Tag Archives: 2.5/5

Ralph Breaks the Internet

Coming 6 years after the surprise breakout hit Wreck-It Ralph, Ralph Breaks the Internet reunites us with the titular video game character (John C. Reilly) and his best friend Vanellope von Schweetz (Sarah Silverman). When the steering wheel for Vanellope’s Sugar Rush game breaks, the two must go online and traverse the World Wide Web in order to track down the hard-to-find replacement part. During their journeys, they run into various citizens of the digital world, including the head of a popular video site called BuzzzTube (Taraji P. Henson) and the head racer of a video game called Slaughter Race (Gal Gadot).

Walt Disney Animation Studios isn’t typically known for their sequels (this is their first since Fantasia 2000) and given how strong their track record has been since Wreck-It Ralph‘s release, it’s difficult not to feel a bit disappointed by this film. Compared to recent releases like Frozen, Zootopia, and Moana, Ralph Breaks the Internet isn’t up to par in terms of narrative quality and seems like it’s destined to have less staying power in the long run. Sure, kids may be excited to see the overall-wearing oaf once again but if you ask them 5 years from now whether they’d like to watch Wreck-It Ralph 1 or 2, I doubt anyone would be adamant about this particular entry.

Naturally, the most memorable aspect of this movie is the digital depiction of the Internet as a physical world in which avatars of human web surfers zip around from one website to another. This setting is filled with personifications of online scenarios we encounter everyday; for example, a character named KnowsMore (voiced by Alan Tudyk) exemplifies a search engine whose autofill function is humorously over-aggressive. The film’s funniest sequence finds Vanellope in Oh My Disney, a place for all things Disney in which she meets all of the famous Disney Princesses and they cleverly dissect the tropes associated with their characters.

Besides this stand-out setpiece, which was already spoiled thoroughly in the film’s trailer, there aren’t nearly enough subversive touches or tongue-in-cheek laughs to keep the comedic side of the story afloat. The script, penned by co-director Phil Johnston and Pamela Ribon, is packed with contrivances that pull our lead characters from one location to the next but the narrative begins to feel laborious by the third act. This is a screenplay that desperately could have used either some trimming or some “punch-up” (dialogue re-written for comedic emphasis) to make the plot-heavy elements a bit more palatable.

Despite the lack of humor, this movie has a worthwhile message for kids about friendship and allowing best friends to find their own path while still maintaining a relationship with them. Compared to last year’s abysmal The Emoji Movie, another animated film filled with product placement that attempts to create a digital version of the World Wide Web, Ralph Breaks the Internet clearly has the moral high ground. Unfortunately, it seems the creators couldn’t quite re-capture the spark and spontaneity of its predecessor and the result is a passable but relatively forgettable entry in the animated Disney canon.

Score – 2.5/5

Coming to theaters this weekend:
The Possession of Hannah Grace, starring Kirby Johnson and Shay Mitchell, is a supernatural horror film that follows a policewoman who encounters unexplainable events while working a graveyard shift in the city morgue.
Bodied, starring Calum Worthy and Jackie Long, follows a graduate student who becomes immersed in the fiercely competitive world of battle rapping while working on his graduate thesis.
Screening at Cinema Center is Wildlife, starring Carey Mulligan and Jake Gyllenhaal, which is the directorial debut from actor Paul Dano that centers around a struggling family in 1960s Montana.

Reprinted by permission of Whatzup

Bohemian Rhapsody

Freddie Mercury and his Queen bandmates get the biopic treatment in Bohemian Rhapsody, an occasionally inspiring but generally middling overview of the arena rock group and its larger-than-life lead singer. Creative differences between the real-life band’s surviving members and Sacha Baron Cohen, who was originally slated to play Mercury, have loomed over the production since 2010 and it’s no big surprise that the band ultimately favored a more play-it-safe approach with the material. With a rousing soundtrack and a litany of on-the-road montages, die-hard Queen fans will have plenty to enjoy in this film but those looking for a deeper dive will likely be disappointed.

We’re introduced to Mercury (Rami Malek) as he meets guitarist Brian May (Gwilym Lee) and drummer Roger Taylor (Ben Hardy) the night that they serendipitously find themselves in need of a new lead singer. With the addition of bassist John Deacon (Joseph Mazzello), the group re-forms under the name Queen and begins selling out shows around the world after the success of their debut album. The film skims through the highs and lows of the band’s career but tends to focus on the struggles of its elusive lead singer, including his atypical relationship with girlfriend Mary Austin (Lucy Boynton) and his hard partying lifestyle that would eventually drive a wedge between himself and the group.

The cast, aside from the distracting presence of Mike Myers, is well-realized and each performer does solid work in their respective roles but it’s Malek who shines brightest in the spotlight. He gives an appropriately commanding performance that’s worthy of the towering persona that Mercury exuded in real life and by the time we get to the iconic Live Aid performance, Malek is practically indistinguishable from the real Freddie as he struts around the stage. In addition to mastering Mercury’s slinky physicality and stunning vocal range, Malek also digs past the singer’s haughty exterior to reveal a wounded soul with more insecurity than he’s willing to let on.

The biggest issues with Bohemian Rhapsody tend to come from behind the camera and generally center around the thoroughly unimaginative storytelling from director Bryan Singer, who was fired about one month before filming ended. From the introduction of Freddie’s disapproving parents to the pleas from Mary Austin that Freddie’s “burning the candle at both ends”, Singer leaves no rock-biopic cliché unturned; he follows a well-worn formula that even those unfamiliar with the genre will be able to pick up on early in the film. It’s also apparent that Singer has little to say about the band’s legacy and it seems the influence of May and Taylor as executive producers has steered the film towards hagiography.

It’s unfortunate that the life of a musical firebrand like Freddie Mercury has been sanitized to this degree but this is clearly the kind of innocuous product that 20th Century thought would play best to general audiences. Even though the script is full of moments that range from unlikely to downright false, screenwriter Anthony McCarten does land some quality zingers as Mercury and crew snipe with higher-ups in the record industry. Bohemian Rhapsody is at its best when it focuses on the hard work of four musicians who crafted 15 studio albums in their relatively limited time together but as an examination of a rock icon, it’s regrettably tame and toothless.

Score – 2.5/5

Coming to theaters this weekend:
The Grinch, starring Benedict Cumberbatch and Rashida Jones, is the latest update on the 1957 Dr. Seuss book about a grumpy creature who’s out to ruin Christmas for the nearby people of Whoville.
The Girl in the Spider’s Web: A New Dragon Tattoo Story, starring Claire Foy and LaKeith Stanfield, follows hacker Lisbeth Salander as she squares off against a foe who has ties to her past.
Overlord, starring Jovan Adepo and Wyatt Russell, is a World War II horror film that pits American paratroopers against violent creatures bred from a secret Nazi experiment.

Reprinted by permission of Whatzup

Halloween

Michael Myers is back to his murderous ways again with this latest installment in the Halloween franchise that forgoes all of its previous movies with the exception of the 1978 slasher classic. The idea of positioning Halloween (confusingly, the third film in the series with that title) as a direct sequel set 40 years after the original is one of several potentially rewarding concepts that went into the development of this newest entry. Unfortunately, these decisions are overridden by the same trite storytelling techniques that we’ve seen countless times both in this series and in other slasher films for the past four decades.

We’re re-introduced to Laurie Strode (Jamie Lee Curtis) as a grandmother who is still traumatized from her initial run-in with Michael Myers but who has also been actively preparing for what she sees as his inevitable return. We learn that this fixation with the masked killer cost her two marriages and the relationships with her daughter Karen (Judy Greer) and her granddaughter Allyson (Andi Matichak). When the prison bus that’s transporting Myers (played by both Nick Castle and James Jude Courtney) crashes, Laurie seeks to protect her family at all costs as the seemingly unstoppable evil descends upon Haddonfield once again.

Director David Gordon Green has helmed both independent dramas and mainstream comedies in his prolific career but his inexperience with the horror genre is evident early on in Halloween. Whereas John Carpenter sets things up brilliantly with an unforgettable opening in the 1978 original, Gordon Green isn’t as successful in creating the same kind of chilly atmosphere that’s integral for scary movies to function. To his credit, he does cleverly invert some key moments from its predecessor for the sake of juxtaposition but there aren’t enough new ideas that stand independent from the ones that Carpenter developed all those years ago.

It’s a shame that the script, co-written by Green with Jeff Fradley and comedic actor Danny McBride, relies so heavily on the kinds of well-worn cliches that they’d probably be better off skewering instead of embracing. Any of the comedy that does turn up, like two cops bickering about banh mi sandwiches as they wait for Myers to appear, feels forced and completely inorganic to the scenarios that arise from the plot. There is a meta moment, when a hapless teen unwittingly asks Michael “have you ever really liked a girl and you just couldn’t have her?”, that hints at a much more self-aware and potentially fun film that could have been.

Instead, we’re treated to the same setups and slayings that I suppose are integral to this genre but each death seems to have less meaning as the runtime moves along. In the 1978 original, Michael kills 5 people; here, I lost count about 30 minutes in. It doesn’t help that the editing is particularly slap-dash and unexpectedly sloppy in places; I counted multiple instances in which the lines that an actor was speaking didn’t match with the movement of their mouth. Fans of this series may respond positively to this newest entry that also could reboot the franchise but for more casual moviegoers, Halloween is likely to come across as a rather hollow experience.

Score – 2.5/5

Coming to theaters this weekend:
Hunter Killer, starring Gerard Butler and Gary Oldman, follows a group of Navy SEALs aboard a submarine as they attempt to rescue the kidnapped Russian President.
Mid90s, starring Sunny Suljic and Lucas Hedges, is a coming-of-age comedy-drama written and directed by Jonah Hill about troubled teenagers skateboarding through 1990s Los Angeles.
Opening at Cinema Center is Puzzle, starring Kelly Macdonald and Irrfan Khan, which is a romantic drama about a suburban wife and mother who uncovers a new found passion for solving jigsaw puzzles.

Reprinted by permission of Whatzup

Night School

From the Adam Sandler-centric Billy Madison to the one-two combination of 21 and 22 Jump Street, the idea of grown adults returning to high school is a concept that has played out in plenty of comedies over the years. Returning to the well once more is Night School, the new Kevin Hart vehicle (or HartBeat Production, according to a pre-credit logo) that does precious little to distinguish itself from the class. Along with co-star Tiffany Haddish, Hart brings his typical level of charm and dedication to the film but even with six credited writers on board, there just aren’t enough laughs built in to the script to make this trip back to school worth taking.

Hart stars as Teddy Walker, a barbecue grill salesman looking to move into a career in finance to keep pace with his successful fiancé Lisa (Megalyn Echikunwoke), despite the fact that he lacks a high school diploma. With the hopes that he can charm his way into a work-free GED, he attends night school classes at the same school he dropped out of years prior but is met head-on by the no-nonsense instructor Carrie (Tiffany Haddish). Together with his eccentric group of classmates, Teddy must learn to overcome the same obstacles that precluded him all those years ago.

The film gets off to a promising start, as director Malcolm D. Lee sets Teddy up as a likable guy who seems to have peaked early on in life, but each subsequent character is given less and less dimension by comparison. By the time we get to the first night school class, supporting players like Rob Riggle and Mary Lynn Rajskub are relegated to one or two introductory lines that don’t create enough of a foundation upon which to build clever jokes. The movie’s would-be climax, a late-night school break-in to steal answers to a practice test, spreads its humor thin across half a dozen characters and ends with a gross-out gag that feels out of place and off-putting.

Most of the laughs that land come from the verbal sparring between Hart and Haddish that’s established during their first scene together, in which she refers to him as a “burnt leprechaun”. As is typical for most Hart comedies, his diminutive stature is the center of quite a few jokes; I also appreciated the imposing low angles that cinematographer Greg Gardiner used to juxtapose the height difference between Hart and the film’s more domineering characters. This is especially evident in an early scene with the strict principal played by SNL‘s Taran Killam, whose bat-touting antics seem to be a riff on the Morgan Freeman character from Lean On Me.

Like its main character, the biggest problem that Night School faces is a critical lack of focus. Clearly the film is going for a Breakfast Club vibe where each character has their own dilemma to solve but with two major comedic talents at the forefront, there isn’t enough screen time for a whole class of students. Perhaps if Teddy had been paired with just one classmate, like the one played by Romany Malco (the two shared a hilarious scene in The 40-Year-Old Virgin), then there could have been some tighter comedic writing. Night School is good-natured and has an endearing message at its core but as a laugh-out-loud comedy, it doesn’t quite make the grade.

Score – 2.5/5

Coming to theaters this weekend:
Venom, starring Tom Hardy and Michelle Williams, is the latest Sony-backed Marvel superhero movie that focuses on a journalist who gains superpowers after coming in contact with an extraterrestrial parasite.
A Star is Born, starring Bradley Cooper and Lady Gaga, is the third remake of the 1937 original film that follows the romance that develops between a road-worn country musician and an up-and-coming singer.
Also opening at Cinema Center this weekend is Blaze, starring Ben Dickey and Arrested Development‘s Alia Shawkat, which is a new biopic directed by Ethan Hawke that covers the life of country musician Blaze Foley.

Reprinted by permission of Whatzup