John Wick: Chapter 4

Undoubtedly, this is the funniest movie in the series—which is saying something considering its denouement. But really, everything here is so over the top that you can’t help but laugh. It becomes clear here, if it wasn’t already, that these films are really live-action cartoons with a healthy dose of first-person shooter video game thrown in. One might be tempted to be dismissive of such a project, but there has always been something akin to art hiding within this mayhem, and that too comes out clearly in this outing. Director Chad Stahelski puts on an extraordinary display with several of the sequences in this flick, long stretches of screen time where well-choreographed action is shown within visual contexts that are skillfully composed, including one case—an extended overhead shot of an in-building gun battle—that displays a dazzling degree of vision and control. But it’s not all flash and visuals; this movie also has something on its mind. It’s actually a theme that has run through a lot of this series, but the concept really comes to the fore here, where so much of the action takes place in scenes of opulence: these assassins exist in the realm of the ultra rich—a caste that, according to these films (and the evidence of reality) is comprised wholly of true monsters. Oh, yeah, and on top of all that, Keanu is still Keanu; his title role remains an indelible character, vulnerable and indestructible at the same time. All in all, it’s a satisfying way to end one hell of a ride, one of the most unexpected and surprisingly enjoyable journeys in cinematic history.

Where'd You Go, Bernadette?

It succeeds despite itself. How? Largely based on the tremendous skill of the principal actors, who turn in terrific performances and make you care ultimately about people who are, frankly, not particularly likable on the face of it. This film is clearly meant to be a showcase for Cate Blanchett, and she's good, but without sterling work from Billy Crudup (a vastly underrated actor) and young Emma Nelson--who really binds the whole work together with her marvelous, heartfelt, spot-on performance--you would just have a star turn for an actress presenting a profoundly antiheroical lead character. The ensemble work overcomes the relative mundanity of the slightly-elevated suburban-angst plotline. Thanks to those efforts, when the payoff comes the viewer feels that all that came before it, including the audience's own dubious feelings about the matter, was worth the effort. Good enough.

John Wick -- Chapter 3: Parabellum

There's an inherent contradiction in writing a review of a movie like this. The thing is almost all action; words are largely superfluous. Which is not to say it isn't enjoyable. The flick is exactly what you expect it to be, and there's a certain virtue in its simplicity and lack of pretense. If you've got the bloodlust, you'll dig it, few questions asked. The only real uncertainty here is how long these well-cast actors will be willing to reprise these particular roles (with at least one more sequel obviously set up on the horizon). Speaking of casting, a side note for the producers: sign those dogs up for a long term deal; they're real scene stealers. Taken as a whole--a bullet hole, no doubt--it works. As long as this crew can avoid the Baba Yaga of bad box office, one supposes this run will go on. I for one am good with that.

Ant-Man and the Wasp

Fun. Not profound, to be sure, but certainly an entertaining piece of popcorn cinema. It's also an object lesson: when the first in this series came out, I was certain that it was a bridge too far for the Marvel milieu. Not so; this line of the story has its own niche--humor driven, narrowly focused (a family, instead of the world or universe)--and, so long as they keep the pseudo-scientific hooey to a minimum, entertaining instead of eye-rolling. Not bad for a minor, never-heard-of-it-before character and storyline. It helps, too, that the cast--leads and supporting actors alike--play their parts nearly perfectly; the right people are plugged into the right roles, and that creates plenty of leeway with the audience. The implication: keep things fresh, and fun, and light, and perhaps fantasies of an MCU in perpetuity may be possible--whether its focus characters are big or small.

Passengers

This is a difficult movie to read, and review. It's a very watchable film--especially so given the very liberal utilization of star Jennifer Lawrence's watchability; almost every scene of this flick shows off Lawrence's attractiveness to maximum effect. No wonder she is as ubiquitous in today's movie scene as she is--though of course she's outdone in ubiquity by her co-star here, Chris Pratt, who is in more films these days than that suite of production logos--film processing companies, teamsters, the Humane Society--that you see at the end of every credits roll. Pratt may be wearing out his welcome, as he has more screen time here than anyone, and not quite as much impact. And none of that even addresses the story itself, which seems to have a lot of holes in it--and verges into the preposterous in the last third of the film. But, again, this one held my attention throughout, thanks in large part to Lawrence and a really good visual presentation. It's a tough call: you can skip it, but if you're a fan of the principals involved, you probably want to see this one. You really have to know what you like to make this judgement.

Batman v Superman: Dawn of Justice

Again, I find myself liking a movie more than the general population, and more specifically the group--geeks--for whom it is mainly intended. I didn’t expect this film to hew so closely as a sequel to Man of Steel, which it very much is...and that turns out to be a good thing. Like its predecessor, this is darker, moodier, more thoughtful, more grown-up, than the rest of the superhero flick flock. That appeals to me, however much it turns off the adolescent brains who keep bemoaning this storyline. If this group wants to keep going, I’m in for more.

Contagion

The most devastating affliction depicted in this movie? Grief. Lots of "disaster disease" movies get so wrapped up in the medical hokum that they lose sight of the human component to a deadly outbreak. Not so here--a terrific cast plays the emotional elements perfectly, and director Soderbergh does a masterful job with the presentation, giving the viewer a deep, connected, satisfying experience. Top notch.

The Matrix Revolutions

Almost a PURR, but it's not quite that good. The story, particularly in the early part, is too muddled; it clears itself up in the end, but not much new is added to the tableau. On more positive notes, the visuals are phenomenal (naturally), the conclusion comes with some unexpected twists, and some of the philosophy is more clearly expressed (and actually fits in the movie, giving the story's thought-provoking dimensions). And the final confrontation even evokes something of Ragnarök--a nice touch for us mythology fans. Final analysis: not great, but nothing to be ashamed of.

The Matrix Reloaded

Hard to believe the hippest movie on the planet features a hero who spends most of his time wearing a dress. Sartorial disasters aside, this installment has its moments--some entertaining, some audacious--but not enough of them. As I said years ago, there was really not much more to say after the first movie; they probably should have quit while they were ahead. And don't bother spending brain cells on the philosophical ramblings, unless you get your jollies from tautologies.

Othello (1995)

This version--with Laurence Fishburne in the title role and Kenneth Branagh as Iago--was not particularly well received when it came out, but I've got a soft spot for Shakespeare; it takes some really bad work to screw up the Bard. This is capably done, and there isn't any silly fiddling about with the setting/staging/timeframe here--they play it straight. Works for me.