The Fall Guy

A strange viewing experience. The leads are likable, the script shows that it has something on its mind, the action is good (though it does occasionally lag)—what’s the problem? That’s what makes it so strange: I don’t really know. But something is missing here. The issue may lie in the fact that this movie is in love with movies, and if you personally are not so enamored, the film’s enthusiasm may fall flat for you (pun vaguely intended). Perhaps there’s also a lack of any sense of true stakes; the core drama lies in whether or not Emily Blunt and Ryan Gosling will make it up with each other--and frankly, few of us can really burn a lot of calories worrying about whether or not impossibly pretty people will be able to work out their love lives. The movie is, overall, not deserving of a HISS; there are too many good moments within its running time for it to get less than a middling MEOW. But it is, most emphatically, less than what it could have been. Less an awe inspiring stunt, more of a pratfall.

Oppenheimer

Normally, the movie industry wants to shy away from bombs. But this story ain’t normal. Perhaps that explains the way director Christopher Nolan presents this tale—in a most unconventional way, particularly for a biopic. The storytelling here is eccentric, impressionistic, and idiosyncratic, with an almost staccato rhythm and pacing in the way it weaves its the tale. And 'weaving' is the correct term, as this story is nearly a co-biography of the title physicist and businessman and government official Lewis Strauss, with the parallel paths that the two men follow in the later years of their public careers displayed in intertwining narratives. Cillian Murphy is fine in the title role—he carries a heavy load here, being in almost every frame of the film—though Robert Downey Jr. almost steals the show (and will be a strong contender for a supporting actor award come next spring) as the antagonistic Strauss. The movie does have some flaws: some character introductions and scenes feel obligatory, the sorts of cinematic elements one often sees in a biopic; even with this work's nonstandard DNA, it can’t avoid some of the genre's cliches. Also, Nolan’s penchant for representational visual interjections—which lends a lot of that aforementioned staccato pacing—grows annoying after a while. Really, the whole style of the film is the greatest challenge the average viewer will face in watching this one. If you’re open to a non-conventional approach and allow the story to do its work, you will find this film to be rewarding, intriguing, in stretches even engrossing. But I also suspect that many viewers will be put off by the way Nolan’s direction asks a lot of the audience. That may be why, of the summer's two most anticipated releases, this one appears to have been left somewhat in the dust. Perhaps this should have been an Oscar-season release after all, and should not tried to swim against the summer blockbuster tide. Such a decision might have aligned expectations better for this film. Nevertheless, this movie is ultimately a success on its own terms, and one more interesting entry in the catalog of one of today’s most successful and intriguing directors. No bomb here; this project produced its intended product, be it a blockbuster or not.

Jungle Cruise

In a lot of ways, this is Disney at its worst. The movie tells a story that has only a shred of relationship to theme park ride--which, by the way, was clearly intended to be in Africa, not the Amazon basin--that is not particularly interesting, is eye-rollingly predictable in oh so many ways (including a ham-handedly telegraphed "they hate each other, they love each other" romantic element), and that ultimately comes across as a cynical and insulting attempt to just grab some cash from film audiences (while obsequiously nodding toward various identity groups). Also, Jesse Plemons is a fine actor, but having him as your ultimate villain--and speaking German half the time at that--is not a good call. If not for the inherent likeability of the leads--Dwayne Johnson and Emily Blunt are not the problem here--a viewer with any self-respect would probably throw flaming projectiles at the screen. At least there's a CGI jaguar to provide some visual appeal. Yeeesh.

A Quiet Place Part II

The interesting—or, if you prefer, scary—subtext of this sequel: the government today is so screwed up that, if an invasion of alien monsters ever happens, we should expect no coordinated, effective response from authorities. We’ll all be on our own. Such is the story depicted here. That "Part 2" part of the title is legit; excepting a flashback prologue, this movie stands as a near direct continuation of the events of the first film. Though this flick comes with a few quibbles—mostly around the standard horror-film trope of people doing things they obviously shouldn’t do—for the most part this work succeeds in keeping the tale moving, the scenario interesting, and the frights coming at a just-right pace. Eventually, this storyline will burn itself out if it spawns too many sequels, but if they stop at a third ‘conclusion’ part of the story, that would be perfectly acceptable—not something worth shouting about, perhaps, but probably worthy of somewhat muted (but legitimate) enthusiasm.

A Quiet Place

Viscerally, well done. Intellectually, I'm not so sure. It seems like these characters make huge mistakes all along, from the very opening scene. Perhaps part of the idea is to present the case that living without the normal cacaphony of everyday life is nigh on impossible--that life without the ability to clearly and directly communicate is hardly life at all. Maybe (though I sure would like some of the people in my neighborhood to give it a shot). Also, there are inherent contradictions in what's presented; that is, both a family life that is tremendously stripped down, and then at the same time filled with certain elaborate structures and schemes. It all may look good on screen, but it doesn't necessarily pass suspension of belief.  The intent to make a different and breakthrough work comes through loud and clear--but actual success in that vein barely rises above a whisper.

The Devil Wears Prada

I guess you had to be her. I admit there's a decent story here, with plenty of elements of interest even for the unfashionable among us. But the film has issues, chief among them being its desire to have things both ways. The story is dismissive of fashion and its world, but also argues in its favor at certain key moments. When our heroine becomes more accepting of her new milieu--and even starts feeling sympathetic towards her antagonist--she is not celebrated for her growth but criticized as a sellout in run-of-the-mill dramatic conflict generation. All of which leaves the viewer...where? Who knows? Are the personal failings of those shown as antagonists worthy of condemnation, or justified by their positions in the the fashion world's hierarchy of prominence and importance? Again, who knows? That lack of a firm, determined perspective isn't fatal, but the film suffers because of it. With movies as with people: looking good matters, but the advantage can be undone by flaws in deeper concerns.

Into The Woods

My hearing must be going. Once again I've watched a movie where I couldn't hear a lot of the dialogue--in this case, in musical form--over all the background noise and orchestration. Alas, the burden of getting old. The fact that that is my concern when thinking about this film is a warning sign; it's a movie that promises much but delivers not nearly enough. I'm not sure the "wisdom" of the fairy tale rewrites is all that wise; folk wisdom gets to be folk wisdom for a reason, and you coming along with your jaded worldview does not necessarily change everything. Oh well; at least you get to spend a chunk of a couple of hours with the awesomeness that is Anna Kendrick, so that's something.

Looper

The cleverness here comes from a conscious decision not to be clever. Writer and director Rian Johnson declares early on (through the Bruce Willis character) that he’s not interested in getting bogged down in time travel paradox puzzles (although the film’s denouement arguably does rely on just such a puzzle). The key decision allows both the filmmakers and the audience to focus on the business at hand: a well-made, stylish thriller that keeps you entertained all the way to its mobius knot ending. The only sour note: Joseph Gordon-Levitt’s distractingly bad makeup job; suspension of disbelief could have been achieved without the odd look. Otherwise, this flick’s a good one, and worth a look.