Featuring: Jim Carrey, Frank Langella, Judy Greer, Cole Allen, Juliet Morris, and Catherine Keener
Jeff:“Please don’t use a bad word when you can use a good word.”
Released recently on DVD is the new comedy television series, “Kidding – Season One” (2019) produced by director Micheal Gondry and featuring Jim Carrey in the central role of Jeff a children’s television presenter. This is the first time Carrey has appeared in a narrative television series as well as a high-profile return to the limelight since the slight misfire that was “Dumb and Dumber To” (2014). Carrey himself has been on a sort of self-discovery so for him to appear in a series like “Kidding” is not surprising as in a way it covers some of the same kind of ground he has been looking at in his own life.
“Kidding” is set in Columbus, Ohio and follows Jeff Piccirillo, aka beloved children’s television presenter Mr. Pickles, appreciated by children and parents alike. Mr. Pickles anchors a multimillion-dollar branding empire, but he faces a personal tragedy and difficult family life.
Jeff Pickles, the children’s television show host played by Jim Carrey should not be confused with Fred Rogers the person responsible for “Mister Rogers’ Neighbourhood” (1968-2001). But the two share some similarities, they both bring a sense of comfort to children, they both are viewed as beacons of goodness by the general public, including adults who grew up watching them. Of course what this show posits is what if a Mr Rogers-like figure suffered, what for some would be a loss that might never be recovered from.
This new series is not only a study of a man who is eternally framed by his public persona, especially one that has been tested by the loss of a child. It analyses his own family, the fact that their own lives are framed by his. It also looks at the reality behind a children’s television show, the rudeness as well as deparavity that exists when there are no children around, remember these are still adults in an adult world which is one of the key points of the show. This is an adult comedy/drama that works well when it focuses on Careys existential angst as most of these types of comedies do.
The performances are all excellent and if anyone had any doubt that Jim Carrey does not know how to build a character as well as marrying drama with comedy then you have missed the point of not only this show but almost his entire career. Supported by two great character actors in Judy Greer and Catherine Keener this is a show that could go far, as long as it finds a way to get past some inconsistencies that almost all plot driven.
Episodes:
Green Means Go: Jeff Pickles thinks it’s time to talk about death on his show. His producer feels that Mr. Pickles the persona and Jeff Pickles the person should remain separate. Deirdre punishes Maddy for not eating her veggies.
Pusillanimous: Jeff makes a rash decision that could affect the ability of the show to continue. Seb strategizes how to rebuild Jeff’s image. Deirdre tries to learn more about what’s happening while Maddy is at her piano lesson.
Every Pain Needs a Name: Jeff tries to fix his heartbreak. Deirdre deals with her daughter’s developing medical condition. Seb outlines the future of Mr. Pickles’ Puppet Time without Jeff. Jeff tries to get Will off pot by giving him a hobby.
Bye, Mom: Jeff deals with a one-night stand. Jill learns that Jeff has been sending money to someone behind her back and confronts him. The New You: Jeff decides to step out of his comfort zone. Seb tries to get Jeff on board with new changes for Puppet Time, as well as his ice skating show – Pickles On Ice, starring Tara Lipinski.
The Cookie: Will tries to honor his brother in a unique way. Jeff decides to make some changes to Pickles on Ice. Deirdre lets her anger out on Maddy. Jeff tries to convince Vivian to continue with her treatment.
Kintsugi: Jeff starts to speak more honestly on Puppet Time as Seb panics that Jeff will soon have to appear on live television. Deirdre and Scott get a visitor from Japan – Mr. Pickles-San. The Pickles have Thanksgiving as a family.
Philliam: Jeff meets the son of his pen pal, an inmate on death row, and decides to help him.
LT. Pickles: Jeff wonders if he’s having a breakdown or a breakthrough. Will gets into trouble at school. Scott confronts Deirdre about her feelings for Mr. Pickles-San. Seb decides to make a last-minute change to Pickles on Ice while Jeff is away.
Some Day: Everyone in Jeff’s life deals with the results of the speech Jeff made on national television.
Natalie Portman plays an astronaut who returns to Earth after a lengthy mission and begins to slowly unravel and lose touch with reality. She begins an affair with a fellow astronaut (Jon Hamm), going into a downward spiral as she loses her connection to her husband (Dan Stevens) and family.
FX has released the official full trailer for “American Horror Story: 1984,” the ninth season of its horror anthology series from producer Ryan Murphy. The new season draws much inspiration from 1980s slasher films and introduces a new villain in the form of ‘Mr. Jingles’.
Series alums Emma Roberts, Cody Fern, Billie Lourd, Leslie Grossman, and John Carroll Lynch are all set to return along with new cast members Olympic gold medalist Gus Kenworthy, Zach Villa, DeRon Horton, Angelica Ross and “Glee” alum Matthew Morrison.
Trailer: “Star Wars: The Rise of Skywalker” (2019)
Daisy Ridley, John Boyega, Oscar Issac, Adam Driver, Lupita Nyong’o, Domhnall Gleeson, Kelly Marie Tran, Joonas Suotamo, Billie Lourd, Naomi Ackie, Richard E. Grant, Dominic Monaghan, Matt Smith, Keri Russell, Mark Hamill, Anthony Daniels and Billy Dee Williams star while the role of Leia Organa will once again be played by Carrie Fisher, using previously unreleased footage.
“Star Wars: The Rise of Skywalker” opens in cinemas December 20th.
Featuring: Taron Egerton, Jamie Bell, Richard Madden, and Bryce Dallas Howard
Bernie Taupin:“Don’t you want to just sing without this ridiculous paraphernalia?”
Elton John:“People don’t pay to see Reg Dwight! They pay to see ELTON JOHN!”
Critical Commentary:
There has rarely been a movie like this week’s rock biopic “Rocketman” (2019) that attempts to capture a feeling of growing up and becoming one of the major figured in popular music over the past fifty years, this is less a traditional biopic, more a rock musical that is not only R-rated but at least attempts to address some of the more colourful and scandalous parts of Elton John’s early life and career. “Rocketman” could also assist from the huge box office, as well as awards success that last years “Bohemian Rhapsody” (2018) reaped although other than the subject there could not be two more movies that are completely different in terms of the way truth and fiction are portrayed to an audience through very different narratives that make the focal point the music, not necessary the person about whom the movie is primarily based on. In this case “Rocketman” does make Elton John the focus but frames his story through his own fantasy thereby making the truth malleable which means there are events in this movie that never happened or occurred differently other than what we see onscreen, which is an authentic device that can be forgiven.
Of course, like “Bohemian Rhapsody”, this new movie has an X factor that will play a large part in its success, that is the music that has permeated popular culture since the early 1970s which means that audiences that view the movie will recognise one of the major framing devices. I believe that the very defining feature as well as the reason for “Bohemian Rhapsody” to be the global success it was came down to audiences loving the music, it was not only an entry point but something that was engaging. Whilst Rocketman” does not have any of the actual magic of a tune like ‘We will rock you’, ‘We are the champions’, ‘Bohemian Rhapsody’ or ‘Radio Ga Ga’ it does have some truly beautiful lyrics unlike many songs before or since, like John’s music it is also this movies strongest asset.
“Rocketman” also has many more elements that lends to its success, two of these are director Dexter Fletcher and screenwriter Lee Hall who have been around for quite some time, Fletcher firstly as an actor and now an accomplished director and Hall who has been behind some very good movies, but his breakout was the international success, “Billy Elliott” (2000). What is unique with this movie is how the director has embraced the screenplay as well as the music to deliver something that is unique, a story that is contained to mostly John’s rise as well as the many mistakes he made through to an obvious close in his battle with sobriety that marked a new beginning for him. Fletcher uses all his skill and the technique he has learned with his previous efforts in creating a movie based around music in “Sunshine on Leith” (2013), using a true story in “Eddie the Eagle” (2015) as well as using comedy to hit home serious points throughout a narrative that at times delves into fantasy. It is not an understatement to make the point that it seems like this is the movie that Fletcher has been working towards his entire life.
“Rocketman” tells the story of Elton John’s life, from his early years in Pinner, Middlesex as a prodigy at the Royal Academy of Music, through his influential and enduring musical partnership with lyricist Bernie Taupin, as well as his struggles with depression, substance abuse, and acceptance of his sexual orientation.
To portray Elton John as well as really sing many of his signature hits would have initially been a dauting task but to say they sound their man in Taron Egerton is an understatement. Egerton has been making movies for some time now, but to think that he had a performance in him that is seen in “Rocketman”, few could have seen this coming. Not only does he inhabit the true person whilst not doing a pale imitation, he also sings the songs himself which in a two-hour movie that is mostly music is no small task. This is a movie that is loaded with stunning performance such as Bryce Dallas Howard as John’s mother, Jamie Bell as Bernie Taupin not forgetting Steven Mackintosh as John’s Father, Stephen Graham as Dick James and a huge amount of others. This is the first movie that I have seen Bryce Dallas Howard appear in where I have completely believed who she is appearing as, here she has built a character from the ground up, completely inhabiting it as well as giving a tour de force performance that I believe will be awarded in the year to come. The other stand out is Jamie Bell as Taupin who has the most chemistry with Egerton as well as the most screen time. Ever since his breakout performance in “Billy Elliott” Bell has proven himself to be a versatile performer but here he plays a true person with originality, spontaneity as well as singing which again is something to be admired.
Even though this is a movie that defies its genre as well as dipping many tine into fantasy the events of the film are told in flashback with the frame narrative of Elton in an alcoholics anonymous meeting. One of the aspects of this narrative is how it legitimises the idea of recovery, analysis as well as the nature versus nurture elements that come into play, also the old adage of you can’t pick your family but you can pick your friends. It also delves into the changing nature of what it means to be gay and how that has changed in terms of the reflection of that with society in general. A large part of the narrative is also given over to the music of John to reflect what is occurring in any given scene which may seem an obvious thing to do, but the fact that this happens is a nod to the great song writing that was accurate at the time of writing to show what John and to a lesser extent Taupin were going through at the time.
In terms of authenticity what makes this movie different to other biopics is that for a large part of the running time we are living a fantasy, that is we are inside John’s mind, everything is interpreted through his filter. What this means is that events as well as relationships and any meaning can be warped but without artistic loss which is something that does not happen with other biopics, of musicians or otherwise. This kind of distinction only assist when evaluating the merits of this movie especially when there can be an argument about what the movie means.
Whilst I am not the biggest Elton John fan I not only loved this movie but thought it was a vast improvement over “Bohemian Rhapsody” in many ways. It not only spoke to a deeper truth but it explored the same kinds of themes but in a much more natural way that explains much in the way John lived his life with a burden that few can really understand. It also illustrates mental health in a way that says its ok to ask for help no matter who you are, that driving people away is something humans do, but we also forgive as well as welcome new experiences that can shape not only our future but others as well. This is a very positive movie experience that offers audiences no matter if they are fans of John’s music or not something memorable in almost every way imaginable.
Technical Commentary:
“Rocketman” arrives on 4K UHD Blu-ray from Paramount Pictures in a two-disc 4K UHD + Blu-ray set. The discs are housed in a standard black two-disc case with identical slipcover artwork. The disc loads to an animated main menu featuring traditional navigation options.
Video
“Rocketman” arrives on 4K Ultra HD Blu-ray with an upscaled 2160p 2.40:1 transfer. The film was apparently shot at 3.4k and finished on a 2K Digital Intermediate. The image is comparable to the 1080p SDR Blu-ray, but detailing features subtle refinements most may not see at first. Where this image really comes to life is with the extra color range Dolby Vision affords. While the details may not rise much higher than the standard Blu-ray, the Dolby Vision HDR push certainly edges this one over its counterpart for a perfectly splendid presentation.
Extras
All bonus features are found on the included SDR Blu-ray disc.
Extended Musical Numbers (HD 14:48)
Deleted and Extended Scenes (HD 19:39)
It’s Going to be a Wild Ride: Creative Vision (HD 7:08)
Netflix has announced an October 11th premiere date on the service for the project which is being written and directed by series creator Vince Gilligan.
The official synopsis reads: “In the wake of his dramatic escape from captivity, Jesse must come to terms with his past in order to forge some kind of future.” The teaser, however, features no Jesse, only a scene with Skinny Pete being interrogated by the police.
Emmy winner Aaron Paul is reprising his role for the film, though it’s unclear what other characters from the Breaking Bad universe will appear in the series.
Featuring: Jonathan Groff, Holt McCallany, Anna Torv and Hannah Gross
“‘Cause I gonna make you see There’s nobody else here No one like me I’m special, so special I gotta have some of your attention give it to me” – ‘Brass in pocket’ – The Pretenders
It has been two long years since David Fincher released the excellent “Mindhunter” onto the world and it was three years before that when he directed the Academy Award nominated “Gone Girl” (2014), an adaptation of Gillian Flynn’s well regarded novel about a possible murder, as well as an unhinged relationship between a man and a woman – called marriage. Now comes something of a return with the new season of the Netflix television show “Mindhunter” (2017-present), returning to the world of adaptation and the non-fiction book by infamous FBI profiler John Douglas. Douglas as well as his work has been the inspiration for a number of fictional characters and work, including the now legendary book and film, ‘The Silence of the Lambs’. Douglas is famous for profiling serial killers as well as being an advocate for the West Memphis 3 and Amanda Knox, here in this show his name is changed, but this is definitely part of his story.
This new season the show like the previous one takes many of the real life serial killers as well as situations that Bradley found himself in, that he wrote of and fictionalizes certain aspects, which means there is more of a license with names and places. However in saying that many of the real serial killers are portyated, as well as the interviews that took place over the years that “Mindhnter” is the subject of. This is not the first foray into television for Fincher, previously he helped bring the US version of Lynda La Plante’s “Prime Suspect” (1991 – 2006) from the UK to the small screen – this only lasted one season as well as having a protracted journey, so it was one and done. This new series is a very different beast with it seeming more personal as well as Fincher having more freedom given by Netflix to make something special that will be of a much higher quality.
Having moved on from the previous time period we now find ourselves in an unsentimentalised 1981 — still in the early days of criminal psychology and criminal profiling at the Federal Bureau of Investigation — “Mindhunter” still firmly revolves around FBI agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), who interview imprisoned serial killers in order to understand how such criminals think and apply this knowledge to solving ongoing cases. We return to Ed Kemperer while visiting new inmates in Charles Manson and David Berkowitz as well as a host of others.
Fincher is such a gifted director that I wish he was more prolific, so it is when he does bring something to the screen it should be treated with much deserved respect. Here he is bringing a third part to an unofficial trilogy of serial killer projects. The first, his now classic film, “Seven” (1995), the second, his procedural “Zodiac” (2007) and now this, the longer form “Mindhunter”. What is interesting is that the further we move through these three very different but similar projects they move closer and closer to some kind of truth as well as being more about the hunters of the killers than the actual killers themselves which shows a more consistent talent in telling stories. It is means that Fincher is more interested in exploring themes that run through all of these incredibly scary as well as poignant stories.
While Fincher directed almost the entire first season he has opened to only direct the first three episodes of this new season. Two other excellent directors have been brought on to complete his vision in New Zealander Andrew Domink and great neo noir African American Carl Franklin who are both professionals and pay off the back part of season extremely well In parts you would be forgiven for thinking you were watching nine seperate movies the quality is so high.
In terms of narrative as well as the plot, it deals with some extremely grizzly details, but it also looks at bureaucracy within the FBI, sexual relationships between same as well as the opposite sex, politics of the day and deep psychological details. Even though the narrative is within nine episodes each episode is dense with information as well as being linked with a very definite ‘B’ story that will comes to light in a very measured way. In relation to themes as well as storylines you will recognize some of these as well as tropes, what is interesting is that this is the time period where they originated so this is an origin story of sorts. What we see is the origins of serial killer profiling as well as those techniques put into practice, we also see some of the jargon you will recognize being formulated and explained to lawyers and others for the first time – it is a fascinating trip down some dark alleys that will leave you wanting more.
For a nine episode second season there are a surprisingly small amount of permanent characters that we follow closely, which could be off putting if they were not all intensely likeable as well as fascinating. We also follow each of the arcs of those characters through the run of the show. The genius is in the casting; I imagine that there were many high profile actors interested in the main roles of Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany). Even though the flashier as well as main part is Jonathan Groff’s, it is character actor Holt McCallany who is the real star of the show. McCallany, is a Fincher regular, but this is a show where he has the time to really work through an arc as well as get in the mind of his character, with all this he really shows what he is capable of, I only hope there is a second season for him to re-enter this world of serial killers. The other casting is the great Australian actress Anna Torv who plays a Doctor of Psychology who heads the team directing them in clinical ways to explain jargon as well as create it with the boys in tow. Make no mistake Torv ends up being the ‘boss’ of sorts as well as a kind of moral centre.
This show is not just concerned with the hunting of serial killers in the 1970s but is also concerned with how the current climate of serial killers is viewed by the hard work as well as bravery of early pioneers who stood on the shoulders of giants to arrive at a larger picture of why serial killers exist as well as how to catch them, then treat them. This is an antecedent of any serial killer show or movie ever made, it also makes you think about the things people do behind closed doors as well as peoples fear that can snowball to ruin real peoples lives.
This is one of the shows of the year; its talkier than you might expect as well as funnier as well – which is a relief from some of the interviews the team carry out. There is also a heavy dose of family life which helps humanize the FBI agents, as they deal with their stresses much differently as they at much different stages of their careers and lives. I can honestly say this show will surprise you as wel as entertain you and once you start you will not want to stop until the end.
“Mindhunter – Season Two” is streaming now on Netflix.
Episodes:
Amid sweeping changes at the BSU, Holden deals with severe repercussions from his close encounter with Ed Kemper.
To glean insight into the elusive BTK killer, Bill and Holden interview Son of Sam, who makes a startling admission.Amid sweeping changes at the BSU, Holden deals with severe repercussions from his close encounter with Ed Kemper.
Bill gets drawn into a horrifying crime that hits close to home. Holden receives an intriguing offer while in Atlanta to interview a pair of killers.
Holden develops a controversial profile in the Atlanta slayings. Wendy conducts her first interview and finds being on the front lines suits her well.
Bill’s devastating family situation spills over during his interview with Holden’s holy-grail subject: Charlie Manson. Wendy’s new romance heats up.
The FBI officially sends the BSU to Atlanta to investigate the missing and murdered children. Wendy second-guesses her interview methods.
Hitting a dead end, Holden suggests a bold plan to draw the killer out. Bill’s family faces more scrutiny. Wendy chafes as her job begins to shift.
Red tape hinders Holden’s plan to narrow his suspect pool. A weary and heartsick Bill tries to connect with his son. Wendy rethinks her relationship.
The investigation zeroes in on a prime suspect who proves adept at manipulating a volatile situation to his advantage.
20th Century Fox has premiered a new and more action-focused (and a bit more spoilery) IMAX trailer for “The Lost City of Z” director James Gray’s long-awaited new sci-fi epic “Ad Astra” which opens September 20th. In addition, there’s a new featurette.
Gray and Ethan Gross (“Fringe”) penned the script in which astronaut Roy McBride (Brad Pitt) travels to the outer edges of the solar system to find his missing father (Tommy Lee Jones) and unravel a mystery that threatens the survival of humans on Earth.
His journey will uncover secrets that challenge the nature of human existence and our place in the cosmos. The story is said to be partly inspired by Joseph Conrad’s “Heart of Darkness” and aims to include some of the most realistic depictions of space travel put in a movie.
Ruth Negga, Liv Tyler, Donald Sutherland, Jamie Kennedy, Kimberly Elise, John Ortiz and John Finn co-star in the film which Pitt, Gray, Marc Butan, Anthony Katagas, and Rodrigo Teixeira produce.
The series is set five years after the events of “Return of the Jedi”, the three decade stretch of storyline “that hasn’t been explored at all, except in the Extended Universe says showrunner Jon Favreau.
It’s a galaxy still adapting to the sudden fall of the tyrannical Empire with no central government and gunfighters roaming the galaxy. The series is said to be inspired by the old samurai and western movies and aims for a production quality that will match that of the movies.
Pedro Pascal, Gina Carano, Carl Weathers, Giancarlo Esposito, Emily Swallow, Omid Abtahi, Werner Herzog and Nick Nolte co-star in the series along with the voice of Taika Waititi.
“The Mandalorian” debuts November 12th on Disney+.
Written by: Robert Mark Kamen, Matt Cook and Ric Roman Waug
Directed by: Ric Roman Waugh
Featuring: Gerard Butler, Morgan Freeman, Jada Pinkett Smith, Lance Reddick, Tim Blake Nelson, Piper Perabo, Nick Nolte and Danny Huston
FBI Agent Thompson:“Mike Banning, you’re being charged for the attempted murder of the President of the United States.”
Released this week in cinemas is the third part of a movie series that proves you cannot keep Gerard Butler down, at all, ever, in the uninspiring “Angel has fallen” (2019), a movie that harkens back to a time when most genre movies were big, dumb and predictable, this movie has all three of those descriptors in very large quantities. Whilst the first two movies centred around a secret service agent attempting to protect the President of the United States, first in Washington in the fairly successful “Olympus has fallen” (2013) directed by the very good as well as underrated Antoine Fuqua, then secondly in the less successful as well as mind bogglingly stupid “London has fallen” (2016) with Fuqua out (knowing the first one to be a massive fluke) replaced by Babak Najafinot suited to the genre at all. Now the third movie has replaced almost all of the previous cast (who have obviously decided that they really don’t need this on their resume) barring Morgan Freeman who in the most uninspired casting ever is now POTUS and of Gerard Butler who never turned a pay check down as well as retconning his present as well as his past giving (attempting anyway) him some depth with not only a wife (vastly younger of course), a baby and a Father, who seems way more interesting than the main character. It also attempts to make the movie a starrier vehicle by casting in support the completely wasted Jada Pinkett Smith, Lance Reddick, Tim Blake Nelson and Danny Huston who all are so much better than the material they have been given must have all been wishing for smaller parts, or at least being killed off very quickly.
“Angel has fallen” takes well-honed action tropes that have been developed over decades unloading them within the narrative of this movie seemingly random like in the very worst way possible as it is hoping that some of them will stick as well as trying to pass them off as original, which of course they are most definitely not. It also attempts to take current news stories and interweave them into this action genre narrative, which is like trying on a show two sizes too small. There is talk of fake news, Russian interference in elections, right wing influences on politics and a host of other ideas that come off as ad hoc which not only highlights the lightweight plot but it also cheapens those real elements by making the characters take them and use them for their own ends. There are also so many overused tropes within this narrative it is no wonder that it clocks in at an over two hour runtime, we see a best friend (never heard of prior to this entry) who is actually a bad guy, a long lost relative saving the day in the form of a Father who again has never been mentioned, a main character sidelined in this case the President in a coma, the main character being blamed for crimes he did not do, a main character operating outside the law, the vice-president attempting to seize power by being the architect of all the crime within the movie and a bunch of others. In fact a fun game might be to go through and counting how many tropes you are able to find. The problem is that in the past few years there have been so many great action movies that the genre has been redefined to such an extent that “Angel has fallen” seems like a relic from another century, which it is.
Co-written by Robert Mark Kamen, Matt Cook and Ric Roman Waug (the latter also directing) it is firstly surprising that with so many writers that something so trope laden as well as unsurprising and unoriginal could be produced, but that is a symptom of so many cooks in the kitchen. With so many people involved the product is normally what we find here, blandness, unsurprising plots, forgettable actions scenes and plot holes a mile wide.
The movie itself is based around Secret Service agent Mike Banning who finds himself framed for an assassination attempt on President Allan Trumbull. Pursued by his own agency and the FBI, Banning race’s against time to clear his name and prove that Salient global, a private military company is behind this homegrown terrorist threat.
“Angel has fallen” is led by Gerard Butler who over the past two decades has proven himself to be an adept hand appearing in countless action movies, he is definitely committed to his roles physically as he is here but in terms of actually portraying honest characters with real motivations he does have deficiencies. Butler seems to go from 0 to 100 at the snap if a finger but modulation is an issue, which may explain why he seems so consistent in these action movies with little subtly. The rest of the cast is filled out with some very good actors in the form of Morgan Freeman, Jada Pinkett Smith, Lance Reddick, Tim Blake Nelson, Nick Nolte and Danny Huston. All of these actors know exactly the movie they are in adjusting performance where required but this narrative offers them no favours. Oddly enough the only real female character played by Jada Pinkett Smith who is not only short changed but is abruptly dispatched for no real reason, it seems like the screenwriters and producers could agree she was not wanted which also goes to the nature of the movie, something that is afraid of being original and embracing alternate voices.
It would be damning this movie with faint praise to say that this is not a terribly made movie especially given the budget of US$80 million which is not a huge amount for a studio made action movie with some high profile actors as well as more than a few action scenes. However there are issues especially where the plot meets not only the narrative but also the way it treats real events as well as nodding its hat towards real politics, this is something no throwback action movie should ever do. The reason is that the movie you are watching goes from fantasy to some stark reality which this narrative and the people behind are unable to handle, it is like pulling on a ball of string, it will all unravel eventually which this does. The plot holes within the narrative become larger and larger until by the time finally comes there are so many unanswered questions you realise that the way the main character movies from area to area is to dissuade the audience from asking too many questions.
With all that taken into account this is still a fun movie to watch od you want to turn off, but its not something I would go to the cinemas to experience. It is an old fashioned B movie that will be best seen streaming or on DVD/Blu-ray, much like many of Butlers movies, which is expected but a shame and does not say much for this work to come.
Written by: Paul Mayeda Berges, Gurinder Chadha and Sarfraz Manzoor based on Greetings from Bury Park: Race, Religion and Rock N’ Rollby Sarfraz Manzoor
Directed by: Gurinder Chadha
Featuring: Viveik Kalra, Hayley Atwell, Rob Brydon, Kulvinder Ghir and Nell Williams
“Madman drummers bummers Indians in the summer With a teenage diplomat In the dumps with the mumps As the adolescent pumps His way into his hat With a boulder on my shoulder Feelin’ kinda older I tripped the merry-go-round” – Bruce Springsteen, ‘Blinded by the light’ (1973)
Well after the disappointment that was the hollow promise of Richard Curtis and Danny Boyles terrible “Yesterday” (2019) comes another music inspired film that instead of aimlessly using the music as a framing device as well as resting on the baby boomer nostalgia for music that at once seems present but irrelevant comes a mostly true story in the excellent “Blinded by the light” (2019) that shares other elements as well with it being based in the U.K., having a minority as the main character, in this case a Pakistani man and of course the heavy use of music. Instead of ‘The Beatles’ back catalogue we have a deep dive into the oeuvre of Bruce Springsteen who is not only arguably more relevant but has proven himself to be a talent into his late sixties, still putting out albums, performing for over three hours at his shows, conquering movies and now this year having his music in a movie that challenges what it is like to live in a State where being a minority automatically makes you different as well as a target. Where this film is infinitely superior as well as far more enjoyable is that it is set in the real world (mostly) of the 1980s as well as being taken from true experiences, being based on a memoir that frames Springsteen’s music as a Universal key to be accessed by those willing to listen, picking up on messages that are not unique to their origins of New Jersey, USA but speak to a wider range, in this case a young man living in Luton, England who hails from another County, who is feeling pressure from almost all aspects of his life to ‘fit in’. This is not only a wonderful time capsule that harks to a time before the internet and all its trappings that perfectly illustrates the power of music, friendship, family, religion and politics, something Springsteen has been writing about for over half a century.
“Blinded by the light” is based on the book Greetings from Bury Park: Race, Religion and Rock N’ Roll written by Sarfraz Manzoor, who here is a co-screenwriter, published in 2003 that not recounts his life as a young man but also his development as well as his love for Bruce Springsteen, something he has in common with this reviewer. To be fair the film covers much about Thatcher’s England, such as the unemployment, the marginalizationof minorities and a host of other elements from the time, but it is also a look at what it was like to live as a young man of colour who feels like he doesn’t fit in, something not unique to the time as many young people of both genders feel this all too acutely, especially in 2019 with the advent of social media. Of course across the sea Reaganism had taken hold, Springsteens music of the time was how he felt about that, all the while become a beacon with his stratospheric album ‘Born in the USA’. What “Blinded by the light” shows audience is that there was a time when young people could sort this pressure out themselves not only using art but communicating with each other as well as their family members. We also witness real racism not only the overt bullying element but also the fear within Javed’s family of losing their identity as being from Pakistan, something even more relevant in 2019. Where and how to immigrants fit into a new country that is as foreign to them as it would be to live on another planet? There are no simple answers just mechanisms to assist with coping with real issues, one of those is art, for Javed it becomes Bruce Springsteen.
Co-written and directed by Gurinder Chadha whose biggest success to date was the football inspired “Bend it like Beckham” (2002) which has a lot in common with this new film, however where Beckham was inspiring as well as fairly straight down the line this new movie seeks to do two things that are a little over the top, that is to explain what fandom means while at the same time going too far to explain why Springsteen’s music is so important to so many people. The trick with Springsteen is to listen to his words and music both at the same time but as separate entities as well, this is a paradox which is solved by seeing the man live, where he ruminates between songs on a variety of topics, what works so well for him, here seems a little forced. This is the only weakness of the film, but it is a big one as there is nothing more boring and forced than a fan explaining his fandom, why something is so important should be evident in the work. There is too much quoting, sentimentalising and nods to the audiences who will either have knowledge of the music or will not. The use of music would have been far better utilised as a compromise to the drama and comedy of which there would have plenty without the constant nodding to Springsteen. In fact the best use of Springsteen’s music has come in movies that use it to highlight not to insinuate, or take his text, creating something new as is the case with Sean Penn’s classic “The Indian runner” (1991) which used a song of the great man’s (“Highway Patrolman”) turning it into a narrative film.
“Blinded by the light” is set in 1987, Javed Khan and his family – Pakistani immigrant parents Malik and Noor, and sisters Yasmeen and Shazia – live in Luton, England. Javed likes contemporary rock music, which Malik disapproves of. Javed feels out of place at his new school, where he is one of two South Asian students; the other, Roops, is a fan of “The Boss.” In Ms. Clay’s writing class, Javed develops a crush on a student activist named Eliza and becomes interested in the writing assignments. Javed talks to Ms. Clay after class about his poetry and diaries. During lunch Roops approaches him and gives him two Bruce Springsteen cassette tapes, calling Springsteen “the direct line to all that is true in this shitty world.” The film moves on from here as one might expect as the plot is not new by any stretch of the imagination but it is unique to one man’s experience which is original, there are as you might expect twists and turns that of course are given enlightenment through music which is one of the reasons for the movies existence. It is a ride that is improved by the music but audiences might feel a little hit over the head by the time resolution arrives.
This is a movie led by relative newcomer Viveik Kalrawho as Javed convinces us of who he is as well as the time period he is living in something he does with seeming ease which is what you require from your leading man. Wisely director Gurinder Chadha surrounds Kalra with experienced character actors at almost every turn which gives the benefit of having people who are able to act opposite someone with less experience offering the film options for its emotional core which this has in abundance. It does mean that the entire cast needs to know what kind of film they are in as well as the nuance that is required in any given scene, this may have been the main issue in terms of the actors. Because this is a hybrid of a narrative film as well as a musical there can be moments where audiences are asking themselves is what is taking place onscreen real or not? My feeling was that sequences that we see that are obviously fantasy should have been jettisoned for either straight performance or fully diegetic in nature, but the film makes have chosen to use more fantastical element.
This is a movie framed by Springsteen’s music that will endear his fans to this movie in a way they will understand, however it could leave general moviegoers feeling like they have been hit over the head by not only a lot of explaining but possibly being talked down to as well, like if you don’t get it then you are borderline stupid. One of the reasons that Springsteen’s music is so popular, as well as filmic and international is that he paints his stories on broad canvasses with Universal themes that remain timeless as well as extremely personal. As I have already stated there needed to be much more subtly for this film to have been taken more seriously as well as possibly being more successful than it has been which is a tragedy as “Blinded by the light” needs to be seen. However, in saying all of that it is a very good film that highlights how little society has changed as well as how far we have come. It also goes a long way to highlight how much technology has changed which seems to be a needless distraction as it is heavy handed to say the least. The first half hour or so is the set up where as an audience we are thrust into the 1980s which for some may seem like a foreign land but then those people may appreciate how Javed feels, which is one of the points of the entire movie. In that case it is a success but on others it could have done with some more work.
I recommend this movie with really only small reservations, it has so much going for it as it is based on something very real, it tackles that with not only drama but comedy and of course the music of Bruce Springsteen which is of most importance as like the best art it is universal but has enough going for it that it has meanings to be discovered not on one listen but multiple listening’s and of course viewings. If you want a good night at the movies but also want to be rewarded then you should go and see this movie now.
Lionsgate has now released the full trailer for “Rambo: Last Blood” – the fifth and apparently final film in the Sylvester Stallone action saga.
The clip has initially been released through Stallone’s social media channels. We’ll update the link with a proper HD widescreen trailer embed when Lionsgate makes it available.
Stallone reprises his role of John Rambo who is now living on a ranch in Arizona, trying to pick up casual work wherever he can. Soon his friend and estate manager informs him that her granddaughter (Yvette Monreal) went missing in Mexico.
This leads to Rambo heading south and teaming up with a journalist (Paz Vega) whose half-sister has also been kidnapped. They uncover a sex-trafficking ring and Rambo has to use all his skills to save the girls and bring down a vicious crime lord (Sergio Peris-Mencheta).
Adrian Grunberg helms the film with Matt Cirulnick (“Absentia”) and Stallone writing the screenplay. “Rambo: Last Blood” hits cinemas on September 20th.
What do you get when you mix genre maestro Guillermo del Toro as producer with acclaimed “Out of the Furnace,” “Crazy Heart” and “Black Mass” director Scott Cooper? You get one hell of an atmospheric looking horror tale in “Antlers”.
The story follows a small-town Oregon teacher (Keri Russell) and her brother (Jesse Plemons), the local sheriff, who discover that a young student (Jeremy T. Thomas) is harboring a dangerous secret with frightening consequences. The feature is adapted from a short story by “Channel Zero” creator Nick Antosca.
Warner Bros. Pictures has premiered the trailer for the documentary/concert film “Bruce Springsteen: Western Stars”. Thom Zimmy helms the project and a release date hasn’t currently been set.
The album hit shelves in June and received critical acclaim for the Springsteen’s reinvention of his sound and character and the stories touching on themes of love, loss, loneliness, family and the unavoidable passage of time.
The documentary follows Springsteen performing all thirteen songs from the album backed by a band and full orchestra under the cathedral ceiling of his nearly 100-year-old barn.
Written by: Christopher Markus and Stephen McFeely
Directed by: Anthony Russo and Joe Russo
Featuring: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper and Josh Brolin
Steve Rogers:“We lost. All of us. We lost friends. We lost family. We lost a part of ourselves. This is the fight of our lives.”
Critical Commentary
Well the wait is finally over, after twenty-one previous MCU movies as well as eleven years, we can now see where the entire franchise has been heading to, this movie, “Avengers: Endgame” (2019) coming over one year after “Avengers: Infinity War” (2018) that left half the Universe behind as the other half was ‘ashed’ at the conclusion to that movie. There is no doubt at all that “Avengers: Endgame” is the most anticipated movie in pop culture ever, in case you wondering if that hyperbole, it isn’t, with a forecast first weekend global box office gross nearing US$1 billion there simply has never been a movie like it, not only that I doubt there may be anything like it again. This franchise has beaten the odds to deliver, now twenty two movies that have either been blockbusters delivering both critical acclaim as well as huge revenues or on the lower side have been speed bumps, but still providing revenue so that the franchise was always looking forward. Not only that but there was nobody predicting that after the surprise hit all those years ago in “Iron Man” (2009) that featured an ex drug addict in its lead, Robert Downey Jr. as well as untested director in Jon Favreau, that it would be the franchise of franchises, the cinematic crown in Disney’s empire, almost unbelievable.
“Avengers: Endgame” also marks the closing of a chapter with many of the A list stars now ending their contracts as well as entirely new casts assembled for what will be known as ‘Phase Four’ which kicks off in 2020, with titles only rumored currently, but expected to be announced in the coming months. The question remains after the huge success of “Avengers: Infinity War” both critically as well as at the global box office, and a cliff-hanger that promised so much could a sequel deliver on many fronts? Could there be a satisfying conclusion that would not feel like trickery, could the writer once again balance so many main characters, would there be enough story to keep audiences entertained, how would it be possible to at least match the spectacle of the first movie and would there be time as well as smaller moments to say goodbye to some of the greatest characters in mainstream cinema today. The simple answer is yes it is another stunning achievement that almost matches the first movie but does have to thread a narrative that takes in much of the work carried out by previous MCU movies that have come before, but make no mistake this is a bookend to not only thre previous Avengers movie but to the entire franchise to this point.
“Avengers: Endgame” takes place after half of all life in the universe was eliminated due to the actions of Thanos in “Avengers: Infinity War”, the remaining Avengers and their allies must reassemble to revert those actions in one last stand.
This is very much a movie about loss, how that transforms people as well as how grief will push people to their very limits. It is also about something many people would like to think they would do for others, that is sacrifice. As we see with those left in the aftermath—including original Avengers Tony, Captain America (Chris Evans), Black Widow (Scarlett Johansson), Thor (Chris Hemsworth), the Hulk (Mark Ruffalo), and Hawkeye (Jeremy Renner), who are as one would expect shadows of their former selves, lost, alone and wondering how to solve the problem of Thanos and his gauntlet. What is fantastic about this new movie are all the quiet moments that occur throughout the movie, with so much to all back to not only with the previous movie but all the others the filmmakers could be forgiven for missing characters or even call backs, it is to their credit that they seem to almost hit every story beat perfectly.
This movie deserves accolades for just getting to the screen as it is an exercise in not only logistics but in getting the right tone for a movie with this huge scope as well as so many characters from the previous movies over the past ten years. It is the second MCU movie this year, which is incredible considering it is only April, not only that the first MCU movie this year was “Captain Marvel” (2019) which while no universally loved has still powered its way to US$1.1 billion at the global box office. We also have still to come “Spider-Man: Far From Home” (2019) which is sure to be another massive hit, and will close Phase Four acting as an epilogue of sorts for this new movie.
Fresh of the double success that was “Captain America: Winter Soldier” (2014) and “Captain America: Civil War” (2016) directors Anthony Russo & Joe Russo, not forgetting screenwriters Christopher Markus & Stephen McFeely had the task of corralling over thirty main characters as well as bringing to a kind of conclusion the past eleven years. However, with three of the best MCU films under their belts all four seem to be the obvious choices to bring “Avengers: Endgame” to the screen with its disparate locations, very different characters, high drama and of course comedy that has become the staple of not only their other work but the MCU in general. Of course, there is one other player, the constant force behind every single MCU movie from the first “Iron Man” (2008) through to this one, that is producer Kevin Feige. Feige is the real mastermind behind all the ups, downs, accidents, mistakes as well as the successes of all the MCU movies, the question is will this new Avengers movie be a “Black Panther” or an “Avengers: Age of Ultron” (2015)? The good news is that as far as I am concerned this is an unmitigated success on most fronts, it brings together a kind of conclusion to what was started all those years ago while leaving the MCU in an extremely strong position.
Much has been made of the amount of characters within this movie, there are plenty, so much of the actual story as well as the character beats are presented with looks or shorthanded dialogue, this is a movie that expects viewers to know the histories as well as previous plot points before going in, it is one of the ways the movie has been streamlined – if you could say a running time of three hours is streamlined. That and the fact that the majority of this movie is spent on the run, literally, from the opening to the very end, this is most definitely a conclusion of a six hour epic. Unlike previous MCU movies this is not a comic book movie presented within the framewprk of other genres, like a heist movie, a spy movie or even a comedy – “Avengers: Endgame” is exactly what it is presented as, a 100% comic book movie, with a villain trying to get something, with hench men and heroes attempting to stop him in a variety of ways, at various locations and of course the ultimate comic maguffin, the Infinity Gauntlet, more precisely the power behind said gauntlet. It is goal focused, one of the easiest stories to tell as well as plot so that audiences can keep up, staying focused until the very ending, which for some will most definitely be a shock.
The use of CGI is stretched to its limits here with the (over?) use of artificial sets, artificial people as well as artificial lifeforms, the good news is that they are juxtaposed by the real sets of New York and Wakanda which at times were welcome relief after so many digital backgrounds and extensive makeup, as well as of course the completely CGI characters of Rocket, Groot and Thanos himself – not counting multiple CGI iron people, Spider-Man, henchmen and various others. Of course it goes without saying that the third act, like many marvel movies, is a huge spectacle but unlike many other MCU movies there are major callbacks to important moments in the Marvel Comics, too many to name here but it is fun and rewarding seeing them all.
“Avengers: Infinity War” is such an assuredly as well as competently directed movie by the Russo’s that it is easy to forget the challenge that was placed before them, they have made all the right moves, covering each location with just enough to give the audiences a taste of what is to come in the final shocking act.
The MCU is still dominated by Robert Downey Jnr as Iron Man, more so with his new armor as well as his ability to stand up to anyone, but it was with glee that I thought Chris Hemsworth as Thor take his well earned success from last years movie, running with it and proving that like Downey he now owns his character, I hope to see more of him in the future. However, it is Chris Evans as Steve Rogers who is the real heart of these movies, he was born to play Captain America, someone who is the least powerful among his peers, but time and again proves that the bigger they are the harder they fall. As he moves away from the role tough I can easily see Chadwick Boseman taking his place as the born leader who will make decisions many are unable to, as will Sebastian Stan as Bucky who more and more proves he too owns his character.
In saying that I still loved this movie, has there ever been a bigger event movie in terms of not only anticipation but also a possible payoff after ten years as well as the weight of eighteen movies? The answer is no, this has been the most successful franchise globally ever, it has had ups and downs, but it has persisted with more good parts than bad, which is proven by the fact that next year we will be seeing the conclusion to this movie as well as some of the characters that this franchise has been built on. In terms of comic book films as spectacle and jeopardy this has to be one the best of all time, it has such an emotional ending that I was surprised by how I felt in thinking about what the ramifications were going to be as well as how some of the characters will not only move forward but how this story has been resolved.
Technical Commentary
Walt Disney Studios Home Entertainment and Marvel Studios bring “Avengers: Endgame” to Ultra HD Blu-ray as a three-disc combo pack. The dual-layered UHD66 disc sits comfortably opposite a Region Free, BD50 disc containing the movie and a second Region Free, BD25 disc with all the special features.
Video Review
“Avengers: Endgame” arrives on Ultra HD with an excellent and largely satisfying HEVC H.265 encode, offering several welcomed tweaks to an already marvelous Blu-ray. However, this 2160p version isn’t the significant jump expected, coming with a few poorly-resolved, very mildly noisy moments that are most apparent in wide shots. The movie is the first to be entirely shot on the Arri Alexa 65, capable of 6.5K resolution, but those elements were later mastered to a 2K Digital Intermediate, which was used for this home video edition.
Contrast levels don’t receive much of a noteworthy boost over the HD version and are comparatively average to some of the best UHD releases. This may have something to do with the way Trent Opaloch photographed the movie, but contrast is lightly subdued and restrained, giving the visuals a grayish, somber overtone and making some scenes look rather flat. Yet whites are brighter and more vivid, popping with a radiant intensity in some spots. Better still, specular highlights glow with a crisper, tighter luminosity, allowing for slightly better detailing. Likewise, blacks are markedly inkier with great gradational variations in the various shades, providing the 2.39:1 image with a lovely cinematic appeal. Shadow delineation, on the other hand, can be a bit of a mixed bag, as much of the 4K video is notably darker. Occasionally, the murkiest corner can obscure the finer details during poorly-lit conversations.
The biggest and most appreciable upgrade in this HDR10 presentation is certainly the better palette, boasting a wider and more lavish array of colors.
Audio Review
“Avengers: Endgame” has an awesome Dolby Atmos soundtrack that provides a few welcomed enhancements over its DTS-HD MA counterpart fans will surely appreciate.
Special Features
Blu-ray Disc One
Audio Commentary: Writers Christopher Markus and Stephen McFeely join the Russo brothers for an informative and enlightening conversation on the production and the franchise.
Intro (HD, 3 min): Directors Anthony and Joe Russo share their thoughts on the series.
Blu-ray Disc Two
A Man Out of Time (HD, 12 min): Looking at Captain America and Chris Evans’ performance.
Remembering Stan Lee (HD, 7 min): Touching tribute to the legendary comic-book icon.
Black Widow (HD, 7 min): The character’s role and Scarlett Johansson’s performance.
Setting the Tone (HD, 5 min): Spotlighting the role of Robert Downey, Jr.
The Russo Brothers (HD, 5 min): The duo’s contribution to the series leading to this movie.
Bro Thor (HD, 4 min): Brief piece on the character’s story arc.
Marianne, a painter, is commissioned to do the wedding portrait of Heloise, a young lady who has just left the convent and is the reluctant bride to be. The catch? Marianne must paint Heloise without her knowing – observing her by day and secretly painting her at night.
Intimacy and attraction grow between the two women as they share Heloise’s first and last moments of freedom, all whilst Marianne paints the portrait that will end it all. Adele Haenel (“BPM”) and “Hot Shots” actress Valeria Golino star.
The first trailer for the Greta Gerwig-directed new film adaptation of Louisa May Alcott’s classic novel “Little Women” which Sony Pictures will release in cinemas this Christmas has arrived.
The story follows teenaged sisters Amy (Florence Pugh), Jo (Saoirse Ronan), Meg (Emma Watson) and Beth (Eliza Scanlen) and their mother in Civil War-era Massachusetts as they navigate their new town, true love, and their first holiday without their minister father.
Meryl Streep, Timothee Chalamet, Bob Odenkirk, Louis Garrel, Chris Cooper, Laura Dern and James Norton also star.
Written by: Andy Weiss, Logan Miller & Noah Miller
Directed by: Yann Demange
Featuring: Matthew McConaughey, Bel Powley, Jennifer Jason Leigh, Brian Tyree Henry, Rory Cochrane, RJ Cyler, Jonathan Majors, Eddie Marsan, Bruce Dern and Piper Laurie
Richard Wershe Sr.:“When I first saw you I knew you were going to be bigger than me.”
Critical Commentary
The latest movie starring Oscar winner Matthew McConaughey opens soon, a drama centered around organised crime as well as the crack epidemic of the 1980s, named after the main characters nickname, “White Boy Rick” (2018). This is based on a true story that as it is adapted, is uneven at best, with a narrative that could best be described as riffing on other similarly themed movies of which there are a number. If a decision is made to make a movie based around one person and their story, that leads an audience through a journey which is basically about the selling of drugs as well as being about a group of people that it is extremely difficult to feel any real emotions for then that is going to be a very tough sell.
The best version of this movie is Martin Scorsese’s “Goodfellas” (1990) that had at its core one very violent person, who we follow for the entire film, to mitigate that violence it injects an element of humour as well as realism although everything is heightened which works well, not only that but the movie has not dated at all in almost thirty years. Unfortunately the same thing cannot be said for “White Boy Rick” that has at its centre a character, Rick, who is not sympathetic in the slightest, not only that it makes the point that this subjective narrative is completely from Ricks point of view with no room for any other kind of perspective. What this means is that at times it appears that the director and writer would like you to think that what Rick chose to do, sell drugs, and the punishment he ultimately received was not only outside of his control but was motivated politically which may be correct but is completely unprovable. In saying that there is still a story to be enjoyed here but for me it comes from some of the set design, as well as the truly great cast that has been assembled to support the main character who just seems to be cruising through this movie not doing a whole lot of actual acting, which for him is a missed opportunity.
This movie is based on the autobiography “White Boy Rick: My Time as an Undercover Teenage Drug Informant for the FBI” by Richard Wershe Jr. and has been adapted by Andy Weiss, Logan Miller & Noah Miller which may explain why the movie follows the narrative it does as none of these writers really have the experience or track record to elevate this movie above nothing more than a curiosity to see another great Matthew McConaughey performance. The movie directed by Yann Demange whose best and most notable work has been in English television as well as the very good film “’71” (2014), here he struggles putting anything meaningful together with a script that meanders all over the place not really finding a rhythm as well as pandering to the main subject which is a real dent in the movie itself.
“White Boy Rick” is set in 1980s Detroit at the height of the crack epidemic and the War on Drugs, it is based on the true story of a blue-collar father and his teenage son, Rick Wershe Jr., who became an undercover police informant and later a drug dealer, before he was abandoned by his handlers and sentenced to life in prison.
This movie lives and dies in the performance of the main actor, which may explain why it seems uneven in that, the lead, Richie Merritt has no previous screen experience whatsoever, for me that is unforgivable and it shows all the way through the film, it is one of the reasons that this movie really falls on its face. I do not understand why a seasoned actor who had some experience and could build a performance was not chosen as there are plenty of people I would have thought would jump at the chance. As usual Matthew McConaughey does what he does best, playing a character originally and is fully invested in it, which is exactly what you expect from him in this stage of his career. However for me the performance of the film is Bel Powley who has shown over the past few years that she is an excellent actor no matter the part, here she is no different, having to play someone who is three dimensional as well as someone who has very human weaknesses. As for the rest of the cast, which is made up of both veterans as well as newcomers such as Bruce Dern, Piper Laurie, Jennifer Jason Leigh, Rory Cochrane and Brain Tyree Henry all do their best, again they are let down with the material but all know what they are in and so adjust their performances accordingly.
It is hard to know how this movie was given the go ahead, although I do understand how people would have invested their money in it as it could have been sold on the name of McConaughey alone, as he has over the past ten years built up clout at both the domestic as well as the international box office. Not only that but the supporting cast is incredible and there are some high profile producers behind it. That is why it is difficult to adjust to a movie that is a period piece that is so bland as well as formulaic to a point. There needed to be some more stories involving others independent of the main character, as there is very little context to make sense of what is actually going on in a wider sense. Sure there are some hints to the White House but they are not fully explored, not only that but actual motivations of the main characters are a little thin so it is all broad strokes. Once again to compare it to “Goodfellas” we had a true sense of who all those characters were as well as why they were committing crime, we also had a sense of place, time and the extreme danger that Henry Hill was in, with this movie we do not.
This is a movie that I would not recommend be seen on the big screen, save your money and go and see a good drama that actually means something in human terms. “White Boy Rick” isn’t a cautionary tale for people wanting to pursue a criminal lifestyle, it is more of a cautionary take for people who maybe looking at making a movie with a lead who has no business being there. If you get a chance it might be a good movie to catch on a streaming service but that’s about it.
Technical Commentary
Video Quality
“White Boy Rick” was shot digitally, but the image’s textural qualities practically pass for film, with what appears to be a grain overlay digitally inserted in post production to give the film a more authentic period look and textural feel. Sony’s Blu-ray presentation is gorgeous beyond a few blips around the edges in the form of occasionally (and lightly) elevated blacks and mild compression artifacts visible in a few lower light shots. Shadow details are quite good for the most part, though. The picture is otherwise first-rate, offering rich, sharp, and highly detailed character, clothing, and environmental textures.
Audio Quality
“White Boy Rick” DTS-HD Master Audio 7.1 lossless soundtrack is very good and straightforward by design. There are a few moments, notably early on, when surrounding sound elements seem slightly too elevated and compete with dialogue delivery.
Special Features
Trivia Track: A pop-up text-based track that runs through the film.
Deleted Scenes (1080p, 6:50 total runtime): Included are She’ll Be Back, Got a Slice for Me?, I Seen You Around, You Don’t Know Your Place, I Was Hoping, and Bring Him to Come See Me.
The Unknown True Story of Rick Wershe Jr. (1080p, 5:35): Cast and crew discuss the true story behind Rick’s drug dealing and subsequent incarceration, the Detroit setting, and how the tale translated to film.
The Making of White Boy Rick (1080p, 5:17): This piece recaps the story and explores the characters, the 1980s setting, shooting in Cleveland, costumes, Yann Demange’s direction, and more.
The Three Tribes of Detroit: The Cast (1080p, 10:14): As the title suggests, this piece explores the collective ensemble and how the players work individually and collectively.
Featuring: J. D. Pardo, Clayton Cardenas, Sarah Bolger, Michael Irby, Carla Baratta, Richard Cabral, Raoul Max Trujillo, Antonio Jaramillo, Danny Pino and Edward James Olmos
Coco:“I didn’t murder a whore. I freed my mother, gave her some peace, and took away the noise.”
Released this week on DVD is the “Sons of Anarchy” (2009-2016) spinoff “Mayans M.C.” (2019 which has been successful enough to at least be garnered with a second season, although how it fares beyond that is a mystery as it seems to cover some of the same ground as its still wildly successful precursor.
Episodes:
Perro/Oc: EZ’s fate is in flux as the M.C. and the cartel find a common adversary.
Escorpión/Dzec: The Mayans seek answers from a local crew as the Galindo worlds north and south of the border collide.
Búho/Muwan: The M.C. alliances are tested and the Galindo family adopts unconventional methods.
Murciélago/Zotz: A new threat in Santo Padre presents the Mayans new obstacles and opportunities.
Uch/Opossum: A new deal requires a dangerous favor in Santa Madre.
Gato/Mis: EZ continues to prove his worth as a prospect as both sides of the border must grapple with harsh realities.
Cucaracha/K’uruch: New secrets are brought to light, putting the M.C. at odds.
Rata/Ch’o: EZ’s past continues to haunt him, but present horrors give him a new perspective.
Serpiente/Chikchan: The bond of the Reyes blood is fractured, and the Galindo family decides to cut its losses.
Cuervo/Tz’ikb’uul: The club has reason to celebrate, but big changes leave the future uncertain.
Featuring: Zachary Levi, Mark Strong, Asher Angel, Jack Dylan Grazer and Djimon Hounsou
Freddy Freeman:“If you could have one superpower, what would you pick? Everybody chooses flight. You know why?”
Billy Batson:“So they can fly away from this conversation?”
Critical Commentary:
These days, in particular the past five years, it seems like every few weeks there is a new comic book movie released into cinemas, 2019 will be no different, just a few weeks ago the juggernaut that it has turned out to be, that being the latest entry into the MCU, “Captain Marvel” (2019) was released which is coasting its way to US$1 billion dollars worldwide. Now we have a new DCEU movie, “Shazam!” (2019) being released, followed in a few weeks by, what seems like the movie event of the decade, “Avengers: Endgame” (2019) which is already promising to have a US$800 million opening weekend alone. It would be easy to see “Shazam!” as a lightweight movie (even its budget is less than half of the last DCEU entry) especially sandwiched between these two behemoths, but in fact it does offer some nice counter programming as recently the MCU may be perceived as going a little darker, this new DCEU movie is definitely lighter in tone as well as performance which for me was quite welcome. “Shazam!” does benefit from three very important and vital elements, one, it is an origin story which means audiences will be familiar with what is being told, two it has some great comic performances, especially from star Zachary Levi and three, it is more comedic in tone, much like parts of the recent DCEU success, “Aquaman” (2018). It also explores the horror genre more than any other comic movie produced to date, especially for a mass audience which is canny as horror is big bucks now.
Ever since the DCEU launched with “Man of Steel” (2013) there has been a darkness and dourness about each subsequent movie leading directly to “Justice League” (2016) which was laughably terrible, a misfire on all levels, the only element of these movies had in common was that they all made extreme amounts of money for Warner Bros., which was why they kept producing them. The other element they all had in common was that for the most part they were becoming more and more critically derided culminating with that same movie, “Justice League”. In attempting to ape the MCU in linking and creating a shared universe the DCEU had also created a rod for their own back, that was up until the mostly well received and box office hit “Wonder Woman” (2017) which seemed to (temporarily) right the ship. Then last year the DCEU had not only its biggest commercial success yet, but also its biggest critical one as well, which may have been more important as well as setting up a new batch of DC origin movies, which leads directly to this weeks release, “Shazam!”, a new look as well as feel for this franchise which may reinforce this once aimless series of movies with new blood.
“Shazam!” is set in mostly in present-day Philadelphia; Billy Batson is arrested by child services after he lures and traps police officers to assist in his search for his mother. At some point a family, the Grazers, adopts Billy and he shares a room with Freddie Freeman, a paraplegic. While at school, Freddie is bullied by a group of kids. Billy intervenes and flees onto the subway where he is summoned by a being known as Shazam. Shazam explains who his is and has Billy grab his staff and say, “Shazam!”, which transforms Billy into an adult with multiple superpowers.
This is the first DCEU movie that really has been handed over to two untested people in director David F. Sandberg and screenwriter Henry Gayden who both have never been in charge of a movie of this size or complexity. In saying that they both acquit themselves very well as this is an origin story so certain beats must be hit, it is everything else that they must concentrate on, in respect to this movie those things are the casting, the action set pieces, the humour and how all these pieces fit together into an overarching narrative. This is a movie that introduces a new mythology to the DCEU in the use of magical entities, so having Sandberg as the director seems like a great idea as he has directed movies that deal in the adjacent genre of horror, where he has had to deal with already existing mythology fitting a story around that. Here he does that very well considering the history that exists in the “Shazam!” which is confusing and sprawling to say the least. This movie also has a heavy horror element reflected in the seven deadly sins as well as the high body count that exists on a personal level, so shock is required. The screenwriter, Henry Gayden, has assisted here to by streamlining the plot as much as possible so that it is always moving forward, not looking back and helping ease an audience into the story by using humour which is accentuated by the ‘body swapping’ (kind of) narrative that feeds the overall feeling of this movie, the humour and horror are juxtaposed so that the audience never fits with either for too long.
As with the vast majority of comic book movies the casting of the central character is one of the key aspects and sometimes is directly linked to the success of the movie both commercially as well as critically, many DCEU characters have been cast by well known leading actors, however “Shazam!” has the relatively unknown Zachary Levi as the titular character. It is a actually a plus for the character of Shazam to be played by Levi as he brings no baggage to the part at all as he needs to play both an adult as well as a adolescent balancing these two things for the entire time he appears in the movie which he does as believably as one could, think Tom Hanks in the classic “Big” (1988). On the flip side of that equation is Asher Angel who plays the young version of Billy who is exceptionally good in the part who has to be the human face of the movie, doing an excellent job considering he has all the heavy lifting to do dramatically. As far as the rest of the cast goes the are all entirely in support of the main character so they are given limited characterisations which is not surprisingly framed by their ages and physical condition which makes the final act in the movie all the more special. The other major actor in “Shazam!” is Mark Strong playing the villain, Thaddeus Sivana, who while the original villan of the titular hero, here Strong seems a little ill fitted to the role, while looking the part his performance seems not only hollow but a little disingenuous and routine, which is where the movie is really let down, much like many of the new comic book movies in regard to both the DCEU and MCU.
It must be obvious by now that every Superhero has an origin story, telling how they gained their powers and decided to fight crime. It may be revealed in their first appearance, or not until an eventual flashback. But once established, it sets ground rules for which tropes are applicable to that particular superhero. The in-story explanation may be that the ultimate source of the hero’s power is magic, Sufficiently Advanced Aliens, or Weird Science. Of course “Shazam!” has a magical base, so it also has magical or mythical villains, in the seven sins, which to an extent help flesh out the universe but they also complicate matters by arbitrarily glomming on to the main villain Thaddeus Sivana. The abilities of Sivana seem to be similar to our heroes but at times we do not know if that is because of his association with the seven sins or if they are with him because of his taking of a mystical energy ball. It is not until the third act that his weakness bears out but that to seems like a on the spot fix made in the editing room and fixed up with reshoots which is a major let down as I felt our hero deserved more than some CGI battle seen a million times before.
This is a very good movie to see in cinemas, it has a healthy does of scares fitting its mystical setting, as well as quite a but of humour with some good performances from the entire cast and unlike many movies it does not give away all its surprises in the trailers that have been released, unlike a certain MCU movie released only a few weeks ago. Not only that but this movie links into the wider DCEU in a few ways, a couple done very subtly, one not so much but still welcome in the overall narrative arc. If you want to take the entire family to a standalone comic book movie that has a lot of heart as well as some lessons then “Shazam!” is for you.
Technical Commentary:
Warner Home Video brings “Shazam!” to Ultra HD Blu-ray as a two-disc combo pack. The triple-layered UHD100 disc sits comfortably opposite a Region Free, BD50 disc, and both are housed inside a black, eco-cutout case with a shiny slipcover. At startup, viewers are taken to a static screen with the usual options along the bottom and music playing in the background.
Video Review
“Shazam!” arrives onto Ultra HD with an excellent HEVC H.265 encode that shows some enhancements over the Blu-ray.
“Shazam!” was shot on the Arri Alexa camera system capable of 3.4K resolution, but those elements were likely mastered to a 2K digital intermediate, given the heavy amount of CG visuals throughout. Still, the upscaled transfer shows a welcomed uptick, displaying more definition. Background information is clearer and more distinct while the details in clothing are sharper. The 4K video boasts a significantly improved contrast, giving Maxime Alexandre’s photography a brighter, more spirited appeal throughout. The biggest and most appreciable upgrade in this Dolby Vision HDR presentation is easily the improved color onscreen.
Audio Review
“Shazam!” has an equally exceptional Dolby Atmos soundtrack. The front soundstage is continuou with lots of background activity and movement between all three balanced channels. With outstanding fidelity and brightness, the mid-range displays precise clarity and definition, exhibiting superb separation between the mids and highs, delivering clean, detailed action sequences without falter or the slightest hint of distortion. Dialogue is clear and distinct in the center, even during the loudest segments.
Special Features
The supplements are only available on the accompanying Blu-ray disc.
The Magical World of Shazam (HD, 27 min): Standard making-of featurette with lots of BTS footage and interviews with the cast and crew.
Carnival Scene Study (HD, 10 min): A closer look at the climactic battle.
Shazamily Values (HD, 6 min): Discussion on the foster kids making up the Shazam family.
Who is Shazam? (HD, 6 min): Brief history on the comic book characters.
