Directed by: Michael Dougherty Rated: PG-13 Runtime: 2 hrs 12 mins
Studio: Legendary Pictures, Warner Bros. Pictures
Screenwriter: Michael Dougherty, Zach Shields
Cast: Kyle Chandler, Millie Bobby Brown, Charles Dance, Bradly Whitford, Vera Farmiga
Godzilla: King of the Monsters is the second film in the “monsterverse” trilogy. The first was Kong: Skull Island. Where Skull Island had a much better storyline, tone, and pace, it also, more or less, had a better logical explanation of the monsters. ‘King of the Monsters’ fails at this.
Godzilla: King of the Monsters is basically monster porn with the weakest plot and cringy lines. If you’re a big fan of monsters, then this film probably won’t put you off. Though keep in mind the trailer’s tone compared to the actual movie is misleading.
Warner Bros. Pictures Final Trailer for ‘Godzilla: King of the Monsters’
The human characters have a purpose but have no depth. They exist merely to justify the limp excuse for a plot that moves along with the smoothness of a newbie learning stick shift. A story that revolves around culling the infectious human race with monsters—one of which is an alien. Seriously? This film is convoluted enough without that add-on. The whole justification for monsters existing in the entire trilogy is tenable until this screenplay, which is an exercise on how to fail film school. It’s meant to set up the third film, Godzilla v Kong.
If I had watched these in order, I never would have watched the third film. Instead, I was under the impression I didn’t need to see this film, so I saw ‘Skull Island’ and then Godzilla v Kong. Viewing the third film, I was confused as hell, so if you can make it through this film, more power to you.
While watching Godzilla: King of the Monsters, I stopped three times. My brain simply didn’t want to process the fecking train wreck in progress. Forcing myself to finish this is a crime against my brain cells. I just can’t. I don’t care about it enough to know how it ends. That’s a sad admission for any movie-goer.
The first film is like the first act of a movie, the setup. The second film is the middle, where the plot thickens, and lots of other details are learned. Finally, the third movie is the climax, the action, or reveal, and conclusion. Keeping that in mind, that is what this “monsterverse” is set up to be. The filmmakers are playing a long game. Trying to reinvent and expand beyond every monster film before them.
‘Godzilla: King of the Monsters’ Image: Legendary Pictures
Kong: Skull Island is a good start; this film is the equivalent of X-Men the Last Stand. The bastard, hot-mess of a franchise everyone wants to forget about. Godzilla v Kong is like a constant show of rock em’ sock em.’ However, if you understand the setup, it’s acceptable as such. You know what you’re getting going in.
Some argue there should be fewer humans in these movies; I disagree. The monsters can’t communicate, so the audience will understand, they were not designed to be. Therefore you need the human component.
If you like monsters, action, a believable story, and brain cells, there are far better movies to watch. Pacific Rim is an excellent, more recent example to see. Not this! Anything but this travesty of plot and logic. Godzilla: King of the Monsters should never make it onto your watchlist. Read a spoiler about it online and skip to the third film if you want, but forget it was ever produced.
Cast: Carlos, Robbie Amell, Josh Wiggins, Mia Xitlali, Lauren Graham, Thomas Haden
Church, Luke Kleintank
The people who put together the trailers for their respective movies and create something like Max’s trailer should have them fired or smacked upside the head. Bad trailers happen with alarming frequency. Max is another film that suffers from morons while editing. It should be a category for a Razzie award. I add the trailers to the movies I review as a convenience to you, the reader. However, if I add the trailer for Max, it’s like I’m giving the plot away. I usually don’t watch movies where I feel like I just saw the film after seeing the trailer. What would be the point of that? Yet the trailer for Max does just that. Back when this film came out, I still had a Belgian Malinois, like Max, so I saw it based on that.
Max is a film based on a fictional American military working dog of the same name. Max (Carlos) is handled by Marine Kyle Wincott (Amell), who dies in Afghanistan. The events that lead to Kyle’s death leave Max unable to perform as trained, and he is sent back to the United States. Kyle’s family is given the option of what to do with Max, as he cannot be handled due to his PTSD. The one person he ‘accepts’ is Kyle’s younger brother, Justin (Wiggins).
Robbie Amell & Carlos in ‘Max’ Image: Warner Bros. Pictures & MGM
Justin is several years younger than Kyle. Wiggins portrays the self-absorbed, sulky teenager with a chip on his shoulder better than most “teenagers” are depicted. Compared to the rest of the humanoid cast members, Justin’s character is the only one with depth. The film, more or less, is about Justin and his relationship with Max, so it’s bearable.
While Max is semi-predictable and lacks any deep character development, it does highlight its themes well. How processing grief is healthy, courage, and character. For what it does well in those areas, it creates stereotypes in others.
Carlos, Mia Xitlali, Dejon LaQuake, Josh Wiggins in ‘Max’ Image: Warner Bros. Pictures
The Wincott family hasn’t had Max long in their home when a friend and former service member Tyler (Kleintank) arrives back in town. He and Max clearly don’t like one another, yet no one seems to notice. Yakin does nothing to hide that Tyler is trouble; in the same way, Justin’s parents (Church and Graham) are obliviously stupid when necessary. Yakin also put no effort into anyone in this movie, sounding like they are from Texas. It’s not complicated.
So, Justin learns how to own a dog, let alone one like Max, with the help of his friends (not his parents). The plot unfolds with Justin’s mistrust of Tyler’s reason for leaving the Marines. Deepening into more of an edgy, back-to-school special, modern-day Mystery Inc. storyline. If Scooby-Doo was a fearless bad-ass and not a cowardly eating machine and the gang all got around on bikes and not in a van.
Lauren Graham, Luke Kleintank, Josh Wiggins, Thomas Hayden Church in ‘Max’ Image: Warner Bros. Pictures & MGM
This film is full of areas I can point out as logistically wrong. Still, its target audience is best appreciated by those 10-16 years old. Or those like me who enjoy seeing a Belgian Malinois on the big screen. Really, it makes me miss my dog. Sometimes we all need a dose of sappy. Max is a decent film that’s pace moves along well enough to keep a parent or kid engaged until the end.
This movie is undoubtedly under the lens of Americans and their working dogs in Afghanistan. It can also be appreciated by anyone connected to or served with K-9 handlers from any country. Yakin tried to honor the working service dogs of the military, and does to a point, but could have done more with a better script.
Max is a feel-good movie that is meant to tug on your heart, to make you appreciate the efforts of K-9 military service animals. It does that, more or less in a tolerable way. While adults may like it, many younger viewers will love it. With that in mind, Max should find its way onto your watchlist.
Another scene has Steppenwolf and parademons fighting against the hero’s in Gotham, fine. The audience should remember this film was shot after Wonder Woman yet pre-dates Wonder Woman 84 technically. So where did Diana/Wonder Woman get a sword again? Of all the things better explained in this version, this never comes up. Yet, in this entire movie, she has a sword that can stand up to the paces of a demigod’s use and battling against parademons and Steppenwolf. She’s never been back to the Themyscria. Am I the only one who’s curious about this? Is my nerd showing too much? Moving on, the transition could have been smoother from this sequence to the next scene, but Snyder seemed to have little options. So, like a hangnail, you do what you need to do and move on.
The mother boxes are supposed to be these super-powerful objects that are science but appear like magic that communicate with one another somehow. That’s easy enough to believe, and I am grateful Steppenwolf no longer talks to them, calling them “mother” like a disturbingly devoted child. However, it’s difficult to accept the boxes can “decide” to tell/show Steppenwolf something. Or how they just know what a user wants out of them, period. How that is possible is never established and seems like it’s there just so Snyder can throw in more material. Snyder vaguely sets up the second plot within the storyline at just over the film’s halfway point. The plot within a plot he attempts to foreshadow is aggravating and bloats the film.
Still of ‘Zack Snyder’s Justice League’ via polygon.com Image Credit: Warner Bros Pictures/HBO Max
Snyder takes too long to develop the characters and establish the point of the movie. Superman, Wonder Woman, and Batman have already been established in previous films by this point, so why does it take so long to flesh out the other three? It shouldn’t. This obsessive need to put in every detail makes the movie’s pace, overall, slow and dull.
Eventually, the name Darkseid is uttered. Unfortunately, the writers of this film can’t come up with a better introduction to the whole point of plot 2 without Steppenwolf mansplaining to DeSaad about Darkseid. Yes, the audience gets told by default, which is the point, but it’s so far-reaching. The buildup to what happens with the boxes is established early in the film, and the audience is invested. To throw in everything after this is a lame attempt to cobble together what should be two films. Like the outcome of plot 1 could fuel plot 2 in another film. The pace would be better, at least.
Listening to what Steppenwolf says to DeSaad about Darkseid made me write it down. Why? The whole explanation is confusing, and I needed to break it down because I thought I heard it wrong. I didn’t. It is a bunch of illogical rubbish! Snyder does a shite job of setting up or explaining or alluding to any of what is said beforehand. If Snyder had bothered doing that, weaving these details or backstory into the film from the beginning, his plot within a plot wouldn’t seem like an afterthought. But, that takes talent, and that’s something I’ve felt the writers of the “Snyderverse” have always lacked.
Image Credit: Warner Bros. Pictures/HBO Max ‘Zack Snyder’s Justice League’ via Screenrant.com
After the movie’s soggy midsection is Cyborg, again. His transformation from Victor to Cyborg is further explained and reveals how the mother boxes work. This is important because this makes the team seem less spur of the moment and crazy for wanting to use it in the crashed Kryptonian ship than they appeared in the 2017 version.
There is this touching representation of humanity between Martha and Lois when they share their mutual grief with one another about Clark/Kal-El. Or that’s what I thought, but then Snyder goes in and dangles another add-on. Just randomly throws in something else that doesn’t even come up again until the absolute end of the movie. I’m sure he did it to make this fanbase happy, but I say it’s a giant waste of potential! Ultimately it’s a letdown that he should have just left out of the movie.
PART 5
While the pet cemetery joke is gone in this version, Barry finds himself, with the others, digging up Clark’s body. What, you thought it magically got to the Kryptonian ship?
Jason Momoa, Ray Fisher, Ezra Miller in ‘Zack Snyder’s Justice League’ Image Credit: Warner Bros. Pictures/HBO via Entertainment Weekly
I still don’t agree with Arthur wearing Atlantian armor because he hates Atlantis. It makes zero sense. However, I’ve established what I think about Zack Snyder’s lack of professionalism towards the other directors involved with this ensemble.
The Kryptonian ship doesn’t like the mother box, big surprise. I do like the explanation for why the team can use it and how Victor’s father could use it on him without waking it. The devil is in the details, and this is an area where they were logically fleshed out.
In the 2017 Justice League, Lois is used as bait for a resurrected, powered alien with a temporary blank slate of a mind. How her character is utilized in this version is preferred. She takes these daily walks to the memorial near the ship (okay, this is a baby-sized spoiler), and it gives her a natural, believable reason to be there and “run into Clark.” It really highlights Clark and Lois’s bond and relationship as something real and substantial. Something the other version didn’t care about.
Amy Adams as Lois Lane in ‘Zack Snyder’s Justice League’ Image Credit: Warner Bros. Pictures via comicbookdebate.com
So, it’s in the trailers; Superman lives again! Yeah! In the process of making that happen, Victor is ‘shown/sees’ a possible future or alternate reality; by either the ship or mother box, which is unclear. It’s logical for Victor to see what Bruce has seen. However, accepting Batman’s “premonition” or “Knightmare” from Batman v Superman: Dawn of Justice is a stretch. It’s one of Snyder’s attempts at alluding to what’s to come, which only makes logical sense from Victor’s position, never Bruce’s. Yet, it’s from Bruces’ POV that is the springboard for more Snyder-bloatware.
Superman/Kal-El/Clark is not enjoying his resurrection party that makes its way outside the ship. Points I’d like to point out as dumb. 1. You’re a cop or soldier, and you see a flying man with Superman’s face; why shoot at him? Can’t you tell it’s him without the suit on? 2. Batman and Lois saying “Clark” within earshot of said cops and soldiers…just stupid.
PART 6
Gal Gadot, Ben Affleck, Ezra Miller in ‘Zack Snyder’s Justice League’ Image Credit: Warner Bros. Pictures via radiotimes.com
Bruce tells Diana about his dream/premonition, not because it’s of any relevance to this movie or logical again in any way. If there was a snowball’s chance in hell of Snyder getting to do another film, this would be relevant, but it’s not gonna happen. He knew that and left it in any way. The film could be so much shorter without him trying to get the audience to believe Bruce has premonitions. Much of this movie could have been done without or in smaller doses, and the runtime would be tolerable.
At this point, there is an hour left in the film.
Evident from the trailers, Superman dons a black suit. Many people didn’t like this, and it’s hard to blame them. Nowhere in the film is a reason for the choice, though it would have taken ten seconds or less for Superman to respond to any of the team or Lois asking about it. Not that Henry Cavill looks worse in all black, it’s Henry Cavill. Still, the precedence for it is based on the comics. Only the most devout comic nerds would know that.
So near the end of the film, the team works together to deal with Steppenwolf and the mother boxes. Darkseid lurks nearby while all the action is happening, like some bigger foe the team didn’t see coming and must deal with. Snyder’s second plot. If you’re a fan of the comics and think that Snyder will give you an epic showdown with him, nope.
Henry Cavill as Superman in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures
Both of the trailers for this film are misleading cockteases. The tone of the film is not the same as the trailers, nor is the pace. Alluding that Darkseid has a substantial role in this film is false. His character is in the movie, but I feel it’s fair to warn you Alfred (Irons) gets better screen time.
There’s so much more I could talk about in this part of the movie, but it’s difficult to do without giving stuff away. So I won’t. Just understand that the film could have ended here, and it would be a runtime of 3 hours 34 minutes. At this length, all of the Lord of the Ring and Hobbit films had better storytelling, tone, pace, and character development than “the Snyder cut.”
EPILOGUE
With twenty-eight minutes left, ten of those are spent on short bits that the audience will appreciate. Tying up loose ends is an excellent way to describe it. While the movie could have ended already, it definitely needed to end here. It didn’t.
Henry Cavill as Superman in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures
All I could think of was what the fook, just end the movie already! So there are ten more minutes of Zack Snyder’s inability to let go and move on. What is shown has nothing to do with the actual movie. It’s like a movie trailer tacked on at the end. The super-secret clip shown only to the attendees at Comic-Con or something. It’s literally a scene he made to go into another movie. Catnip dangled out for all his fans to salivate, obsess over, and probably bully the studio for years to make. It’s pathetic.
Don’t worry. The last eight minutes are the credits and just the credits.
VERDICT
Zack Snyder and Chris Terrio should never have been given the reins of this franchise.
Yes, I’m a fan of Marvel comics and the MCU, but here is a fact, a person can be a fan of both Marvel and DC! Millions of people are. The two take incredibly different approaches to their storytelling. Understood. What Snyder did was make films based on an obscure and darker take on Superman and Batman. Those who are not devout comic book fans have a hard time accepting that take on these iconic characters’ first cinematic outing together. That’s fair; I even agree with it.
I could have been on board with the death of Superman storyline with a twist to it. If they merged that with another storyline where the characters come together. Cyborg and Aquaman wouldn’t be in that, but Hawkgirl and Martian Manhunter would be. A better writer and director could have made something truly epic and wonderful. Something to build upon. A franchise with continuity that supports the standalone films as well as the larger ensemble ones. Those are just attributes of good storytelling when you have so much material to work with as one does with comics and superheroes.
‘Zack Snyder’s Justice League’ promo image via cbr.com Image Credit: Warner Bros. Pictures ?
Zack Snyder was given another chance to tell a story. A story with a clear beginning, middle, and end. He failed at that. He chose to create a four-hour-long 4.3 aspect ratio example of why more isn’t always better.
If you never saw the 2017 Justice League spare your butt the nap it will get watching this. Unless you’re bedridden and bored out of your mind, it’s not worth the time. If you did see the other version of this film, there is little satisfaction to be found. Sure, there are many changes, but unless Cyborg is your favorite character, he’s the one with the most significant differences. Don’t bother.
I love the Justice League and the actors that portray the characters; they all did a fantastic job with the given material. No-fault can be found there. Still, this movie isn’t worth putting on your watchlist; no film that feels this long should be. The Justice League may one day be shown justice on the big screen, but not today.
Screenplay by: Chris Terrio Story by: Zack Snyder & Chris Terrio and Will Beall
Cast: Henry Cavill, Gal Gadot, Ben Affleck, Jason Momoa, Ezra Miller, Ray Fisher,
Amber Heard, Amy Adams, Jeremy Irons Rated: R
**This movie is LONG! Unpacking it is a chore, so I am breaking my review/commentary on it into two parts. Look for the second half on Monday. Thanks everyone!**
Zack Snyder’s cut of the Justice League movie was born from the efforts of a devoted fanbase. That is why this movie exists, pure and simple. They are all proud of this, and I might applaud their efforts if most of them weren’t so toxic. That is a conversational beast that doesn’t belong here. My review isn’t for them. They need no convincing to see this film one way or the other.
Once a bell is rung, it cannot be un-rung. In the same way, I cannot un-see a movie already watched. The memory is there, that crucial first impression ingrained. My goal is to review just ‘the Snyder Cut’ without comparing it too much to the 2017 Justice League.
‘Zack Snyder’s Justice League’ Official Trailer via ING, YouTube.
That said, the first scene in Zack Snyder’s Justice League shows the audience the end of the fight scene in Batman v Superman: Dawn of Justice. Except that it’s not. This scene is clearly meant to imply this sequence happened, but it didn’t. Basically, Snyder added it to this film in a show of ego of how he could improve something he didn’t have the foresight to do the first time around. This intro sequence certainly would have improved upon Lex Luthor’s (Jessie Eisenberg) lines said at the end of Dawn of Justice. Cementing the seriousness of what was to come in ‘Justice League.’ That aggravating clarification aside, Snyder does get points for including information in this introduction in a concise, straightforward way that explains how Lex knew certain things in the first place.
Kal-El’s (Cavill) cries are like a supersonic whistle that only three guarded boxes can hear. Pushing aside the 2017 Justice League movie, assuming you, the reader, haven’t seen that film, this introduction works:
It connects this film better to the previous one.
It sets the tone.
It sets up the plot.
All in the first five minutes without one spoken line. Not bad.
Ben Affleck and Gal Gadot in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures via cbr.com
This film’s premise is that Bruce Wayne/Batman (Affleck) has been warned of a force coming to destroy the Earth in the wake of Superman’s death. With a fresh resolve to make up for his previous notions of Superman before his death, Bruce seeks out metahumans, with Diana/Wonder Woman’s (Gadot) help to protect Earth. Snyder presents this task and journey in the film into seven parts.
Sectioning off the film into parts doesn’t come across as chapters in a narrative as smoothly as they could have been. If anything, they serve to avoid jagged scene transitions. Personally, I find that lazy. Let’s review the film by these parts, not because I’m lazy but because it will act as headers and make it easier to read.
PART 1
In the 2017 film, I didn’t know who to blame for giving Arthur Curry/Aquaman (Momoa) ice-blue eyes, Whedon or Snyder. They both knew a stand-alone Aquaman film was in the works, so why not consult about the character? In the 2017 film, his eyes were better looking than in ‘the Snyder cut’ because there is more color and brightness. Snyder has this depressing, overcast, muted tone thing going on in this movie. It loses the effectiveness of the choice to have his eyes this color the first place. Since then, the Aquaman movie came out and Zack Snyder’s choice to not change Arthur’s eye color to match is ridiculous. When establishing a movie franchise universe with different directors and visions, SOME consulting should be a given! A professional courtesy.
Jason Momoa as Aquaman. Image: Warner Bros. Pictures via Looper.com
You’re probably thinking I’m just ranting and not reviewing, but I am. This lack of acknowledgment is repeated frequently in this film. When a director and studio allow this to happen, it can damage what is trying to be built. It also can confuse the audience. I’m giving my thoughts without giving anything away. Or trying to, at least.
The introduction and general use of Lois Lane (Adams) are better here. It connects her relationship to Clark, and the loss, in a way that is relatable for anyone who’s lost someone important. She’s not just a last resort plot mechanism.
There is a sequence in a bank where Wonder Woman busts out some unbelievable moves. Diana has impressive reflexes, true, but she’s not faster than the Flash. She’s not faster than (modern-day) speeding bullets either. It’s an example of speeding up a character beyond their established capabilities. It also made me question if children in Europe actually go on field trips to banks? We don’t in America, so it seems like a comic cliche add-on.
Steppenwolf in 2017 ‘Justice League’ on LEFT & ‘Zack Snyder’s Justice League’ on RIGHT. Image: Warner Bros. Pictures via ScreenCrush
A favorite DC setting is brought back, the island of Themyscira. Here we get a look at another aspect of Amazonian responsibility. This is where Steppenwolf, the antagonist of the movie, is introduced. Previously, in the 2017 version, he looked more organic. In Zack Snyder’s Justice League, he resembles the shiniest, chrome-plated Decepticon ever seen. An expansion of what happens on the island in this version shows what goes down is more than just a short keep-away game. In that, and this is in the trailer, so it’s not a spoiler, think what it would take to destroy part of an island created by a god.
PART 2
Steppenwolf’s goals and place in the universe are made more evident in this film. The audience gets a sense of it when DeSaad materializes to converse with Steppenwolf about his progress towards redeeming himself to Darkseid. The being Steppenwolf answers to. However, Snyder struggles to effectively elude to his ultimate plot within a plot.
Snyder does give a more intimate, personal introduction to Victor Stone/Cyborg’s (Fisher) storyline than he previously received. Ray Fisher does a wonderful job of portraying Cyborg, which I discuss in my review of the 2017 film.
Ray Fisher as Cyborg in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures via The Hollywood Reporter
The scenario where a woman jumps, climbs, or runs in high heels is a personal gripe I have every time it happens on TV or cinema. It’s a great example of men writing women characters poorly. Diana, who’s always in heels, jumps in hers and lands with them intact. Doesn’t break her shoes or ankles. She really is a Wonder Woman.
There are two moments where I question the musical choice for scenes. Like, what kind of mood are you trying to create from the one I was just in. The tone change doesn’t transition well. One is with Aquaman, the other is later with the Flash. Music is a fantastic tool in cinema, and this film’s musical scores did nothing for me. Both ‘Everybody Knows’ by Sigrid and ‘Come Together’ by Gary Clark Jr. & Junkie XL from the 2017 film are removed in the Snyder Cut. The removal of ‘Come Together’ is understandable; its tempo is too energetic for Snyder. Sigrid’s song is great, but there is no place for it in this movie, even one four hours long.
After almost an hour, Vulko (William Dafoe) finally refers to the three boxes as ‘Mother Boxes.’ I still don’t like how the boxes were adapted from how they are utilized in the comics. This scene could have benefited from Aquaman director James Wan and Snyder swapping notes since it messes with what ends up being part of Arthurs origin story.
Darkseid in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures via Looper.com
In part two, Diana explains to Bruce who/what Darkseid is. She recounts the story of when he came to Earth before, and the wording is ambiguous. It’s frustrating because the script is so vague here. The writers hope the audience isn’t paying too close attention to details because they are not concise in their storytelling. They simply lack the imagination to connect this part of the storyline to a future plot point. I could sum it up, but that would involve spoilers. It creates questions for me about Aquaman and Wonder Woman’s original stories. Snyder blows some of that away without a care to the directors who gave fans notable films and storytelling. It’s so professionally fucking rude!
Who needs continuity in a franchise or any story? Right?
PART 3
The Flash’s intro. In the 2017 version, Barry Allen/The Flash (Miller) was the best part of the movie for me. He was a mix of vulnerable, funny, and honest, appreciating and in awe for what he was joining. His reactions were tremendously different from everyone else. He’s what a young Flash should be, too bright for his own good, quick with quips and occasionally putting his foot in his mouth, but in an enduring way. Zack Snyder got rid of that. Pity. In his version, Barry/Flash starts off as an excuse-ridden idiot with attention issues.
His intro sequence involves the introduction to Kiersey Clemons as Iris West. She’ll be in the stand-alone Flash movie for relevance. That said, she’s only in one scene, and frankly, it could have been shortened or cut altogether. The entire sequence does nothing for Barry’s character overall. There is an Easter egg here. This is the other scene when the musical choice makes me feel like I’ve been transported momentarily into a different film.
Ezra Miller as The Flash in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures via Screen Rant
Victor Stone’s story is fleshed out more and elaborates better on how he became Cyborg. Every time his character’s backstory comes up, the audience sees a well-rounded character in development that you want to follow along with.
Barry meets Bruce, and that’s the same. There wasn’t anything wrong with that whole setup. What is tweaked is how Diana and Victor meet for the first time, but she is still patient and empathetic towards him, and that matters.
Steppenwolf goes to Atlantis, and I think Mera (Heard) is fleshed out a bit more, but not much. As is King Orm, who is only mentioned but gives the audience an idea of who he is before the Aquaman movie. I do wish Mera’s magic was utilized more; it’s an underused attribute of her character. A significant example in this section of the movie contradicts Mera’s character in this film against the Aquaman stand-alone. It’s like Zack Snyder has never bothered to see James Wan’s Aquaman! If you see this movie, can you pick up on it?
Directed by: Jon Favreau Rated: R Runtime: 1 hr. 54 min Screenwriter: Jon Favreau
Studio: Aldamisa Entertainment, Fairview Entertainment
Cast: Jon Favreau, Sofia Vergara, John Leguizamo, Scarlett Johansson, Dustin Hoffman, Emjay Anthony, Oliver Platt, Bobby Cannavale, Robert Downey Jr.
Warning, if you love food, this movie might cause you to drool like my Great Pyrenees begging for food.
Many adults are merely content with their jobs or careers. In Chef, however, Carl Casper (Favreau) loves what he does. To cook. To create. In real life, it’s inspiring to see such a person who enjoys what they do. Favreau creates and depicts such a person, character with chef Carl Casper.
‘Chef’ Officail Trailer via YouTube–Movieclips Trailers
Carl is head chef at a popular LA restaurant owned and operated by Riva (Hoffman). When a review one night by famous food critic Ramsey Michel (Platt) ruffles feathers, a Twitter war ensues. Shit happens, and Carl is left looking for a place that will appreciate his creative, delicious endeavors.
Outside the single-minded vortex of food and cooking is Carls family. His ex-wife Inez (Vergara) and their son Percy (Anthony). While there isn’t a backstory per se of their marriage, the audience understands Carl’s priorities and how parental responsibility isn’t high on his list. He isn’t so self-centered that he won’t spend time with Percy or go on a trip last minute with him and his ex-wife, essentially to be a babysitter for a weekend for his own kid. I’ve never met ex’s that get along so well, so in terms of believably take what you will from this part of the script/character development.
Going along with the believability…is when Carl meets Marvin (RDJ). Awkward…and Marvin gives Carl a food truck because Inez talked them into it. You know what, it’s okay. It’s a fun movie, really, so go with it.
Jon Favreau, Emjay Anthony, Sofia Vergara in ‘Chef’ from Aldamisa Entertainment via Entertainment Weekly
The actual girth of the film is Carl’s journey of discovery and self-reflection. The best ingredients for this plot and character arcs involve Percy and Carl’s former line-cook, Martin (Leguizamo). There is such great chemistry between them; you see the love, inspiration, respect, and bonds.
Anthony’s Percy comes off just right. Not too bright for his character’s age and not so whiny or dejected that you wish he wasn’t there. It’s hard to get kid roles right. Leguizamo is a welcome addition to everything I’ve ever seen him in. He adds humor, authenticity, and energy to contrast Carl’s more serious side.
A film needs good pacing, just like a kitchen and this movie has it. While it is about Carl’s journey, it’s also about the food. Unlike a regular person Instagramming every meal they make at home, the food in a film based on a chef should be a focal point. The creations chef Carl makes are well presented and colorful. If you choose to see this movie, don’t do it on an empty stomach. That would be worse than going grocery shopping while hungry.
Jon Favreau and John Leguizamo in ‘Chef’ by Aldamisa Entertainment Image via IMDb
This movie is stacked with a wonderfully talented cast selection; they all do justice to their respective roles. An easy film to have missed when it came out; Chef is an under-appreciated, relatable story with a comedic backbone.
Chef is undoubtedly worthy of your time and a place on your watchlist, provided you view it on a full stomach.
Cast: John Krasinski, Emily Blunt, Millicent Simmonds, Noah Jupe
We’ve all seen, heard, or read about narratives that involve aliens, zombies, or an apocalyptic hellscape that is Earth after some catastrophe. A Quiet Place is different in so many ways. The audience is tossed right into the story in progress and stays full speed ahead—never stopping to assume the viewer is too daft to understand.
When aliens land on Earth and hunt anything that makes noise, you’d think the human race was doomed. Yet, life will out! There are always those who survive…that endure.
Paramount Pictures Australia Final Trailer for ‘A Quiet Place’ via YouTube
The audience is introduced to the Abbott family, parents (Krasinski and Blunt), and their three children. The eldest is deaf, just like the actress who plays her (Simmonds). In a world where you must be silent, I applaud the inclusion of such a character and their perspective! Not only does it help fuel the tension, but it highlights the increased risk to a person who can’t tell what makes a sound or when danger is near.
In A Quiet Place, you cannot make a sound. “If they hear you, they hunt you” is the tagline for this film and an absolute mantra. The minimal use of sound or speaking creates tension. It sets the tone of the movie immediately, fueling the suspense.
I love Emily Blunt as an actress, and she is impressive in this film. There is a scene (that I won’t spoil) with her when one of the creatures is in the house that blows my mind. She’s in the process of doing something that would typically involve an enormous amount of noise, and she stays silent. Many viewers can imagine themselves in the same predicament. The magnitude of how the film connects with the audience in this scene is fantastic.
Emily Blunt, Millicent Simmonds in Paramount Pictures ‘A Quiet Place’ Image via Bloodydisgusting.com
Acting with gestures, established signals, and sign language creates an aspect of the Abbott’s environment that the audience recognizes as necessary yet believable in terms of reality for the characters. Moving and responding to something that’s not really there with authentic reactions is always great to see from actors. Now, if the audience can also suppress their urge to scream or yell,…even better!
A Quiet Place is so well-written. It flows from one scene to the next with a pace that is so thrilling and suspenseful, packed with so much detail it’s hard to believe this film is only an hour and a half long.
The design of the CGI aliens is fantastic, disturbing, and refreshingly original. What sound is heard in the film is exceptionally edited. It enhances the dynamic effect silence plays, created to keep up the suspense of the plot.
Noah Jupe, Millicent Simmonds, John Krasinski in ‘A Quiet Place’ Image Credit: Paramount Pictures
A Quiet Place unfolds, basically on one set. It’s full of compelling narrative (if silence is narrative!) and drama that leaves you on the edge of your seat and still leaves you wanting more when the credits roll. A movie like this should definitely be on your watchlist.
Ideally, a Quiet Place should be watched in a quiet environment where you won’t be bothered. You can thank me later.
Directed by: Neil Burger Rated: PG-13 Runtime: 1 hr 50 mins
Studio: Bull’s Eye Entertainment, Bob Yari Productions Screenwriter: Neil Burger
Adapted from: Short story “Eisenheim the Illusionist” by Steven Millhauser
Cast: Edward Norton, Paul Giamatti, Jessica Biel
The Illusionist is a film based on a short story in which the screenwriter takes liberties to make the story more robust for the big screen. Meshing the art of illusions with the tired trope of forbidden love and abusive relationships. Those familiar with European history will note a parallel to this story and the events leading to the start of WW1.
Childhood friends Eisenheim (Norton) and Sophie (Biel) are separated by their class differences only to meet again as adults. How serendipitous. He is now an illusionist who pulls in crowds, and she is a Dutches set to marry Crowned Prince Leopold (Rufus Sewell). The Prince is a limply developed character who is allegedly a woman beater and murderer. His stance and arrogance are a facade that fools no viewer. Sewell does a good job of making the audience want to rip off his absurd mustache, all things what they are.
Rufus Sewell and Paul Giamatti in ‘The Illusionist’ Image Credit: Bull’s Eye Entertainment via medium.com
Inspector Uhl (Giamatti) is in charge of the authorities and works for Prince Leopold on the side. The Prince often has Uhl remove those who speak out against him or challenge his power, as the Prince neurotically believes as Eisenheim’s goal. Giamatti is a supporting actor in this film and is the most passible for a “normal” person. His role is the glue that ultimately ties all of the four main characters together.
Duchess Sophie Von Teschen (Biel) is the rope in the tug-of-war game that inadvertently ensues between Prince Leopold and Eisenheim. Biel’s performance is like everything else she’s done, nothing to write home about. She’s a static filler to move the plot along. A plot device added by director and screenwriter Neil Burger from the original short story this movie is adapted from. Any other actress could have been thrown in, any, and it wouldn’t have made a difference in this film’s case. It’s the script. It’s dry yet smooth. If the story had been more robust, Biel’s portrayal of Sophie would stick out like a nail in a tire. The notion that she still pines for her lost childhood love is absurd. The actress that portrays her younger self invoked more emotion!
Edward Norton is the type of actor who can be dropped into any role, and he makes something out of it. He proves this again as the renowned illusionist, Eisenheim. The character calls for a calm and reserved manner, and that’s precisely what Norton provides. When I said the story was dry, it is, but with Norton’s style as the titular character ruling most of the scenes, it seems purposeful. Allowing the film to move in a way that it’s not overly distracting.
‘The Illusionist’ upscaled movie trailer from Movie Predictor via YouTube
Three main things that grate me about this film are the accents of all the characters, the love story, the viewing.
Actors, by definition, are paid to portray the characters they assume. Why is it such an arduous task to get actors to try for accents of the countries they are set in? Or, cast those with natural ones. Who knew Vinennians sounded so American!
Norton’s Eisenheim conveys more believable emotion towards Biel’s Sophie, and yet it’s still such a stretch to believe them. Since this is the backbone of Burger’s adaptation, it makes this film such a letdown. A few more vastly better-written scenes for these two could have made a huge difference! With a runtime of just under two hours, there is room to expand without making the film feel too long.
This film is from 2006, and I’ve watched plenty of movies before that which show better than this film. Literally, show better. Even the trailer is grainy. This film’s cinematography used sepia tones, blurry corner cropping, and visual vestiges of being filmed in the early 1900s. In 2006 this worked, but fifteen years later, it doesn’t up-convert at all. I own this on BluRay and put it into my 4K player that up-converts everything else, even DVDs, with ease. This movie looked liked crap when I tried to watch it! I opted instead to watch it on Amazon Prime for free. That was a much better viewing experience! Though I despise IMDb’s TV scene cutting skills. There is a time and place to cut and add commercials!
Image from the 2006 film ‘The Illusionist’ Credit: Bull’s Eye Entertainment via denofgeek.com
Those three issues aside, watching the story unfold and the illusions that Eisenheim has crafted to astound and beguile his audiences is well prepared and displayed. You will have yourself asking how does he do it? Any of it. For being set in the 1900s and pulling off such visual spectacles, one has to appreciate the genius behind the man that creates them. While Eisenheim the Illusionist entertains others think he’s really in tune with the dark arts. Which is true? What is true, and what is an illusion? This is what you should see this movie for. Not the class-crossed love story but for everything else. See it for what Norton’s character brings to Vienna, and Inspector Uhl tries to solve.
If you like mysteries and drama with a now you see me, now you don’t flavor, you will not be disappointed with The Illusionist as an option for your watchlist. Just make sure you’re seeing the movie is not distracted by grainy or discolored displays to interrupt your viewing experience.
Directed by: Jordan Vogt-Roberts Rated: PG-13 Runtime: 1 hr. 58 min.
Studio: Warner Bros. & Legendary Entertainment
Screenwriter: Dan Gilroy, Max Borenstein, Derek Connolly
Cast: Tom Hiddleston, Samuel L. Jackson, Brie Larson, John C. Reilly, John Goodman
Kong: Skull Island is a reinvention of how the story of King Kong has been told before. Set at the end of the Vietnam war, a group of soldiers is tasked to babysit a collection of William Randa’s scientists (Goodman). They work for a secret government organization named Monarch. The rationale for this expedition is up there with the idea that the world is flat. Fact, the world is round, but to give you a sense of how nutty these scientists are to the government. Nevertheless, they go, not sure of what they’ll find.
At specific points, I thought, “adventure is out there!” as the line from the movie UP proclaims. Or “Welcome to Jumanji” if the cast got sucked into the board game with Alan Parish from the 1995 film Jumanji. Other points had me thinking of “Welcome to Jurassic Park” because my mind is a bizarre place to be at times. Then again, so is Skull Island.
‘Kong: Skull Island’ Official Trailer from Warner Bros. via YouTube
As bizarre as things on Skull Island are, it is also visually beautiful in terms of the things that live there. The sound editing was spot on for all the screaming, crushing, smashing, and gorilla noises that bellow from Kong’s behemoth lungs. Kong himself is well designed and looks, sounds, and moves without speculating that he’s CGI.
The film’s pace moves well between the dialogue of the cast and interaction with the island or the other things they encounter that call the island their home. Kong himself is never far away and shows up early in the film and sticks around till the end. The film is named after him! Still, the story goes beyond a rock em’ sock em’ game of who can bash who first. There is meaning to the story, and that thread gives pace to the action. There is a lot of action.
Maybe it’s because America has begun to leave Vietnam finally; that took a toll on Lt. Col. Packard (Jackson). Perhaps it’s because he’s naturally an asshole. Maybe he just cracked—you decide. Either way, Packards’ encounter with Kong gives the story a side agenda that reeks of American mentality of power, loyalty, and dominance.
Tom Hiddleston and Brie Larson in Warner Bros. film ‘Kong: Skull Island’ Image Credit: Chuck Zlotnick via Miami Herald
Other characters are WWII fighter pilot Hank Marlow (Reilly), who is the opposite of Packard. Mason Weaver (Larson), an anti-war photographer, and James Conrad (Hiddleston), a former British Special Air Service Captain. He’s the guide, on an island never been discovered before. While there is interaction with them and a sense of who they are, it’s not really important. Character development isn’t the focus in a movie designed to focus on the literal big guy, so it’s forgivable. There are many secondary characters, but remember I said this film reminded me of Jurassic Park, so that’s not worth focusing on. For such a large cast, everyone performs well given the locations and working against various things not in front of them to respond to. I give props to realistic emotions for that any day.
Monster movies like Kong, any of them, or Godzilla have never been my idea of good movie watching. I will sometimes, but they don’t do it for me usually. With Kong: Skull Island, however, I was interested in the retelling of the story that didn’t involve him carrying a screaming blonde to the top of the highest building. I guess that’s a spoiler of sorts… whatever. The reimagined plot sets up Kong for other cinematic adventures. If the story for those is as decent as this one, then okay. For that, I’d give it a go. So, if monster films haven’t done it for you in the past, this one might. If you already love this type of film, you won’t be disappointed.
Kong: Skull Island can go on your watchlist and is best viewed on a larger screen, ideally with more to offer than just your TV speakers. Also, stick around after the credits!
Directed by: Time Story Rated: PG-13 Runtime: 1 hr. 45 mins.
Studio: 20th Century Fox Screenwriters: Mark Frost, Michael France, Stan Lee
Cast: Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis, Julian McMahon
When you’re too broke to go to space on a whim to research a cosmic event that might help improve humanity, where do you turn? Your old school mate to ask to borrow his space station. Even though you two can’t stand each other. What could go wrong when cosmic radiation is in the mix, and you’re too smart to ever be wrong?
The Fantastic Four has had a horrible journey to the silver screen every time someone needs to put them there. Put them there? Yeah. It’s pathetic that each of the times this superhero team has been made into a film, it’s so some company wouldn’t lose their rights to create or distribute it. The two are not mutually exclusive. There was a 1994 Fantastic Four film made, but it should never be brought up in conversations. It was so awful it was never released. Marvel extended the rights to Constantin Films to make something better within seven years. Enter 2005s Fantastic Four.
‘Fantastic Four’ trailer – Fox Home Entertainment UK via YouTube
While the introduction to the plot is rushed, it gets you where you need to be. There is a strong character setup right out the gate. It sets up the situations or circumstances that helped shape the purpose of the first scenes. It comes across as organic, which is something you should expect in people with history.
Julian McMahon was a great choice to portray the villain, Dr. Victor Von Doom. In this iteration, he’s a massive company CEO, but he’s also a scientist. That’s not a spoiler, but it helps those that don’t follow along with comics because it’s not overtly stated in this film. Otherwise, he comes off as a rich guy who wants to live vicariously through others via a power trip when he goes to space. That’s in the trailer, so, also, not a spoiler.
Dr. Reed Richards/Mr. Fantastic, played by Ioan Gruffudd, has a history with Von Doom. That is displayed decently in this movie. You get the gist of their history without getting too deep. Gruffudd was a good casting choice for Richards, one he can act (like McMahon), and he looks like the image depicted in comics. When you first start off with a franchise based on something, it’s nice to stay faithful to the source material. It is what the fans are used to. Tweaking stuff can come later, depending on the box office results.
‘Fantastic Four’ still of Julian McMahon as Dr. Doom. Image Credit: 20th Century Fox Entertainment
Tweaking stuff is the most basic explanation for what happens to the characters in this movie. Again, cosmic radiation is at play. None of them was “tweaked” more than Ben Grimes, the Thing, played by Michael Chiklis. Seeing emotion on his rock face is critical to connecting him to the human being he started off as. Chiklis did a decent job of performing (stunts) and acting (his lines) in that suit. With most superhero films’ costumes, I wonder how easy it is to get out of when you need to use the bathroom?
Decent acting is how Jessica Alba’s performance as Susan Storm/The Invisible Woman can be described. This is probably one of her better roles. She convincingly comes across as Reed’s irritated ex and Johnny’s annoyed sister. Her performance as The Invisible Woman was mediocre, but the script left her little to work within this area. Her character could have been developed better, but the movie itself was campy in many ways.
Campy, comedic-showboating, cheese describes many of the early 2000 films. However, in Fantastic Four, Chris Evans’s depiction of Johnny Storm/The Human Torch is gold. He’s cocky and impulsive with an obvious need for adrenaline. Yet, he also comes across as caring for Sue, Reed, and Ben. When he’s not annoying Ben like a little brother. Evans ability to bring to life this iconic character without going overboard is an aspect that makes this film fun to watch.
‘Fantastic Four’ still via TOR.com Image Credit: 20th Century Fox Entertainment
Kerry Washington is a stellar actress who is in only two scenes in this film. I want you to seriously consider if she’s a vampire. She has aged so well since this movie. Short though her part was, it is a humanizing connection for Ben’s character.
The movie moves at a pace that is balanced between the science and action sequences. At the time, this script’s casting choices were a fantastic mix (no pun, I swear) and performed better than this script deserved.
Fantastic Four has never been done right on the big screen, and it would take some magic to make it happen. Until a time comes when someone does this team/family justice, this adaptation is the best by far. So, if you want a fun watch that’s not too heavy with expectations of greatness, put Fantastic Four on your watchlist.
Directed by: James Cameron Rated: PG-13 Runtime: 2 hr 42 min
Studio: 20th Century Fox Screenwriter: James Cameron
Cast: Sam Worthington, Zoë Saldana, Sigourney Weaver, Stephen Lang, Giovanni
Ribisi, Michelle Rodriguez, Joel David Moore
Avatar smashed box office records in 2009 by earning 2.6 billion more than the budget the studio gave director James Cameron to create. That is an insane amount of ticket sales worldwide! Is it justified?
A decade earlier, The Matrix was released and hailed for its innovative story-telling because there had never been anything like it previously. Avatar’s hype is cut from the same cloth. The newer CGI and motion capture technology then enabled James Cameron to create and develop a movie that set a bar for what future films could do.
‘Avatar’ Official Trailer by 20th Century Studios via YouR
In Avatar, humans seek out a mineral on the lush jungle alien planet of Pandora. The smallest amount sells for a fortune back on Earth. Their efforts are stalled by the natives of Pandora, the Na’vi. Earth scientists create avatars to move more freely on the planet, whose air is toxic to humans, and to aid in communication efforts. At first, the company that runs this operation wanted the help and cooperation of the Na’vi, another reason for the avatar program.
Avatars are genetically created shells manufactured from human and Na’vi DNA. The human mind is essentially uploaded into the avatar body, becoming a life model decoy (to get Marvel on you). The head of the Avatar program is Dr. Grace Augustine (Weaver), an exobiologist.
Sam Worthington as Jake Sully in ‘Avatar’ Image Credit: IMDB/20th Century Fox/Disney
Greed and impatientness win out, and the company plots to use their hired mercenaries, led by Col. Quaritch (Lang), to force the natives from their home. The Colonel enlists the help of avatar driver and former Marine Jake Sully (Worthington) to give him intel while learning the Na’vi’s ways. In this, the plot is tired. It’s a regurgitated mash-up of Pocahontas (1995) meets FernGully: The Last Rainforest (1992). Or any civilization that has been colonized or almost wiped out from a more significant, more powerful, outside force.
That outside force also endangers the history preserved in the environment of Pandora in which all life is connected. The Na’vi refer to this as Ewya and revere this connection as sacred. It’s at this point that the plot is redeemed some. All the Pandoran creatures look alien, which creates this more believable sense of being far from Earth. Even plant life aids in this. What sells most viewers on Avatar isn’t the story but the visual. The stunning CGI is the lion’s share of the film.
‘Avatar’ still Image Credit: 20th Century Studios via New York Film Acadamy
Neytiri (Saldana) is the daughter of her clan’s leader and is tasked to teach Jake Sully their ways. While Jake Sully’s character interacts with just about every other character in this film, it’s the interactions with Neytiri that show the acting depth. From the facial movements to the jumping from trees to interacting with the wildlife… it’s all motion capture. There is nothing else to play off of onset; it’s all added later digitally. It’s so well acted! Worthington and Saldana give such impressive performances emotionally and physically; it makes you forgive the central plot trope. Instead, focusing on the trope of environmentalism.
Unlike previous films that single out corporate greed and human waste and consumption issues, Avatar is different. The action and character development move the film along at a pace that doesn’t make you remember you are watching an almost three-hour film. It makes its points without having to over-explain them. Which I find refreshing.
‘Avatar’ still Image Credit: 20th Century Studios
If you can forgive, or don’t care, about the plot being built upon the same troupes as so many other films before it, have a go and watch this. If you like action/sci-fi or any of the thespians cast in this film, you won’t be disappointed. As a personal observation, mind what device you watch this movie on. I started watching this on my iPad before switching over to a TV. The colors on the iPad were terrible! So if you watch this understand the colors should pop and have a richness to them. If they don’t, watch on something else, or you will cheat yourself out of the essential experience people flocked to the theaters to see. Avatar should be on your watchlist regardless.
There are two sequels for this film to hit theaters in the next few years. More than a decade later, will Avatar’s reliance on CGI still wow and impress? Time will tell.
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