Director: Grant Sputore Rated: PG Runtime: 1 hr. 53 mins
Studio: Rhea Films/Netflix Screenwriter: Michael Lloyd-Green
Cast: Clara Rugaard, Rose Byrne, Hilary Swank
What is it with Netflix and robots? Is it just me? What is with the mass appeal of dystopian or apocalyptic premises in the last decade of screen media in general? Okay, if people didn’t like it or were sick of it, such projects wouldn’t get made. That doesn’t mean they all should.
So here’s I AM MOTHER with robots and the end of the human race. Hardly an original concept. After some extinction-level event wipes man from the Earth, robots inherit it. “Mother” is a nanny bot, voiced by Rose Byrne. Mother’s function is to repopulate the human race from a secret bunker with over 60K human embryos. She grows one, a female, and calls her “daughter” (Rugaard). Why just one? Mother needs to practice being a good parent before going all out. Here’s my first question, how would she handle more than a few? She’s the only robot. Then again, I had Alien and Prometheus vibes (sans actual aliens), so what do I know. Over time Daughter grows into a teenager, fully educated by Mother and curious about the world beyond the bunker. Who wouldn’t be?
Hilary Swank in ‘I Am Mother’ Image: Netflix via theguardian.com
Daughter’s safety and sheltered existence are challenged one day upon “the wounded woman’s” (Swank) arrival. Seriously, Swank’s character isn’t even credited with a name, just a description. If you’re the last of your kind, do names matter? Unlike Daughter, who didn’t need one, Swank’s character is an adult and probably had one at some point, so it leans towards degrading. I digress on this point.
Through a series of events, “the woman” ends up in the bunker (sorry, baby spoiler) and causes Daughter to question her life and Mother. The rest of the film is a letdown to the ideas planted of what viewers think is coming. Instead, it has strong echoes of the Alien franchise merged with Terminator and Star Trek’s Borg. As badass as that mashup implies, it culminates in nothing. It’s poached ideas that are left undercooked.
Embryo from ‘I AM MOTHER’ Image: Netflix via Arstechnica.com
I AM MOTHER is a better-wrapped product than others whose packaging is recycled content. That’s all this film is. The script and performances were as flat as a sheet of paper. Watching this out of sheer boredom, I AM MOTHER has the appeal of lukewarm coffee, completely worth tossing aside.
There are so many (better) original films out there to spend your time on, some I mentioned. This film, however, has no place on your watchlist- unless you like unoriginal crap.
Director: Robert Zemeckis Runtime: 2 hr 23 mins. Rated: PG-13
Studio: 20th Century Fox/Dreamworks Screenwriter: William Broyles Jr.
Cast: Tom Hanks, Helen Hunt, Wilson the Volleyball
FedEx executive Chuck Noland (Hanks) is an obsessively punctual, high-strung perfectionist of time. And an apparent workaholic. This film starts out days before Christmas 1995. Everyone who ships goods at that time of the year is probably temporarily high-strung. Except for Chuck, that’s his normal. Christmas night, Chuck sets out on a FedEx shipping plane bound for Malaysia when they get caught in a storm and knocked off course.
The plane crashes, and Chuck is the sole survivor. He washes ashore on a small island.
In Cast Away, Hanks gives an astonishing performance that displays a physical transformation and highlights the emotional and mental toll a person can suffer in isolation.
We all hear background noises every day, noise pollution, and become almost accustomed to it. In Cast Away, the background noise is the ocean. The waves, coconuts dropping, or the storms during storm season- that’s it. That lack of noise is something Hank’s Noland has to learn to endure. A lack of sounds is just one form of Chuck’s isolation. In that way, the sound editing in this film is vital.
At one point, Chuck makes it to the top of his island, and it is small. It highlights to Chuck, and the audience, how univocally screwed he is. How alone, and how little Chuck has in the way of resources. The shot emphasizes the ocean’s vastness and how utterly cut off he is. On top of the internal anguish, Chuck has to deal with, which is its own form of a co-star, he has the ocean and island. Both are his nemesis, along with time and the weather. That might be a bit deep for some, but it’s true.
Tom Hanks in ‘Cast Away’ Image: 20th Century Fox via EntertainmentWeekly.com
Chuck isn’t the only thing that ends up washing ashore. Some of the FedEx packages do as well. This film is entirely fictional, so no real people lost goods to a guy named Chuck to utilize as he saw fit. That genius lies with the writer. Seriously if you were stuck on an island and could have one item, what would it be? I’d say the TARDIS. But screenwriter William Broyles Jr. was able to grant Chuck’s character multiple things that on their own are bizarre in a tropical island setting. That’s the beauty in it, how to be resourceful when you have little or nothing to work with from the start.
In that resourcefulness, Chuck befriends Wilson. Wilson is the brand name of a volleyball he finds. If you end up talking to yourself and answering too, it’s less crazy if you feel like you are talking to someone/thing. And Wilson helps Chuck move along this incredible journey of being lost at sea, marooned on an island, and surviving; to deal with the isolation. The attention to detail to make the story believable is well thought out. The editing crafts the progression of time, creating a good pace. For a two-and-a-half-hour film, it moves along nicely.
Tom Hanks and Wilson the volleyball in ‘Cast Away’ Image: 20th Century Fox via IMDb.com
Tom Hanks gives an energetic, compelling, emotional performance in that allotted time. Part of that time is on Chuck’s attempts to escape the island. So the purpose of his character isn’t just how to deal with isolation, but can he escape it? Does his character find resolution from his conflict? The answer also ties in with what makes this film different from others in its genre.
What would you do if you were alone on an island? How would you endure? Cast Away makes the audience ponder these questions without directly asking. It’s a mark of a great film. Cast Away is an excellent film to add to your watchlist any time of the year.
Director: Danny Boyle Runtime: 1hr 34 mins Rated: R
Studio: Pathé/Searchlight Pictures Screenwriter: Danny Boyle, Simon Beaufoy
Inspired by: Aron Ralston’s novel “Between a Rock and a Hard Place”
Cast: James Franco, Amber Tamblyn, Kate Mara, Clémence Poésy
127 Hours is a short film that aims to draw in audiences based on the appeal of its leading man and that it’s based on real-life events. In 2003 real-life Aron Ralston set out on a day trip in Utah’s Blue John Canyon and suffered an accident that pins his arm in-between the rock face and a boulder. Ralston records what he believes to be his last days explaining how he ended up in the state he was, for whoever finds him one day.
Since this film is based on Ralston’s book about the incident, he lives. That’s not a spoiler. It would be if someone else wrote a book about Ralston’s accident.
It isn’t easy to create a film where you have, essentially, one character. This character has what amounts to an exterior monologue the entire time. This dialogue conundrum is layered with the setting. The majority of the film centers around Aron (Franco), who’s stuck in a highly isolated canyon crack. From a cinematography perspective, Danny Boyle did an excellent job showing the landscape and how it related to Aron during the day and while he was trapped. It helped to cement the seriousness of his predicament for the audience. The director also recreates the real Ralston’s actual camera log. In doing so, we have a performance by Franco that is a one-man show. He has to physically work in a minimal space, on a rope, where he mentally and emotionally swings like a pendulum as time progresses.
James Franco as Aron Ralston in ‘127 Hours’ Image: Pathé via IMDb.com
While Franco brings much-needed energy to this story and its underlying messages and themes, it would have been better as a TV movie. Today this type of film is more likely to be picked up by a company like Netflix, which didn’t start original content till 2013. 127 Hours isn’t a terrible movie, but it’s the kind of film you only watch once, in school on substitute day, or as an airplane film. Sadly, the trailer for the film gives too much away, leaving little to be surprised by.
While the messages and lessons of the film to the audience are important, so no one has a Ralston-like “oops” moment, 127 Hours is forgettable as a movie. Forgettable isn’t worth a watchlist spot.
Hello all. It’s been months since my last post. Months. I can’t believe how the time slipped past me like that. I meant to post much sooner and apologize for my lapse. I’m in the process of trying to moving, that was made more difficult with medical issues that have popped up. All of that is stressful and something needed to go. That something was my blog, temporarily. It’s important to have balance and manageable stress in ones life. Watching movies and writing is usually enjoyable for me and it wasn’t for a while. My goal is to start posting again within the next month. Thank you to everyone who follows Watch List Reviews or just comes across it and enjoys a post. Cheers!
Directed by: James Gunn Rated: PG-13 Runtime: 2 hrs 18 mins
Studio: Marvel Studios Screenwriter: James Gunn
Cast: Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Vin Diesel, Michael Rooker, Karen Gillan, Pom Klementieff, Kurt Russell
‘Guardians of the Galaxy Vol.2’ Teaser Trailer from Marvel Studios
So here we find our Guardians of the Galaxy, again, as the MCU’s tenth film. The Guardians are hired by a race called the Sovereign to save their planet’s power supply from becoming a dimensional-jumping onto-slug’s dinner feast. That plays out how it does, with the Sovereign chasing them across space for offending them. Remember, Rocket (Cooper) is a part of this group.
Along the way, they encounter a pair (Russell and Lementieff) who claim to know Quill’s (Pratt) father. Vol. 1 focused on Quill’s mom’s issues, so it follows that James Gunn would make Vol. 2 about his father’s issues. So, Peter, Drax (Bautista), and Gatorade (Saldana) go with the pair. Rocket and Groot (Diesel) have another task, including dealing with the incredible Karen Gillan’s Nebula.
‘Guardians of the Galaxy Vol.2’ Pom Klementieiff, Dave Bautista, Chris Pratt, Kurt Russell, Zoe Saldana Credit: Marvel Studios via IMDb.com
In Guardians of the Galaxy Vol. 2, the characters explore places and ideas that change how they view family and the universe. It’s touching moments like when Rocket gets a therapy lesson from Yondu of all people, with the humor and action that ground the story and moves it along with ease. The soundtrack helps too! Gunn’s starship of misfit toys and the well-selected tracks mesh so well. It’s another dose of quirk, the opposite of the Avengers ensemble, and it’s incredible how it all comes together. Plenty of people have posed the question ‘team Iron Man or team Cap’ over the years. What they should have been asking is, are you team Avengers or team GotG? Really, who would you want to save the universe?
As a sequel, the surprises of the characters’ personality traits and Gunn’s outlandish style is gone for the audience in Vol.2. Thankfully, it’s not gone-gone. Gunn’s focus is always the characters so the story feels like it’s organically in response to them.
Michael Rooker and Bradley Cooper in ‘Guardians of the Galaxy Vol.2’ Credit: Marvel Studios via Forbes.com
Guardians of the Galaxy Vol.2 is a fun, energetic, semi-dirty follow-up to Vol. 1. While not all the jokes hit their mark, plenty still do. The comedic style is still there, just like the tone and spunk of the first one. The story is solid, considering it focuses on Quill’s daddy issues. Full of sass and wit, it also has substance and continued character development, which is essential when characters will be seen again and again.
Personally, I think that Yondu and Baby Groot steal the film overall. Share your thoughts on your favorite Guardian character in the comments!
If you enjoyed Vol.1, you’d love Guardians of the Galaxy Vol.2 just as much. So it should be on your watchlist!
Directed by: Rob Marshall Rated: PG-13 Runtime: 2 hrs. 25 mins
Studio: Sony Pictures Screenwriter: Robin Swicord
Based on: Novel of same name by Arthur Golden
Cast: Ziyi Zhang, Gong Li, Ken Watanabe, Michelle Yeoh, Suzuko Ohgo, Kaori Momoi, Youki Kuhoh, Kôji Yakusho
Memoirs of a Geisha is an American Hollywood film about the mysterious lives of a class of people within Japanese culture. It’s directed by a white man. The art and costume departments were also led by white people. The book upon which this film is based was written by a white man. The main cast is Chinese. So, yes. Let’s get the points of cultural impropriety out of the way first, shall we?
This movie would most likely not be made today without Japanese cast members as the leads. It would undoubtedly involve someone behind the scenes as a consultant. This would remove the tarnish this film suffers from culturally, at a minimum. As it is, the cast looks and sounds Chinese. One of the original points in casting was that there were not enough Japanese actors who could speak English well enough to be considered for specific roles. As a white American, I’m not so stupid; I can’t tell the difference between Chinese and Japanese people. Apparently, I am an exception, as the thinking was many Westerners are too dumb and close-minded to notice. Is that true? Yes, but how many possess the intellect and patience to sit through a film like this anyway? So, if you can get over the casting issues, keep reading.
Memoirs of a Geisha is a dramatic period piece (1920-the 1940s) that follows the path of a young girl, Chiyo (Ohgo), who is sold to a Geisha house. Such a place is where certain girls/women train to dance, play music, pour tea, and master the art of conversation. To be a companion to men in public settings. Not physically or sexually at all. They are a status symbol, moving displays of art and grace. It is said to be a great honor. And yet, what is unspoken is that this lifestyle is a form of modernized indentured servitude. Which makes me wonder if that’s historically accurate.
The film begins with Chiyo being sold and taken from her home, a small fishing village, to a place with more rooftops than she’s ever seen before in her short life. Where she’s expected to scrub, clean, sew and do anything else that’s demanded of her. To serve. Until one day when she meets a man who shows her an ounce of compassion and kindness. No one else has in a long time. From this, the film is a springboard for Chiyo’s resolve to become a Geisha so she can see the man again.
Ken Watanabe, Suzuko Ohgo in ‘Memoirs of a Geisha’ Credit: Sony Pictures via Cinemaholic.com
That moment is one I have an issue with. Chiyo is still a child, and her life’s ambition to become a Geisha is entangled with her desire for this man, known as “Chairman” (Watanabe), to become her patron. Someone who will look after her for the rest of her life. The narrative frames this as a love story, but it’s not. It’s a girl’s infatuation with someone just because they were kind to her. It carries on like this for years as her motivation for everything she does afterward. It’s a dangerous, unhealthy obsession. She never even learns his actual name. This obsession is encouraged by Mameha (Yeoh), who reminds Chiyo that Geisha are not entitled to love or have a life of their own. It makes a person wonder what it is all for.
As Chiyo gets ready to make her Geisha debut, she is given a Geisha name, Sayuri (Zhang).
The beginning of the film’s vantage point of Chiyo/Sayuri as a child (ideally) lets the audience appreciate all that she’s endured and put up with as a young woman about to become a Geisha. How she deals with an established, jealous rival from her own house, Hatsumomo (Li). An angry, vicious viper who clearly can’t handle the competition. Her character is a constant point of conflict for Chiyo/Sayuri. She causes much treachery and deceit throughout the film. This back and forth is just one of the many areas that provided layers of detail and cultural nuances. Often adding to the pace of the film so it shifts from beat to beat with ease.
Ziyi Zhang, Michelle Yeoh, Gong Li in ‘Memoirs of a Geisha’ Credit: Sony Pictures
If the cultural nuances of Geisha or Japanese culture haven’t been bastardized for the period as a whole. I do wonder how much is wrong and what is accurate.
Many of the characters are given some back story to grant their place in the plot with more relevance than they deserve, but they all serve a purpose. No one seems like a throwaway character. That said, the cast all deliver a performance that is as good as could be expected. It’s not difficult to understand anyone in their attempts to speak English clearly. Gong Li and Suzuka Ohgo are probably the most energetic actresses, with the most ability to branch out emotionally. As such, their depictions of Hatsumomo and young Chiyo are the most engaging to watch.
Memoirs of a Geisha has this pull. From the start of the film, there is a tone that is set. One of seriousness and mystery. Where the further in you go, the more layers are pulled back to reveal this atmospheric bubble where dance, cherry trees, kimonos, and tea are the only reality that matter. Where women are locked in battles of words and wit to acquire a patron.
Gong Li ‘Memoirs of a Geisha’ Credit: Sony Pictures via IMDb.com
The ending to this film is like the book. So, the fault or questions that creep in at the conclusion are not solely those of the filmmakers. The movie’s last act takes place at the end of world war two. History explains how that went for Japan. My question is, how would Arthur Golden resolve his Sayuri and Chairman storyline without the crutch of adding in the war as a copout? He created this story that eludes and divulges the secrets of the lives of Geisha. With all the rules and taboos therein. I think this story could have been stronger if the main plot was resolved without U.S. soldiers coming to Japan. If the story had been set sooner in time. How would that have affected the trajectory of the character’s endings if he had kept Sayuri on her delusional path? I have no idea. It’s a question you can think about if you see the film for yourself.
Is Memoirs of a Geisha terrible? That depends on how you feel about the casting, first and foremost. Overall is the acting unwatchable? Not at all. The set designs and costumes are all remarkable looking. Elegant. Detailed. The choreography… ask someone with knowledge.
For an American-made film with an all-Asian cast, I can see its desire to expand beyond what gets typically made here. To provide a film that would expand Westerners’ mindsets on the notion of ‘foreign films.’ Because if this film was made with a Japanese cast, spoken in Japanese, with English subtitles, virtually no one in America would have gone to see it. That’s assuming it made it to smaller local theaters at all. American’s are idiotic, lazy, snobs when it comes to the idea of reading and watching at the same time during a film. Well, the entire film.
Ziyi Zhang in ‘Memoirs of a Geisha’ Credit: Sony Pictures via Slant Magazine
The non-American Asian community will undoubtedly find faults with this film enough to not want to see it. That’s fair. However, there are plenty of factors about Memoirs of a Geisha that land it on the watchable list. Again if you don’t mind the casting flubs and a story around women and their issues, it’s a good watch. Just make sure you’re not distracted while viewing.
Directed by: James Gunn Rated: PG-13 Runtime: 2 hr 5 min
Screenwriter: James Gunn, Nicole Pearlman Studio: Marvel Studios
Based on: Various Marvel comic book characters
Cast: Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, Dave Bautista, Michael Rooker, Karen Gillan, Lee Pace
If the Avengers were a motley crew when forming, what does that make the Guardians of the Galaxy? Who are, at best, a collection of misfit toys. Ones without the benefits of standalone films preceding their silver screen MCU team-up. A group of characters virtually unknown before this film.
None of the “Guardian” characters in the MCU’s version are original members in the comics. Not one. Guardians of the Galaxy (the comic) first appeared in 1969. Throughout the decades, they went largely under the radar of popularity. In 2008 Marvel relaunched, reshaped? reformed? the Guardians into the content director James Gunn found inspiration in. Fine. Great. Whatever. When this first came out, I had only seen one of James Gunn’s films. I could live the rest of my life without seeing anymore. So when I heard he was directing this movie, I was skeptical, at best. Marvel did what? I went and saw it without managing to see a trailer for it beforehand. So, yes, I went because it was Marvel. Surely they wouldn’t screw the pooch at this juncture in the MCU?
Bradley Cooper, Chris Pratt, Vin Diesel, Dave Bautista, Zoe Saldana in ‘Guardians of the Galaxy Vol. 1 Credit: Marvel Studios via The Hollywood Reporter
No. They. Did. Not. In fact, this film grossed over $600 million more than it cost to make. Bravo! Okay, the pooch is fine. And James Gunn raised the bar for himself in terms of his filmmaking skills. How did he manage this? He dove into the treasure trove of characters associated with the Guardians, the relaunched version, and molded that into characters and a story that would seamlessly attach itself to the MCU’s ultimate storyline goals.
In logical viewing order, this film is number nine. First, Captain Marvel introduced the audience, Colson and Nick Fury, to the reality of life outside of Earth. Still, the movie’s “public” wasn’t aware of it. That came later with Thor and certainly with Avengers. With Guardians of the Galaxy, the audience is introduced to space travel beyond the Bifrost. To new worlds and characters, and still connects it to Earth, the Battle of New York, Thanos, and beyond.
In James Gunn’s version, the “Guardians” are Peter Quill a.k.a. Starlord (Pratt), Gamora (Saldana), the adopted daughter of Thanos, Drax the Destroyer (Bautista), Groot (Diesel), a nine-foot walking tree species, and Rocket the Raccoon (Cooper).
Karen Gillan in ‘Guardians of the Galaxy Vol. 1’ Credit: Marvel Studios via Syfywire.com
Adventure and comedy ensue when Quill can’t make money off a job he stole from his boss, Yondu (Rooker). Followed by a public altercation with bounty hunters (Rocket and Groot) that Yondu sets on him. The extra stiff wrinkle is that a mass murderer, Ronan (Pace), wants the item in question as well. He orders Gamora to retrieve the item for him. That doesn’t go as anticipated, and she is arrested with the others. Along the way, they meet Drax and agree to work together temporarily to stop Ronan from his genocidal goals. That’s the summary of this film, and yet, Guardians of the Galaxy is so much more than that. I really don’t want to give anything away. This version of the characters is excellent! They are everything all the other MCU characters to date are not. Guardians bring to the table a much-needed dose of humor and lightheartedness. All while facing some serious obstacles and foes. A more serious character might rebuke their cavalier attitudes and personas. What Gamora simply refers to as “idiots.” The Guardians rally, like the Avengers, and work together to tackle the tasks before them.
Lee Pace, Djimon Hounsou in ‘Guardians of the Galaxy Vol. 1’ Credit: Marvel Studios via CinemaBlend.com
The film’s pace always moves along, like an Olympic ice skater who displays a flawless performance. This is accomplished by the excellent cast chemistry and the fantastic performances of their respective characters, also with well-placed quips, jabs, and jokes throughout the film. Another contributor to the pace is the music. Between the jokes and the musical styles of the 1970s that just fit with this eclectic bunch, it really helps it move along. Additionally, it sets the tone of the film early on. Something that is always smart to do.
Frankly, this film’s story could have been poorly received if the audience wasn’t “feeling” this movie’s overall tone and cadence. Primarily when it’s held up against the early MCU films. It just doesn’t take itself seriously like the others. And yet, it’s just what the doctor ordered.
Guardians of the Galaxy is that underdog story that seemingly comes from know where and wins the hearts and minds of the audience. It adds to the MCU and still tells a grand standalone story that is deep, meaningful, watchable, enjoyable, and gifts the audience with characters it can’t help but love. A movie that can pull off all that is worth a place on your watchlist. Grab some snacks and settle in!
Directed by: Chris McKay Rated: PG-13 Runtime: 2 hrs 20 mins
Studio: Skydance, Paramount Pictures, Amazon Screenwriter: Zach Dean
Cast: Chris Pratt, Yvonne Strahovski, J.K. Simmons
The Tomorrow War is a story about humanity dealing with an extinction-level event. The best way to avert it is by the world coming together. Okay. The threat is aliens. Tired and well used, but, still, okay. Then…
Solider’s from 2051 show up via a portal of some kind in 2021. Explaining and warning that “We are you, 30 years in the future.”… “In eleven months, all human beings in the future will be wiped from the face of the Earth.” Unless, of course, the humans of 2021 help.
Director Chris McKay said in a Collider interview that he didn’t think about the time travel mechanics, as it didn’t matter to solving the issue of the story. That’s the gist of what he said anyway, and he couldn’t have been stupider for ignoring it. Just because the director doesn’t want to think about it doesn’t mean the audience won’t. Magically, all of the issues of time travel and creating paradoxes just vanish in his mind. Well, not in mine and not in others. Especially when the device which allows thousands or millions of people to travel through time and space is held together by the equivalent of tape and chicken wire. WTF? Do not beam me up, Scotty!
The main problem is that writer Zach Dean created and left the line stating “…all human beings…” all humans will be dead in eleven months. Well, if all of humanity is dead, how are there still people around 30 years later to come to 2021 and warn humanity? Words are important. A viewer shouldn’t need to pause their film (in this case) to try and figure out what they’ve seen before that can logically explain this.
Screenshot of device that allows time travel in ‘The Tomorrow War’ Credit: Paramount Pictures and Amazon
What should have been said is ‘almost all of humanity will be wiped from the face of the Earth.’ Maybe even giving an estimate of who’s left in eleven months. Then the audience can follow along with ease and still grasp the dire predicament.
The entire world gets on board. Yeah! Like Independence Day.
But the lack of logic and common sense is so prevalent it’s incredible this film got made. So, first, some military personnel are sent to the future, then everyday people are conscripted. They are given no training or actual gear. You have a motor mouth that can’t load a weapon and points it at himself. Other characters take spare ammo off the dead, which is a brilliant move, while others seem to never run out of ammo. Future humanity “needs” help yet firebombs its recruits just to kill the enemy. Past humans are no more than to-go fodder. It reeks of desperation and poor storytelling.
‘The Tomorrow War’ alien Credit: Paramount Pictures and Amazon via Variety.com
Make no mistake, this shitty script is full of holes that leave it dull and irritatingly illogical to follow along with. Like a high school student with the answers to when, why, where, and how a plot point no one in the thirty years after him was able to figure out. Since when do we default to a teenager for “expert” information? That a plane, an American one at that, could just fly deep into Russian airspace undetected? Give me a break. That specific scientific components with alien DNA will *magically* be unlocked in less than a day? Should I continue? Sadly, I could.
Sadly, all of that isn’t a summary of the entire film. This movie clocks in at 2 hours and 20 minutes and feels double that. Just when you think the film is going to end, it keeps going. There were so many areas where the pace needed to pick up or be left out altogether. It’s not that The Tomorrow War doesn’t know what it wants to be or where it wants to go. It doesn’t have that problem. Its most significant issue is that it tries to be like every other sci-fi creation before it, all while being fresh. It’s not rotten, but it does stink.
Jasmine Mathews, Chris Pratt in ‘The Tomorrow War’ Credit: Amazon and Paramount Pictures via SyfyWire.com
Perspective is critical in this film in that everything is from Dan Forester’s (Pratt) perception. How he processes the events unfolding around him, his take on solving it, everything. The filmmaker’s choice allows Pratt’s character to have a fuller story arc, which is well developed. Pratt actually does a great job of depicting a loving father, former soldier, teacher, and unwitting participant. However, the focal point being on him is at the expense of the other characters.
There are some impressive action sequences with the fighters and aliens in various places. The CGI isn’t terrible. The aliens at least look like something I haven’t seen before. Those are the best things I can say about this movie.
The Tomorrow War was a waste of my time and brain cells. There are so many other films in the sci-fi realm worth seeing over this. Any of the movies this one rips as “inspiration,” such as Pacific Rim, Jumper, Alien, Independence Day, A Quiet Place, or War of the Worlds. The Tomorrow War is an illogical, tedious waste of effort that has no place on a watchlist.
Directed by: Alan Taylor Runtime: 1 hr 52 mins Rated: PG-13
Screenwriter: Stephen McFeely, Christopher Yost, Christopher Markus
Studio: Marvel Studios
Cast: Chris Hemsworth, Tom Hiddleston, Natalie Portman, Idris Elba, Anthony Hopkins, Rene Russo, Christopher Eccleston, Jamie Alexander, Kat Dennings, Zachary Levi, Stellan Skarsgård, Ray Stevenson, Tadanobu Asano
Thor: The Dark World dives deeper into Asgard’s history and shows off more of what a stunning place it is. Full of detail and scope.
The plot introduces The Dark Elves, led by Malekith (Eccleston). An ancient race of beings that ruled and thrived before Asgard came to lead the nine realms. Thought to be long gone, they reemerge as a vehicle for the aether’s introduction into the MCU. The substance is the Dark Elves’ most prized possession, one they will destroy worlds to reclaim. Alongside that, they want revenge for practically being exterminated eons prior. As reasons for retribution go, that’s a fair one.
Malekith and the Dark Elves’ story is believable, but the premise is cut off at the legs by Marvel’s MCU goals. It could have been so much grander instead of petty. Christopher Eccleston’s performance as Malekith was as outstanding as the script allowed for. The fault isn’t with Eccleston’s depiction. He’s a talented actor who could have taken the character in any direction if he had been allowed.
In Thor: The Dark World, anger, fear, guilt, pride, and sorrow are all passengers on the emotional roller coaster ride various characters must manage. All while the nine realms line up in a ‘convergence’ creating dangerous pockets of time and space. Wreaking havoc upon all.
Idris Elba, Christopher Eccleston in ‘Thor: The Dark World’ Credit: Marvel Studios via ScreenCrush.com
To help stop the Dark Elves, Thor (Hemsworth) requires Loki’s (Hiddleston) help. Even after Thor arrested him for the attack on New York. Hiddleston’s performance is strong, comical at times, and a nice distraction from all the otherwise serious themes running their course.
While Heimdall (Elba) doesn’t have a more important place in this film, the character’s contributions are still significant. He mentions how he can see things few others do, and it gives a sense of how powerful he is as gatekeeper. If a viewer hadn’t figured that already. His conversations with Thor are not a subject with a leader; you can tell there’s a kinship there. A real friendship.
While her role in the Thor films is the smallest, she makes an impressive impact with her screen time—Thor’s mom. Frigga (Russo), Queen of Asgard. Russo is adept at handling herself in action films, and Thor: The Dark World is no exception. Frigga’s use with a blade makes me wonder if she taught Loki more than just magic…
Stellan Skarsgård, Johnathan Howard, Kat Dennings in ‘Thor: The Dark World’ Credit: Marvel Studios via NerdReactor.com
Some well-placed lines and scenes with Darcy (Dennings) are like low-hanging fruit in the way she always says what she’s thinking. Or what everyone else is but won’t actually utter out loud. I like the character as a natural break between tension and humor. Mixing Darcy with Dr. Erik Selvig (Skarsgård) is vital to the plot, their tone vs. the rest of the movie is like peanut butter and jelly.
The pace of the overall movie and the scene transitions are all fine. There is character development here, but the purpose of this film really wasn’t about Thor and company. Marvel needed to use certain aspects to further propel the gigantic story arc that is the first few phases of the MCU.
Costume design for the characters, again, perfectly accentuates each one distinctly and fittingly. To Frigga and Jane’s (Portman) Asgardian attire, to Loki’s classic black and green leather ensemble, Darcy’s hats, or Dr. Selvig’s lack of pants. Um…
Rene Russo, Jamie Alexander, Natalie Portman in ‘Thor: The Dark World’ Credit: Marvel Studios via ScreenCrush.com
The story itself isn’t terrible. It’s like any sequel that needs to slow down to build up more material to work with later. Once you understand it’s not meant to be a fast-paced, sci-fi action film, you’re less likely to be disappointed. It certainly pumps the breaks after Avengers, but it is watchable.
Thor: The Dark World gets knocked around because of how its tone stacks up against the other ‘Thor’ and MCU films. Take it with a grain of salt. This film is eighth in viewing order and is absolutely worth a place on your watchlist if you’re just in it for Thor’s story or the MCU as a whole.
Be advised there are two end scene credits for this movie. Enjoy!
Cast: Robert Downey Jr., Chris Evans, Chris Hemsworth, Scarlett Johansson, Jermey Renner, Mark Ruffalo, Tom Hiddleston, Samuel L. Jackson, Cobie Smulders, Gwyneth Paltrow, Stellan Skarsgård, Clark Gregg
Avengers is the culmination of years of planning and strategic story-telling. Number seven in proper viewing order. It brings together Iron Man (Downey), Captain America (Evans), Thor (Hemsworth), Black Widow (Johansson), Hawkeye (Renner), and Hulk (Ruffalo). Together they work to stop Loki (Hiddleston) and his aspirations of ruling Midgard (Earth).
Yep, that Loki. And he’s not alone. He’s got an army. Loki’s introduction beyond Asgard was visually impressive! The audience gets to see more character development with him and everyone.
Trailer for ‘The Avengers’ Credit: Marvel Studios via YouTube.com
The Hulk was recast. The previous one played by Edward Norton came across exceptionally well as a geeky scientist. Other than that, Marvel swapping him out with Mark Ruffalo isn’t a big deal. Still, Marvel uses the Avengers to create a backstory and rationale for Hulk’s quick and seamless participation.
Hawkeye gets more screen time here than he did in Thor, where the character appeared, briefly. His storyline within the movie mixes with Black Widows. They’ve worked together for years, and the audience gets to see this bond, which feels authentic. Their respective roles always matter more within the ensemble, what they add to the group and why they stick around. They’re the only two without something “extra,” so they are the closest to everyday people. That makes them more relatable.
In the beginning, they’re a motley crew, but they rally. NYC gets trashed in the process, but it’s not their faults Loki came.
The Avengers in ‘The Avengers’ Credit: Marvel Studios via Cinemablend.com
The story itself isn’t complicated, nor should it be with a movie like this. It’s designed to be engaging and fun. There’s no prerequisite to see this film if you don’t care about the standalone films before it. No need to have read comics, ever. With these stories, the Marvel Cinematic Universe’s (MCU) ambition is to build upon the one before it. It’s easier to watch an ensemble do something, like saving the world when the audience is invested in the characters. Marvel building up the characters beforehand was an excellent strategy to get the audience invested.
Books have been made into films for decades. Stories as rich, diverse, complex, and satisfying as Lord of the Ring are masterfully adapted to the screen, but the material only goes so far. Avengers is dozens of stories and connections, their potential- limitless. Why? Because comic books engage multiple-age groups over a wide range of lifestyles and cultures. Comic adaptations, done right, don’t have to end.
Chitauri in ‘Avengers’ Credit: Marvel Studios via Screenrant.com
The characters are engaging and watchable. The performances by all are convincing, for what the roles asked of them. No one from this franchise will win an Oscar for their acting; the script never allow for that level of depth and range. However, awards should be given for excellent editing, sound editing, CGI, and stunt work. The actors may be the “face” of the film, but the lion’s share of what makes it what it is comes from the handwork and efforts of all the behind-the-scenes magic.
Avengers is a fun, loud, colorful, action-packed film that’s worth a place on your watchlist.
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