartoon or comic book. And we hear the actors’ voice reciting them. Then we see them reciting the text to each other. But to show that this is happening in their minds, the setting is the interior of one of Maddy’s architectural assignment models, complete with a mute wacky astronaut (’cause he’s protected from the environment too, get it?). When the two leads are really sharing the same space, they discuss math, while cute subtitles reveal what they’re really thinking (homage to a Best Picture Oscar winner from 40 years ago, or rip-off?). Oh, and we get a cutesy animated intro to SCID at the film’s start (blood cells with eyes and fists, oh boy). And when the film makers aren’t subjecting us to cloying, precious bits of whimsy, we’re pummeled by dialogue culled from the Facebook platitude meme shop (“Life is more than just living”, etc.). The “big escape” seems implausible (they get through all that airport security without a blip) and the final confrontation has no real emotional pay-off. Maybe this was to take the shiny gleam over the big end dissolve, but the story just runs out of any dramatic juice. In all, there’s just not much, not much to EVERYTHING, EVERYTHING.

1.5 Out of 5

 

Tune into the Paul Harris Show on 550 KTRS AM to hear me review this and other current films on Friday, May 19 at 4 PM. To get the live stream click here.