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Gorilla Tactics

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The Legend of Tarzan

by George Wolf

Me Tarzan. You Jane?

No, this apeman has a slightly larger vocabulary.

You’ll hear that famous phrase in The Legend of Tarzan, but only for ironic purposes. This new reboot takes its cue from recent superhero films that have embraced the darker side of their legend.

We drop in on Tarzan (Alexander Skarsgard) in the late 1880s, years after his return to Greystoke Manor and the name John Clayton, as he’s living the aristocratic life with wife Jane (Margot Robbie) in a London mansion full of servants. Flashback segments do fill us in on the couple’s jungle past, but credit screenwriters Craig Brewer and Adam Cozad with a welcome pivot from the usual origin story formula.

Clayton is called back to the wilds of the Congo thanks to a devious plan from Leon Rom (Christoph Waltz), special envoy to Belgian King Leopold. Rom can deliver a fortune in diamonds to his King, but only if he can deliver Tarzan to a Congolese chieftain (Djimon Hounsou) looking to settle an old score.

So John and Jane head back “home,” with U.S. envoy George Washington Williams (Samuel L. Jackson) in tow, but when Rom puts his kidnapping plan in motion, Tarzan’s particular set of skills come out to play.

Director David Yates, who guided the Harry Potter film series to an epic conclusion, keeps his camera fluid, his landscapes beautifully panoramic and the action frequently thrilling.  Yes, it gets a bit silly and a bit more anachronistic, but Yates brings an ambitious scope to this modern Tarzan, with a respectable side of social conscience even when it panders.

Skarsgard’s chiseled physique certainly looks the part, and his somewhat robotic lack of range serves him well here. Robbie provides plenty of spunk, but her Victorian-era Jane could have just as easily beamed down from last Halloween. As for their chemistry…hey, those CGI jungle animals look fantastic!

Waltz and Jackson are well, Waltz and Jackson.

It probably won’t set the stage for a string of blockbuster sequels – and to its credit, isn’t trying to – but for most of its nearly two hours, this new Tarzan really swings.

Verdict-3-0-Stars

 

 

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Making America Great

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The Purge: Election Year

by Hope Madden

America is having one pretty insane election year. The conservatives’ Presidential candidate is the wacko, egomaniacal figurehead for a party bent on feeding the bloodlust of its citizenry to protect their own wealth while thinning the herd of those Americans it deems unworthy.

Oh, also – The Purge: Election Year is out this weekend.

Writer/director James DeMonaco returns for the third installment in his trilogy of cathartic blood sport – a phrase that describes both the act of watching the series and DeMonaco’s plot.

In 2013, the filmmaker ushered forth a home-invasion movie based on the intriguing premise of a not-so-distant America that embraces a government-sanctioned (encouraged, even!) yearly celebration of lawlessness.

DeMonaco returned last year with a sequel that took the analogy to the streets, digging deeper into the racial and socio-economic message he flirted with in the original. The third installment follows Presidential candidate Senator Charlie Roan (Elizabeth Mitchell), a purge survivor running on a platform of ending the bloody celebration forever.

Never a fan of subtlety, DeMonaco throws every piece of contemporary political filth at the screen while leading this franchise to its reasonably logical conclusion. Murder tourism, entitled teens with a hunger for gore and chocolate, one-percenters literally worshipping at the altar of death, religious zealots preaching the divinity of slaughtering the under-privileged and the women who would defy them – you will find it all.

Though the story moves with the Senator and her chief of security, Leo Barnes (Frank Grillo, returning from The Purge: Anarchy), the film only finds its anchor with a trio of regular folks trying to survive the night.

Mykelti Williamson owns every scene as Joe Dixon, a deli owner guarding his business from the rooftop with his shotgun and his loyal employee Marcos (Joseph Julian Soria). Filling out their group is Laney Rucker (Betty Gabriel), a badass from the neighborhood who prowls the street in a reinforced van offering medical aid.

Considering the overt racial tensions that fuel DeMonaco’s script as well as the yearly purge, it’s appropriate that the strongest characters be those of color; it’s unfortunate that DeMonaco relegates them to support.

A mish-mash of ideas stolen from other, better films as well as Fox News, the effort amplifies the lunacy of the current political climate, reaching a level of hyperbole and mania that should feel more cathartic than it does.

Verdict-2-5-Stars

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Day of the Dead

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Swiss Army Man

by George Wolf

Makeshift toy boats drift out to sea, carrying cries for help ranging from “I don’t want to die alone” to “I’m so bored.” Swiss Army Man sets its off-kilter tone early, and then things get weird. Fart-powered motor boat weird.

Hank (Paul Dano) is stranded alone on a deserted island, quite literally at the end of his rope. While contemplating his end, he spies a body (Daniel Radcliffe) in the surf and suddenly, Hank has a new friend. His name is Manny, and he’s dead.

Turns out Manny has plenty of uses (like the fart-powered motor boat thing) and before long the stranded pair is singing songs, putting on shows, and ruminating on reasons to live.

In their feature debut, the writer/director team of Dan Kwan and Daniel Scheinert (aka “Daniels”) crafts a wild, imaginative odyssey alive with color and wonderful set pieces. Swiss Army Man has abundant charm, occasional hilarity and a few moments of magic, but the Daniels directing vision is always two steps ahead of their scriptwriting depth.

Excessively revelatory music heralds layers of resonance that never come, and we settle instead for warmed over sentiments about disconnection and vulnerability. The approach is often just too cute for its own good, the Daniels seemingly confident their earnest outlandishness will win you over.

They’re pretty much right.

This is a film that will tweak your curiosity as often as it tests your patience, and the Birdman-style ending may leave you struggling to come up with any reaction other than “that was weird,” but you will be entertained.

Dano and Radcliffe complement each other well, both delivering committed performances that turn Hank and Manny into some sort of bizarro Don Quixote and Sancho Panza.

Sure, Swiss Army Man chases too many windmills, but I’m still anxious to see what Daniels might come up with next.

Verdict-3-0-Stars

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F Is Not for Flatulent?

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The BFG

by Hope Madden

“It was the witching hour, when the boogeyman comes out, when people go missing.”

That’s a proper way to start a story or a film, but who’d have expected less? Roald Dahl knew how to tell a story, and Steven Spielberg knows how to make a film. This summer, Spielberg puts his skills to the test as he takes Dahl’s beloved tale The BFG to the screen.

The tale of a London orphan befriended by a Big Friendly Giant, the story itself is fairly slight, but Spielberg’s imagination is not.

In an era when the third dimension is thrown around the multiplex with needless abandon, The BFG stands out. 3D has rarely been employed so grandly. Spielberg bridges live action and motion-capture animation with a stunningly articulated fantasy world that captures you from the film’s opening moments.

John Williams’s lovely score – part Raiders of the Lost Arc (his own), part Wizard of Oz – matches Spielberg’s overall approach, which employs every modern whistle in service of a film that feels old school.

As the title character, Oscar winner Mark Rylance proves as capable with giant gibberish and motion-capture performance as he is with historical thriller drama. A more endearing giant you’re never likely to find, as Rylance conveys BFG’s tumult of emotions.

Likewise, Ruby Burnhill, as his wee friend Sophie, believably maneuvers between precocious loner and lonesome child with ease.

Flexing vocal muscles to match his animated stature, the always welcome Jemaine Clement fills the frame with blundering menace as BFG’s nemesis and passionate Bean eater, the evil giant Fleshlumpeater.

Spielberg’s problem – or Dahl’s – is lack of momentum. Working from an adaptation by regular contributor Melissa Mathison (E.T.), Spielberg’s take on the story amplifies the relationship and relatedness between Sophie and BFG, but he under-develops the tension and mostly avoids the action. The result is a languid pace that may lose some viewers – especially younger ones.

There are moments when the CGI betrays the action onscreen, but these are few and forgivable considering the magically captivating environment Spielberg and cinematographer – another regular collaborator – Janusz Kaminski have built.

The BFG is a sweet film, finely acted and gorgeously brought to life. If you and yours have the patience to let this tender note on loneliness ring, it offers an immersive experience.

Verdict-3-5-Stars

https://www.youtube.com/watch?v=y1fZg0hhBX8

 

Fright Club

Fright Club: Sexiest Villains

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Some people dream of the hero. There are folks who swoon during Avengers films, choosing their fave from the assemblage of good guys, or wait with baited breath for Wonder Woman to get her stand alone film.

But what about the bad guys? Are you saying that, just because we like a date with blood on their teeth, there’s something wrong with us? Surely not! Tell us you didn’t get a little weak in the knees for Skeet Ulrich in Scream, or swoon just a little when Catherine Deneuve seduced Susan Sarandon in The Hunger. Of course you did! And why not?

So today, we celebrate the sexy villains. Join us, won’t you?

George Pick #3: Elizabeth Olsen – Silent House (2011)

Olsen is a tremendous talent, consistently excellent even in lesser films. Silent House starts off strong but eventually relies too heavily on a gimmick and Olsen’s tight shirt to keep you interested. Still, Olsen’s vulnerable yet badass character is undeniably hot – tight shirt or no.

Hope Pick #3: Tony Todd – Candyman (1992)

No, he’s not classically handsome. In fact, on paper, Candyman is not that sexy of a villain. He has a hook for a hand, bees in his chest, that moldy velvet robe thing has to smell awful. But Tony Todd’s voice is the push over the cliff. When he tells Helen (Virginia Madsen) “Don’t fear the pain. The pain is exquisite,” you can’t help but want to believe.

George’s #2 Natasha Henstridge – Species (1995)

Species is more a SciFi thriller than a horror movies, but George gets to choose so it’s not up to Hope and her picky rules. No one could blame the guy for landing on this one – Henstridge is fierce and sexy and very naked. What is he, made of stone?

Hope’s #2: Johnny Depp – Sweeney Todd: The Demon Barber of Fleet Street (2007)

Sweeney Todd is to Hope what Chocolat is to normal people. Sure, Depp is a dreamboat regardless of his role, but with Sweeney Todd, director Tim Burton finally lets him get a little mean. When he lifts that blade above his head, singing of his “old friend,” he is hypnotic.

George’s #1: Salma Hayek – From Dusk til Dawn (1996)

Duh. Bow your head, dogs! When Salma Hayak appears in Robert Rodriguez’s From Dusk til Dawn, everybody pays attention – everybody in the bar Titty Twister, and everybody watching. Hayek is easily one of the most gorgeous humans on earth, and her snake-bedecked dance is no doubt enough to lure many voluntarily to her eternal servitude.

Hope’s #1: Rutger Hauer- The Hitcher (1986)

Hope had been nursing a crush on Hauer since Blade Runner, but it was The Hitcher that sent her over the edge. Unsettling, given the tender age at which she saw the film? No doubt, but his brilliant eyes and steely delivery and the way he seduced girlie C. Thomas Howell on that drive across the desert was just more than her bored little heart could bear. Don’t judge her.

Who did we miss? Let us know on twitter @maddwolf!

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California Dreaming

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The Neon Demon

by Hope Madden

“Beauty isn’t everything, it’s the only thing.”

So says an uncredited Alessandro Nivola, a fashion designer waxing philosophic in Nicolas Winding Refn’s (Bronson, Drive) nightmarish new film The Neon Demon.

The line, of course, is borrowed. Refn tweaks the familiar idea to suit his fluid, perfectly framed, cynical vision.

Jesse (Elle Fanning) is an underaged modeling hopeful recently relocated to a sketchy motel in Pasadena. Will she be swallowed whole by the darker, more monstrous elements of Hollywood?

Refn is as assured a director as you’ll find. Each of his films has its own peculiar and magnificent look and sound that sets it apart and marks the helmsman as someone with a unique vision to share. The Neon Demon looks and sounds great, but it doesn’t look or sound unique. The entire aesthetic, from the shots to the palette to the score, feels like a mash up of Stanley Kubrick and Dario Argento. Interestingly – or boringly, depending on your perspective – the story swims such familiar waters that this borrowed aesthetic feels simultaneously intentional and derivative.

Hollywood is a soulless machine that crushes people. The world objectifies women, a toxic reality that poisons everyone it touches. Small town girl gets in trouble following her dreams in Tinseltown. There’s nothing new here. To manufacture something, it’s as though Refn replaces fresh ideas with bizarre imagery.

It’s tough to make a film about the dehumanizing effect of objectification without objectifying, and even the deeply talented Refn can’t seem to do it.

The film is not without its charms. The Neon Demon is the closest thing to a horror film as anything Refn has delivered, even if it takes 100 minutes or so to get there. Like Only God Forgives, the longer you wander through this nightmarish landscape, the more outlandish the dream becomes. But for all its detractors and laborious weirdness, Only God Forgives felt like a breakneck action thriller compared to the languid, even leaden pace of Neon Demon.

But you know what? Keanu Reeves isn’t bad. Huh!

Verdict-2-5-Stars

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Summertime Blues

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Independence Day: Resurgence

by George Wolf

Have you ever seen a fast food commercial where the burger looks fantastic, then you get there and it’s basically day old dog food on a flattened-out bun?

Say hello to Independence Day: Resurgence, a preposterous, tedious filet of sequel churned out with all the joy of a kid’s meal minus the toy surprise.

It’s been twenty years since the “War of 1996,” and banding together to beat back the alien horde has brought the entire would together in a hand-holding singalong of peace. Things are good, made even better by the advances that came from getting a look at all that high-flying alien technology.

Former President Whitmore (Bill Pullman) isn’t doing as well, suffering persistent dreams and flashbacks about the aliens, even as the big 20th anniversary victory celebration is fast approaching.

His daughter Patricia (Maika Munroe) is engaged to Jake (Liam Hemsworth), a hotshot pilot who lives on the edge! We know this because he’s told “You’re grounded!” barely five minutes in. You think that’s gonna stop Jake when shit gets real? Ha, he laughs in your general direction! Jake and fellow pilot Dylan (Jessie T. Usher) have a serious beef, so it’s a total surprise when they have to put all that aside and crack wise as they fight the next alien invasion.

Hey. it’s summer, there’s nothing wrong with wanting to eat some popcorn and watch aliens explode, but Resurgence is proof than more can definitely be less.

Director/co-writer Roland Emmerich returns from part one, determined to re-create as many scenes as he can and up the ante on ships, aliens, and overall bombast.

Check and triple check.

The script is often groan-inducing, highlighted by lines no more subtle than “You’re the only family I got!” and the appearance of a helpful African warlord who can read the alien alphabet.

Just when you’re thinking (hoping) this might actually be a sequel to Mars Attacks! Whitmore delivers another “We’re going to live on” speech amid the swelling strings and waving flags and you’re right back on planet lazy

Independence Day was no classic, but it was fun, something Resurgence couldn’t spell if it gave an F.

Verdict-1-5-Stars

 

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Shark Sandwich

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The Shallows

by Hope Madden

Is The Shallows – Blake Lively’s new flick about a surfer trying to survive a shark attack – simply a girl power exercise wrapped in a sandy bikini?

Yes.

Still, it gets as much right as it does wrong.

Lively plays Nancy, a med student alone on a secluded, secret beach in Mexico. She’s here to be alone, to mourn, to surf. As the local drops her off on the beach and refuses her offer of cash, he asks how she plans to get back to town.

Excellent question.

There’s a great deal of convenient idiocy in this screenplay, but director Jaume Collet-Serra – who is no comrade of subtlety – actually handles most of these items deftly. After a few middling horror efforts, Collet-Serra made his name with a string of Liam Neeson films, so he knows a little something about a solitary figure fighting deadly odds.

Lively does a fine job in what is essentially a one-surfer-show. Nancy is smart. Not smart enough to avoid surfing alone in an isolated area of a foreign land, but a different kind of smart. MacGyver smart. And it’s with a balance of delicacy and grit that she just about makes you believe the ludicrous.

The Shallows is gorgeously filmed – and not just Lively. Yes, the camera hugs her form more closely than a wet suit, but Collet-Serra treats the surf, sky and sand with as much ardor. A generous reviewer might even say he’s creating a parallel – something about breathtaking beauty that belies serious ferocity. I am not generous enough to buy that theory, but I am generous enough to throw it out there.

For stretches, The Shallows will have you believing you’re watching a tense, thoughtful survival drama. Eventually the shark becomes a vengeful-mythical-beast-warrior-machine-monster, and any hint of credibility is lost at sea. This is the age of Sharknado – maybe Collet-Serra didn’t think he could keep his audience’s attention until the shark tried to scale something with his teeth?

Whatever the case, it’s a wild mashup of efforts: equal parts empowerment and ogling, survival thriller and Sharkasaurus Rex.

Verdict-3-0-Stars

 

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Swampland Rebellion

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Free State of Jones

by George Wolf

For all the onscreen battles in Free State of Jones, a more persistent one dogs the film throughout, as writer/director Gary Ross struggles to find cohesion for elements that too often conflict. The historical drama at the film’s core is so vast, it feels as though Ross just couldn’t bring himself to restrain any part of it.

Matthew McConaughey stars as Newton Knight, a farmer near Jones County, Mississippi who deserted the Confederate Army during the Civil War. As the numbers of fellow deserters grew, Knight led what came to be known as the Knight Company, a small army of Southerners that battled the Confederacy in an attempt to establish the “Free State of Jones.”

Historians still argue over Knight’s true motivations, but the film is less than nuanced at the outset, clearly drawing Knight as a poor man refusing to die in a rich man’s war, and unable to accept “any man telling another man what he’s got to live for, or what he’s got to die for.”

Ross (The Hunger Games, Seabiscuit, Pleasantville) does find more subtlety as the film progresses, but Newton’s heroically righteous nature, albeit delivered through a committed and moving performance from McConaughey, feels manufactured. Ditto the minimal racial tensions present in a unit mixing runaway slaves and AWOL Confederates.

Conversely, amid this idealism, the film is effectively brutal in its depiction of war and the deep, ugly roots of racism. But even here, the pendulum eventually swings back to manipulation, as Ross’s aim seems to be less about learning from history and more about being proud of how badly we feel.

Sparring tones continue, most specifically when the Knight Company uprising is woven through details of a decades-later jury trial involving one of Knight’s descendants from his marriage to a former slave (Gugu Mbatha-Raw). Bridges between each thread are built with dry, history-lecture sequences that are equal parts salient info and narrative distraction.

Ross’s passion is understandable. This truly is an incredible piece of America’s history, but one so expansive that an approach this broad is hampered from the start. Free State of Jones leaves fine performances and effectively-crafted sequences strewn across the battlefield, but the emotional connection needed to bind them remains just over that next hill.

Verdict-3-0-Stars

 

 

 

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Collision Course

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From Afar

by Hope Madden

Welcome to the fringes of Caracas, where a life barely lived collides with vibrant and violent passions in From Afar, the confident feature debut from director Lorenzo Vigas.

Veteran Chilean actor Alfredo Castro plays Armando, a solitary figure who stokes what little longing he still has by paying street kids for company.

Castro’s masterful performance mirrors Vigas’s detached style, but there’s more to this character than meets the eye. Vigas, who also wrote, shares only as many details as needed, encouraging the viewer to fill in the missing pieces. Meanwhile, Castro’s resigned, closed-off performance still roils at times with passion that threatens to break through his carefully protected surface.

Vigas’s deliberate use of focus and carefully observational approach keeps the audience at arm’s length, but this remote tone is frequently punctuated by the brute ferocity of young Luis Silva’s performance.

In a blistering screen debut as Elder, the 17-year-old punk who captures Armando’s interest, Silva is a shock to the system. Primal, urgent and impulsive, he bursts through the screen as well as Armando’s emotional walls.

The tension between Armando and Elder and the damage each may be doing to his own life and the other’s cause nerve-wracking tension as the relationship blooms, and yet Silva takes the narrative in directions that are simultaneously inevitable and heartbreakingly surprising.

Though the film sometimes feels overly crafted, and perhaps Vigas allows style to dictate more than it should, there is no denying the lead performances. Committed and natural, sympathetic yet repellant, the two actors unveil characters that are as similar and as dissimilar as people can be.

Vigas understands the power in silence. His film explains very little and yet exposes much – about yearning, class divides, human nature, and survival. He and his remarkable cast invite you into lives you couldn’t possibly know to tell a story with no judgment, and the truth in it is devastating.

Verdict-4-0-Stars

https://www.youtube.com/watch?v=7PsCR8kHqmA

 

 

 

Hope Madden and George Wolf … get it?