The Substance

There are a lot of different dimensions to the question of what this movie is, is all about, and whether or not it succeeds, either overall or on its own terms. Just for starters, the story asks for a fairly massive amount of suspension of disbelief, and not just as regards the tale's science/horror elements. For instance, how is it even possible that Elizabeth—who is still viable as of the beginning of the story—winds up so isolated and alone that the action could even have plausibility? I mean, even has-beens tend to have hangers-on long after their expiration dates. Also, are the generic settings, elements and trappings of the story meant to convey the kind of stripped down aesthetic of a stage play, or does the lack of a more fleshed-out context simply reflect laxity, if not outright laziness, on the part of the screenwriter? Finally, the overarching message seems to be a muddle; the film wants to have its chocolate mousse cake and eat it too. To wit: is the sexism and emphasis on youth and beauty presented as the catalyst for Elizabeth's actions truly an example of villainy, as the script wants to suggest (if not insist upon)? How is that so, given the objective reality presented in Sue’s side of the story, where standard measures of beauty, youth, vigor and attractiveness all translate into success and positive attainment? The whole tableau seems highly debatable, even as the story appears to be very pointedly in favor of a specific, feminist critique of Hollywood in particular and the world in general. So did the filmmakers create a movie to be puzzled over, or did they fail to clearly convey their message? It’s hard to know. What is for certain is that this flick is arresting in its concepts and visuals—particularly in its lack of squeamishness about showing the viewer all of its gory details. It can be hard to look at and impossible to look away from at the same time. An enigmatic work, for sure, with a qualified PURR, but substantial and absolutely worth viewing, especially if it gets you thinking about all of the various elements this movie has on its mind. 

Strange World

More like 'subtext world.' Man, are there layers of not-so-subtle meaning in this piece—and that’s in just the first 20 minutes. A lot of that messaging is the sort of stuff makes Florida governor-types flip their lids, so it’s no wonder Disney has some wrestling matches on its hands. The messages and motives in and of themselves are relatively innocuous (alternative lifestyles as normal, ultra conscious ultra diversity, environmentalism, rejection of past legacies), but they are, in this context, so obvious as to be distracting. It can be hard to judge a movie like this just as a movie, on its merits as an entertainment, when the viewer has to sift through so much signaling to see the tale itself. When the viewer does get a grip on the tale itself, he finds two very big problems with it: a large dose of predictability and a central focus on a set of characters who are, thanks to their interpersonal conflicts playing out and overweening the story, rather unlikable and often tedious. The whole father-son battle had been done before, and this telling breaks no ground (other than perhaps the wrinkle that, when the battle moves into a third generation, it will have nowhere else to go, thanks to one character’s specific persona). As for the big reveal, it actually comes as no surprise at all to anyone paying close attention to the visuals—or, for that matter, anyone who has ever heard of that old chestnut “Fantastic Voyage.” Thus, the viewer is way ahead of the filmmakers by the time the rather ham-handed message delivery that spins off that reveal makes its arrival. Those visuals throughout are impressive in a standard 21st century animated work sort of way, but there’s nothing here that comes across as revolutionary in this work (and as the story setting is an entirely made up milieu, the animators can’t even get points for accuracy or realistic depiction). Finally, lest we forget—as if we are ever allowed to—this flick features yet another annoying sidekick critter, a Disney-standard trope that, through its inclusion here, heightens the sense that this film is largely formulaic in its construction. Overall, there isn’t enough here to declare this a bad movie, but there isn’t enough to exactly recommend it either.

Midway

A whole lot of bombing going on here, and not just from the planes. That assessment is probably too harsh, but it's undeniable that this film not only didn't hit its mark at the box office, but it also missed its target from a cinematic standpoint. Despite the urgency of the story--from both perspectives--and decent to good work from the cast (interesting to see Ed Skrein, for once, not playing a villain), this work never really comes across as urgent and dramatic. There's another problem, too, that hangs over the film: it was the result of a joint Chinese and American production, a fact (obvious from the start) that demands of the responsible viewer an awareness of the possibility that he's watching propaganda. In fairness, the filmmakers seem to have walked that line and showed understanding to each of the principal sides involved (though the follow-through on the Doolittle story line has obvious implications). Perhaps the joint production team led to a watered down movie. Whatever the cause, this flick sinks when it should have flown.

The Rookie

It starts off a bit strange and disjointed, and it gets a bit schmaltzy, but it never crosses the line. Otherwise this is a fine bit of family entertainment.

Any Given Sunday

I can't tell--did Oliver Stone make a stupid football movie because he's stupid, or because football is stupid, or is it both? The critique of the character of big-time football is welcome (apparently, everyone involved with it is a horrible person), but bluster and bullshit are not substitutes for an actual story.

Traffic

Tough to watch, thanks to the fact that this film is about total wretchedness and the cancerous evil that inhabits the soul of a nation (and that nation is not Mexico, kiddos). The extensive cast gives good performances, but Soderbergh's directorial gimmickry--tinted lighting, grainy textures, self-conscious editing--considerably detracts from the overall movie.

Frequency

The premise requires a lot of "go-along" goodwill from the audience--modern day cop talks to his long-dead father via ham radio, thanks to ionic storms--but get past that and the story really works. Exciting and touching at the same time.