Tag Archives: Donald Glover

Space Cowboy

Solo: a Star Wars Story

by Hope Madden and George Wolf

Are Han and Chewie your favorite characters from the Star Wars franchise? And if not, why not?

They were the cool kids in a galaxy of nerds, and if any single Star Wars offshoot deserves the edgy, thought-provoking, dare-we-even-say dangerous treatment, it’s the origin story of this duo.

And nothing spells danger more than director Ron Howard.

Actually, most everything does, but Howard does manage to steer Solo in satisfactory, though not quite thrilling, directions.

The film catches the scent of a young street rat, in love and in need of a ticket out of his home planet. Complications arise, friends are lost, found and lost again, there’s gambling, smuggling and risk-taking and a future legend finally getting his wings – plus a big, furry co-pilot.

Aldren Ehrenreich makes for a fine young Han. He mixes enough of Harrison Ford’s mannerisms (and the scar on his chin – nice touch) with an unvarnished naivete that suits the effort. He’s more than matched by Donald Glover, whose Lando is a smooooth amalgamation of Billy Dee Williams, youthful swagger and some sweet capes.

Fun new characters, including a rebellious droid who steals the show, round out a rag-tag group of misfits to root for. Woody Harrelson cuts exactly the right figure to be the mentor Han needs, while Paul Bettany’s brand of slippery villain (Josh Brolin busy?) offers an excellent foil.

Howard famously picked up the Solo mantle after executive producers canned Phil Lord and Christopher Miller, the charming rogues behind The LEGO Movie, 21 Jump Street and Cloudy with a Chance of Meatballs.

He’s working from a script by the father and son team of Jonathan and Lawrence Kasdan. Kasdan the Elder, of course, penned Force Awakens, Empire Strikes Back and Return of the Jedi.

All of which sounds perfectly calculated and terribly risk-free. And it is, but it’s also a lot of fun. The imagery (speeders, desolate planets, weapons, casinos) looks simultaneously retro and futuristic, beat up but cutting edge. And there are plenty of warm nods to Han and Chewie’s future that will bring a knowing smile while honoring our long investment in these characters.

So what’s missing? The rogue spirit that let Han steal scenes in A New Hope so easily.

It’s a film that takes no chances, which feels ill-at-ease with who Han is as a character. After a couple of installments in the Star Wars saga that were unafraid to make dangerous decisions, chart new courses and stir up the fanboys, this one just feels too safe.

Solo‘s got plenty of space, just not enough balls.

Lazy Lazarus

The Lazarus Effect

by Hope Madden

Four years ago filmmaker David Gelb directed the lovely, layered, joyous documentary Jiro Dreams of Sushi. This weekend we see his newest effort, The Lazarus Effect. What the hell happened?

Gelb abandons novelty and nuance for a by-the-numbers Frankenstein horror. Medical researchers work on a cure for death. Big Pharm is looking to steal their ideas for nefarious gain. Think Splice.

The scientists test their process on animal subjects, but make the leap to human trials a tad prematurely when one of the team-Zoe (Olivia Wilde) – is electrocuted. Things do not go well. Think Pet Sematary.

The serum super-powers Zoe’s brain. Think Lucy.

But Zoe may have been brought back from hell, and may have brought some of hell back with her. Think Event Horizon. Or Flatliners.

It appears screenwriters Luke Dawson and Jeremy Slater have seen enough movies to be able to cobble together plenty of stale ideas to fill 83 minutes, although you will swear the film runs two full hours.

Part of the problem is the blandness of the set. For most of the running time we’re trapped in the hospital’s sub-basement with the doomed scientists. This should create anxiety, develop claustrophobic dread, but the dull set and uninspired direction do little but breed tedium.

Gelb can generate tension now and again, but he doesn’t know how to deliver the payoff. The film is so paint-by-numbers – from the greedy chemical company to the dream sequence, from the dog to the unrequited love to the twist ending – there’s nary a surprise to be found.

Wilde and cast (Mark Duplass, Evan Peters, Sarah Bolger and Donald Glover) can’t bring depth to their characters, though Wilde does give it a shot. There’s more to Zoe than what’s on the page, but not nearly enough to keep the film interesting.

There are plenty of awful horror movies, and The Lazarus Effect is not one of them. It’s succinct, tidy, offers a jolt or two, and it’s held together workmanlike-fashion with enough logic and borrowed ideas to remain lucid for as long as it needs to. But horror also has some great films to offer, and this is certainly not one of those. It’s a disposable February flick and a genuine disappointment from Gelb.

Verdict-2-0-Stars