Shang-Chi and the Legend of the Ten Rings

I love the fact that Marvel has highlighted an Asian superhero, the culture and all that it can bring to it's diverse universe.  I love the fact that actor Tony Leung, arguably my favorite Chinese actor, is involved in this film along with Michelle Yeoh and the talented Awkwafina.  However, this admiration I have for Shang-Chi and The Legend Of The Ten Rings falls a bit short after viewing it, despite many reviews to the contrary.  In part because in some ways, it feels like just another great crossover Chinese kungfu fantasy film with crossover appeal (Crouching Tiger, Hidden Dragon, Hero).  This is not necessarily a bad thing per se, but it is also easy to forget that it's also supposed to be a Marvel film.  In that regards, I feel it falls a bit short in story originality.  Much of the story, it's arc, and even the set pieces, in fact feels like a subpar copy and paste of elements of Black Panther.  To further exacerbate the point, it feels far too sanitized perhaps with the influence of parent company Disney.  All of these points served only to cheapen my experience in what appeared to be a promising start and admittedly in the aftermath of the Marvel cinematic saga trying to redefine itself in the aftermath of Avengers: Endgame.

The Wolf's Call

Amazing that this is French director Antonin Baudry's first film, because it is instantly now one of my favorite submarine films.  I don't think I've seen a submarine film this good since Das Boot and done with a mere 22 million.  Some films make you take notice and some are gems. The Wolf's Call is a standout on both fronts.  The action, pacing, excellent cast, and a smart story all work seamlessly to deliver something amazing and worth watching again.  Through his likeable, idiosyncratic character Chanteraide, played brilliantly by Francois Civil, you are taken into the technical, camaraderie, command infrastructure, and high stakes world of a modern ballistic missile submarine.  It's a hell of a ride.

Gemini Man

I know Will Smith likes doing sci-fi film and all, but he should be doing better shit than this Gemini Man; the premise being about a retired assassin being pursued by a clone of his younger self.  One of the problems here against Smith is that he still looks like his 30 year old younger self.  Not to mention, that this cgi and the stunt effects are just too damn distracting the further along the story goes.  So, all of this gives it this weird kind of confectionery feel under director Ang Lee and writer David Benioff's unique set design.  

Shaft

I must admit that I didn't realize until writing this that it had been 20 years since Samuel Jackson reprised the Shaft role, because I was saying to myself why is he doing another one again (as if it had been like only a decade ago).  However, I still ask myself why.  I like Sam, but this movie just feels like an excuse to hear him cuss out folks and it's funny and entertaining in that sense.  But that's just it, Shaft was never a comedy, at least never leaning into it this much.  Jesse T. Usher is supposed to be the son and grandson here and shit, I'm not feeling it on any level.  So, the Shaft franchise goes from legendary to what can only be approximated to this kind of comedy buddy film that just distracts from what the plot of the film is; because I sure as shit can't tell you what the film is about and nor do I fuckin' care.

Black And Blue

Naomie Harris has been doing some amazing things in film lately and she certainly shines in elevating Black And Blue from what could have been just a mediocre action film.  It also stars Tyrese Gibson, Frank Grillo, and Mike Colter. What Black And Blue succeeds at is in showcasing a powerful Black actress of Harris in lead role that comes with very controversial and charged subject matter, while also being a winning action thriller that would make a good companion film to Training Day.  This is certainly one film where the generic title doesn't apply to the quality of what's being watched.

Rambo: Last Blood

When will this movie series end?  I thought 2008's Rambo was better on every level and would have been the one to end this, but this Rambo: Last Blood should have been called Rambo: Latest Blood.  In 2008, the character was in Burma and now he's off to Mexico to save his stepdaughter.  The script and character development are so lacking, the plot is tired and pointless, and the action (which is what we're all waiting on) is excessively bloody, predictable, and just laughable in it's unrealism.  The special features are like 50 minutes to the hour and a half film and I'm like for what.  I look at an excerpt or two of that and Stallone's saying the Rambo movies aren't action movies and his job is to tell stories. Wtf, as pretentious as all that was.  But I digress. The film is shit.

Hustlers

This film is a case of just a wee too much ambitious hype.  Jennifer Lopez, Constance Wu, Julia Stiles, Keke Palmer, Lizo, and Cardi B are an impressive and diverse group of actors and entertainers and this certainly sells the film and bolsters the budget.  Much like Casino and Goodfellas, it's a film that takes you into the seedy life of strippers turned criminals and is told from that voice, most notably and commendably from the real star here in Constance Wu. Oh, but let's not forget about the pole dancing skills of a 50 year old Jay Lo that's displayed at the onset. Unfortunately, this display and her admirable return to some real quality acting, and the nice directing of  Lorene Scafaria aren't quite enough to keep Hustlers from reaching a sustainable heightened interest throughout the film.  It's also a character driven heist film focusing primarily on the relationship between Lopez and Wu, which seems to lose much of its momentum in the midst of everything else going on.  So while it doesn't have all the strengths of cohesion and character development of a Set It Off or a Widows, it is a decent enough film to watch - just once.

The Beach Bum

Ok, sure it's a stoner movie.  Matthew McConaughy, Snoop Dogg, Jonah Hill, Zac Efron, Isla Fisher, and Martin Lawrence are all here for the ride.  But what in the fuck was the point here. McConaughy's character Moondog is so stoned the whole time and I suspect, he and everyone were on set.  Don't get me wrong, Matthew is perfect for the role here, but it is so overplayed and wrought with excess, that it can't be anchored by anything or anyone else.  Whatever carefree living point was attached to some semblance of a questionable plot here, The Beach Bum, did not quite make it with flying colors and it seems like such a waste of a film, however much fun the cast may have had.

The Irishman

All hands on deck! Pacino, Deniro, Pesci, Keitel. Scorsese has assembled the best dream cast around and delivers a much anticipated classic here and you can see and feel it from the very first frames. The Irishman is a master class in excellent film composition and an ode to all the best films of it's cast and director. Old fashioned film making paired up with the well placed use of de-aging technology is amazing (and, admittedly a little weird) to see and just gives the viewer this sense of nostalgia for when these guys were in their prime, less we forget that this was also a film about a man's life and intersection with Hoffa  and the mob. It even pokes fun at the fact that people nowadays don't know who Hoffa even was. Indeed, this is not just a gangster film in even the obvious storytelling style of Goodfellas or Casino. You could rightfully say all of Scorsese's best films are encapsulated here. There is the passage of time, end of an era motif played out in so many other levels not just integral to the story itself. What we are witnessing in The Irishman is magical, majestic, and with a level of craft on all levels to strive for.  I would describe it as an internal gangster film with more efficient use of violence and it doesn't need to be anything more for the viewers or anticipators of just shoot em up action leanings. Like last year's brilliant winner in Alfonso Cuaron's Roma, I easily anticipate great things here. Needless to say, of course everyone's performances were damn stellar and at the top of their game. Netflix, to their credit, has given both of these directors a medium to work in as real film artist, to anyone who has the short attention span to complain about their long running times. The level of detail in each well placed shot, writing and storyline, composition, acting, soundtrack, foreshadowing, etc., is a poignant and beautiful thing to behold when it's done right and The Irishman is certainly that. 

John Wick 3

John Wick 3: Parabellum runs like a video game.  What it lacks in a coherent and underdeveloped storyline, it makes or shall we say overshadows with in action sequences.  In this sense, it is heavily influenced by Asian action films. I could certainly see influences, references, and playful nods to lots of films, like The Raid, Game of Death, and The Matrix films.  It was just over the top and heavy handed in this sense and hard to understand or even care much about what could have been a more interesting backstory with some interesting characters.  For martial art action fans like myself, I can't be totally disappointed in this common criticism because on the surface alone it does excel both more in the action quantity and quality, more than the previous two films put together. I'm happy about the franchise, but at the same time, I think Reeves and director Chad Stahelski should be more vigilant about it digressing into just slick action alone.  I also emphasize this because some of the cgi aspects of the film got a little sloppy and with an abundant budget and resources, that's just not to acceptable.  I would want to see the franchise tighten it up a bit in chapter 5.  It was good seeing Halle Berry kicking ass of course, but actors understandably jumping onboard action franchises is arguably so common place now especially with her donning this type of role before.  All of that being said, John Wick: Chapter 3 - Parabellum, like the previous two, is still a highly enjoyable romp into an exciting fictional film noir, that doesn't let up in action and intensity.

Detroit 48202:; Conversations Along A Postal Route

A local documentary portrait offering a rare snapshot into the city of Detroit from a unique native perspective.  It weaves in and out of city history, family narrative, and neighborhood perspective.  I found it very relatable and engaging without being preachy.  Detroit is often times just thought of in terms of just the Motorcity or Motown, Detroit 48202 explores other little known aspects like the significance of Black Bottom and Black migration.

Bumblebee

Well, the Transformer film franchise certainly needed a reboot after the last disasters in Age Of Extinction and The Last Knight.  So like other superhero/comic book film franchises that find themselves going down the wrong path, they did a reboot.  Since the Transformers started in the 80's, it was only appropriate to make that (1987) the setting for Bumblebee here.  Having grown up in the 80's myself, being a fan, and watching the early television shows and  films, I've never run into anyone who didn't consider the character of Bumblebee to be one of their favorite Transformers.  So giving him a bit of an origins story and pairing him up with a troubled teenager (Hailee Steinfeld) turns out to be a no brainer.  The special effects and action are, of course, all there but they aren't unecessarily saturated over substance like many of the earlier films, even with Michael Bay still as one of the producers.  Instead, nostalgia, character chemistry and humanity, and humor are in equal doses here under the helm of  director Travis Knight. 

Triple Threat

You've got an all star dream team of martial artist here in Tony Jaa, Iko Uwais, Tiger Chen, Michael Jae White, Scott Adkins, and Jeeja Yanin to name just a few.  That alone promises a lot of potential and their is surely great action to supplement the badly executed story.  Don't get me wrong.  It's certainly not the worst executed plot and most martial art fans understand that, expecting more action.  On this note, it's great and there is never a dull moment with the variety of styles showcased and going against one another.  Yet, I would certainly argue that each of these stars already has or can potentially make their own stand alone movie even better executed action.  Tony, Iko, Scott, and Michael for sure have showcased their prowess better in their own films.  But a buffet of action stars that aren't yet ready for the Expendables movies from an international cast is still just magnificent to behold, especially in seeing the teaming of Tony and Iko and their respective western counterparts of Michael and Scott.  Granted, an action cast that extensive and talented is rather doomed to fully live up to the expectations and possibilities of the fans given the time restraints and budget of a regular feature film format, even as visceral as Triple Threat is.

September 16, 2019. Finally!!!

Avengers: Endgame

Beyond arguably the most star studded cast in a successful film franchise, Avengers: Endgame is the culmination of a decades long legacy and realization for the Marvel franchise and it doesn't disappoint.  It delivers and then some, in hefty but fitting doses for the fans and critiques alike.  In the aftermath that is Avengers: Infinity War, Endgame is exciting, witty, surprising, unexpected, nostalgic, and delivers tons of obligatory action.  At 3 hours long, the Russo brothers pack it with story oriented trips down memory lane and the like, that return the franchise to it's roots started in 2008's Iron Man and send it off with a conclusion and continuation rarely seen in this type of genre.  Free range is given to explore and celebrate the original Avenger characters and this is just as great as the action that we've come to expect.  Those character bonds, their angst, tragedies, and triumphs are dived into wholeheartedly.  Much of what ties all the characters, including the seemingly ordinary ones, of these 21 films together in story and ultimately as an integral solution to their current dilemma is a treat that is sprinkled in generous doses throughout here.  Avengers: Endgame certainly has it's flaws, mostly in terms of uneven tone and pacing for the length. A mandatory second viewing may flesh them out further. But whatever minor criticisms I may have on that front, are just that in the overall scheme of things.  Endgame is what we've been waiting for and it's a celebration of all of these successful films (let's not forget TV, too)  tied together and if you've enjoyed anyone of those films, then Endgame will resonate with you on some level.  Marvel has made so many ascending strides in the superhero genre and they flaunt it here, sometimes unabashedly.  So while there is a somberness and celebration here, there is also a continuation in more films in the works and on the way.   

Shadow

The Girl In The Spider's Web

Claire Foy is a very fine actor and all and she's capable enough in the role here, but she surely ain't no Noomi Rapace.  Director Fede Alvarez does a fine job of updating the technical capabilities of our favorite dark vigilante heroine and her alies, but too much emphasis is placed on that at the expense of other essential elements.  It's cool and all, but The Girl In The Spider's Web ends up becoming just another almost composite of  the Jason Bourne films at best.  Lisbeth's backstory, as interesting as it was and integral to the whole story, was not fully dealt with enough getting lost in a plot that was more suited to Bourne or Bond.  The look, pacing, and action were all right and it had a creative premise, but it didn't fully live up to the expectations of what I've come to expect in this franchise. One other notable omission was the rapport with partner and  journalist Mikael Blomkvist (played by Sverrir Gudnason), who was almost reduced to just an extra here. This is a shame, because there is so much inherent possibility in characters that rich and that we've seen done well on the screen in the 3 original Swedish films and even in the well edited and executed Netflix TV series which takes a different slant.

Native Son

Ashton Sanders (Moonlight) is the highlight here taking on the role of misguided youth Bigger Thomas.  It can be challenging turning a classic novel into a film of the same esteem, much less updating the story to suit contemporary times.  Native Son has a talented director in artist Rashid Johnson and Pullitzer Prize winning screenwriter Suzan Lori-Park. Both Sanders and KiKi Layne (If Beale Street Could Talk) are more than up to the task in their portrayals, but Native Son falls a bit short in it's overall depiction of the story, particularly in the end and it's omission of key moments.  Nonethless, the parallels of a novel written decades before and its meaning now, seemed a bit undercut here.  That may not be necessarily the fault of the film or those involved, but somehow the almost futility in relevance of a classic American novel becoming almost irrelevant in scale in a sea of films throughout the years that intentionally or not, also illustrate the constant vigil and exploration for solution we must have for the plight of young Black men, the justice system, and social class.

If Beale Street Could Talk

If Beale Street Could Talk is a great film adaptation of the James Baldwin novel with a stellar cast.  Barry Jenkings deserves much credit as director and for the screenplay.  It is interesting in that there are many parallels and similiarities this year with Alfonso Cuaron's Roma, notably in that both of these films take place in the 1970's, are concerned with the everyday life of black and brown folks, and make great use of creative cinematography and music to elevate the poetry within the stories.  Like Roma, If Beale Street Could Talk also addresses the very real and still relevant issue of a class divide among multiple generations.  Two films set in the past that echo the current environment that we live in.  What we also have in this film, is a unique depiction of the dynamics of everyday Black family life and young love. Regina King is always just amazing to watch and behold how her talent has just matured to another level.  Kudos must also be given to the rest of the cast Kiki Layne (Native Son), Stephan James, Pedro Pascal, Michael Beach, and Coleman Domingo.  This recent resurgence of similiar Black films from promininent Black authors and playright (Native Son and Fences) has been really exciting to see. 

Captain Marvel

You gotta admire the Marvel franchise.  It's had so many inroads and successes for this long and how each of their films is more than dual purpose in offering extended narratives, introductions, context, and clues to ultimately push the Avengers narrative further. So after the success of the groundbreaking Black Panther, I would think that Marvel's first real ambitious endeavour into a female character would also catch fire in a unique way.  This is not to say that Captain Marvel is a bad movie and that Brie Larson wasn't great because she was.  One of the major problems I had was with the tone of the film being part campy like Ant Man or Guardians Of The Galaxy, but without the endearing charm.  The story is a bit convoluted also, but Larson is pretty amazing in her embodiment of the character and Jude Law is good enough as a villain.  Beyond this, Captain Marvel serves, in this first installment anyway, as a prelude full of worthy easter eggs to Avengers: Endgame.