Tag Archives: Netflix movies

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We Love the 80s!

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Beverly Hills Cop: Axel F

by George Wolf

Within the first ten minutes of Netflix’s Axel F, we hear the big hit songs from both Beverly Hills Cop 1 (“The Heat Is On”) and 2 (“Shakedown”). So the promise of 80s nostalgia is made early, and then part 4 in the franchise makes good on that promise for nearly two hours.

Thirty years after the dreadful BHC III, Axel Foley (Eddie Murphy) still has the same Detroit Lions jacket, and the same penchant for stirring up trouble.

He also has an estranged daughter named Jane Saunders (Taylor Paige, classing up the joint) who’s a successful defense lawyer in…anyone?…Beverly Hills. And Jane sometimes works with now P.I. Billy Rosewood (Judge Reinhold), who left the Beverly Hills police force after now Chief Taggart (John Ashton) didn’t have his back on a complicated case.

Jane is defending an accused cop killer that Billy thinks might have been framed. Their work doesn’t sit well with Taggart, or with the Rolex-wearing Captain Grant (Kevin Bacon), head of the new narcotics task force. So when some goons try to scare Jane off the case, Billy feels responsible and….anyone?…calls Axel.

First-time feature director Mark Molloy dutifully rolls out a workmanlike series of recognizable franchise faces (Bronson Pinchot, Paul Reiser) and situations (Axel crashes an exclusive club, Axel startles cops by jumping in the back seat of their cruiser). And while it’s nice to see the addition of Joseph Gordon-Levitt as a well meaning cop/ex boyfriend of Jane, little of the script from Will Beall, Tom Gormican and Kevin Etten deviates from the convenient and the predictable.

But is it fun? Yeah, it kinda is.

Murphy seems engaged about the character again (especially during a surprisingly relevant exchange with a parking valet), and the film is perfectly happy to remind you of happier times and take your mind off of Supreme Court decisions.

Come back in the room after feeding the cat: oh, look it’s Serge! Check your phone for minute: there’s a shoot-em-up car crash! You know who the bad guys are, you know fences will be mended, and you know you love the 80s.

Axel F knows you know, and this time, that’s just enough.

You know?

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Hit Man

by George Wolf

What better way to have some breezy fun with our identity-challenged times than by embellishing the true-life story of one Gary Johnson?

Johnson was a phony hitman in Texas who would don different disguises working undercover work for the police. After a 2001 article in Texas Monthly profiled his adventures, various screenwriters toyed with the project. And though Johnson died in 2022, he can sleep well knowing Richard Linklater and Glen Powell’s Hit Man finally does him proud.

In the Linklater/Powell take, Johnson (Powell) is a mild-mannered psych professor at a New Orleans college who likes birding and jean shorts. A proficiency for tech gadgets lands him a moonlighting gig doing surveillance with the cops. But when their undercover man gets suspended for shady activities, Gary emerges from the van as “Ron,” fake hitman for hire.

Turns out, Gary has a knack for this new identity, and impresses his team with some suave method acting.

“Okay, Daniel Day!”

He also impresses Maddy (Adria Arjona from Morbius) who wants her abusive husband dead. “Ron” talks her out of the hit, they begin a steamy affair, then the husband turns up dead anyway.

And so the heat (the Body Heat?) is on.

Powell is all charm and charisma as he bounces from one persona to the next (the Patrick Bateman impression is particularly hilarious), Arjona is a captivating possible femme fatale, and the chemistry between them is undeniable.

Linklater’s direction is slick and well-paced, with a vibe that recalls a winning mix of Fletch whodunnit, Spy humor and Ocean’s 11 sex appeal. But Hitman still feels very much in-the-moment, with a repeated focus on how our point of view can shape our reality, and how our path to change starts by being honest with ourselves.

That’s right, Powell and Linklater find room for a serious message in Hit Man. But don’t worry, you’ll be having so much fun it won’t hurt a bit.

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Survive and Advance

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Society of the Snow

by George Wolf

2012’s The Impossible proved director J.A. Bayona could recreate a real life disaster with heart-racing precision, and then mine the intimate aftermath to find a touching depth.

Since then, he’s had his big screen mind on monsters, with results both miraculous (A Monster Calls) and mixed (Jurassic World: Fallen Kingdom). Now, Netflix’s Society of the Snow finds Bayona back in the true adventure business.

And his business in Society of the Snow is heartbreakingly, thrillingly, unbelievably good.

It’s the latest account of the 1972 Andes flight disaster, a legendary ordeal that has been detailed in several books and films over the last five decades plus. Bayona read Pablo Vierci’s “La Sociedad de la Nieve” while researching The Impossible, bought the rights soon after, and now teams with co-writers Bernat Vilaplana and Jaime Marques for a harrowing and fittingly reverent treatment.

Following Vierci’s lead, Bayona makes sure we get to know many of the members of the ill-fated Uruguayan rugby team, who were on their way to a long weekend in Chili when their plane – carrying 40 passengers and 5 crew members – went down among the snowy peaks.

After an introduction that endears the young men to us via enthusiastic friendship and youthful naïveté, Bayona pulls us into the crash experience with a spectacular, terrifying set piece almost guaranteed to whiten your knuckles and quicken your pulse.

It’s a stunner, as it should be, because it anchors the film in a survival mode that will be tested beyond what most people could ever imagine.

The ensemble cast, filled mainly with newcomers, is deeply affecting. The survivors will be pushed to their physical, moral and spiritual breaking points, and these young actors make sure not one exhausting second of it feels false.

Bayona and cinematographer Pedro Lugue present the Andes as a beautiful monster in its own right, capable of majesty and menace in equal measure. The smaller you feel, the better, so experience this one on the biggest screen you can find.

Forget what you know. Even if you’re aware of what these people went through, Society of the Snow will reframe the tale with a deeper level of humanity and courage. And should this legend be new to you, resist the urge to research until after you’ve seen Bayona’s take.

It’s one unforgettable journey.

Outtakes

Royal Pain

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The Monkey King

by George Wolf

This year’s animated features have already wowed us with spiders and turtles, so why not monkeys?

Netflix gives it a go with the latest take on a well-loved story from Chinese literature, landing scattershot moments of humor and visual flair amid a rambling narrative grasping for anything to call its own.

Our titular Monkey King (voiced by Jimmy O. Yang) is on a quest, too. After being born from a magical rock, his exuberance and ambition gets him exiled from his village for being an agent of chaos. The Immortals in Heaven insist on the rules of balance, and the little Monkey King just cannot follow them.

But Buddha himself (BD Wong) intercedes, telling the Jade Emperor (Hoon Lee) that a great destiny awaits the Monkey King. And once he is able to steal “Stick” (Nan Li), the all-powerful Grand Column of the undersea Dragon King (Bowen Yang), Monkey King sets out to vanquish 100 demons and earn his place among the highest Immortals.

The writing team of Rita Hsiao (Mulan, Toy Story 2), and Steve Bencich and Ron J. Friedman (Open Season, Brother Bear) sets effective stakes early on, but then struggles to give the tale an emotional anchor. We never really care that Monkey King is not being accepted because he doesn’t seem interested in earning it, even tossing aside the help of the earnest Lin (Jolie Haong-Rappaport), a wannabe assistant who he feels is beneath him.

Director Anthony Stacchi (Open Season, The Boxtrolls) gives the film an often frantic pace that doesn’t leave much room to breath. And when an action sequence or punch line does land, we’re quickly off to the next distraction, which is especially distracting when it’s an awkward musical number for the Dragon King that you’d swear was an A.I. re-working of The Little Mermaid’s “Poor Unfortunate Souls.”

There are pluses, including a wonderful voice cast, a vibrant, culturally rich animation pastiche and winking nods to the work of executive producer Stephen Chow (Kung Fu Hustle, Shaolin Soccer). But disjointed character arcs and muddled motivations keep the film from crafting a coherent journey. and The Monkey King can never quite escape the chaos.

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City of Ruins

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Mosul

by Hope Madden

Matthew Michael Carnahan is a screenwriter unafraid to dive into the political. Though none of his films are classics, from the best (The Kingdom) to the worst (Lions for Lambs), all tell stories that combine governmental indecision with action in an attempt at cultural relevance.

As a rule, the success of his themes depends on the film’s director. So with Mosul, Carnahan has no one to blame but himself if it doesn’t work.

The film spends a single, tumultuous afternoon in the titular Iraqi city with the Nineveh province SWAT team, the only group to fight ISIS occupiers continuously from 2014 to 2017. Onscreen text clues us in to their successes, their legendary status, and their desperation to complete one last mission before ISIS finally flees the city.

En route to completing that mission, they hear gunfire and come to the aid of two standard issue uniformed police officers about to lose their lives in a standoff with ISIS. When all is said and done, one cop is on his way back to the other side of the city. The second, Kawa (Adam Bessa, Extraction), joins the rogue unit.

Carnahan shows surprising instincts when it comes to pacing. Rather than generating tension to be released with bursts of action, Mosul periodically punctuates the near-constant action with brief respites.

Carnahan knows how to make the most of these moments. We catch our breath for a glimpse of each of these men as men. The character building is brief and nearly everyone will die before we know their names, but thanks to touches that never feel scripted or heavy handed, the characters have the chance to be human.

The breathlessly paced slice of war torn life is grounded by two performances: Bessa and Suhail Dabbach, playing commanding officer Jasem. Kawa’s character evolves almost at the speed of light, turning in one afternoon from a wide-eyed, by the books police officer to an unrecognizable man with a mission.

Jasem is on the other side of that evolution and the veteran Iraqi actor makes you believe. A father figure who is simultaneously merciless and dangerously compassionate, he’s a bright and constant reminder of exactly why the unit fights.

Carnahan’s first time out behind the camera rushes at times. Kawa’s speedy transformation certainly strains credulity. But Mosul handles the political themes with a surprisingly light hand. It certainly keeps your attention and delivers eye-opening information without abandoning storytelling to do it.

He should keep directing his own movies.