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Movies Review

REVIEW – Aquaman and the Lost Kingdom

So ends Warners’ first foray into a connected theatrical superhero universe, with Jason Momoa‘s brawny sea bro, already embracing his new roles as a husband (to Amber Heard‘s Mera, who’s in more of the movie than you’d think based on the marketing, but is mostly here for a gag or two, a big emotional reaction or two, and to save Arthur’s butt a couple more times) and father (“villains threaten Aquaman’s baby” is, as I recall, one of THE classic pre-Crisis Aquaman stories), having to also learn how to actually be a leader. Seeing the NEXT step in his journey? Highly unlikely. The bulk of the plot concerns Yahya Abdul-Mateen‘s Black Manta’s quest to get the vengeance he swore at the end of the first movie; in seeking out Atlantean artifacts to facilitate this end, he acquires a spooky, obviously evil trident that is a remnant of the titular kingdom. I was surprised to see Randall Park turn up early on as a scientist helping Manta in this hunt; Park’s in, like, pretty much the whole movie, and his nervous charm helps make the tedious first twenty-to-thirty minutes bearable. It feels like there used to be a coherent first act to this thing that, in order to beat it down to about two hours, got chopped into ribbons, so all that remains are vignettes intercut with Manta’s plot. That said, once Manta and his crew get the wherewithal to attack Atlantis, the movie starts moving and turns into a reasonably entertaining science-fantasy adventure. Does Aquaman ride a giant seahorse? Yes. Does he talk to fish at a key moment to take out a threat? Absolutely. Are they trying a bit too hard to do a THOR: THE DARK WORLD thing here with Patrick Wilson‘s Orm freed and forced to team up with Arthur to fight a mutual foe, except that Patrick Wilson has absolutely none of Tom Hiddleston’s considerable charm? Oh god, yes — in fact, the movie ends on a note that is absolutely the last scene of two additional Marvel flicks smashed together. Bit cringe-inducing, that. But between that rough opening stretch and that deja vu-inducing final scene, there’s some fun stuff in here. I’ve seen superhero movie train wrecks; this isn’t one of them. However, absolutely inessential viewing. If you got a gift card this holiday season and have a couple hours to kill, Atlantis still looks real pretty up on the big screen, but other than that, it probably won’t hurt to wait for it to turn up on Max.

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Movies Review

REVIEW – The Boy and the Heron / Napoleon

A pair of big screen spectacles by octogenarian directors that I’m pleased to have been able to see on the big screen.

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Movies Review

REVIEW – Godzilla Minus One

Takashi Yamasaki’s turn at rebooting Toho’s most famous radioactive lizard son takes the new tack of having Godzilla menace a Japan that’s freshly on the mend after its catastrophic loss in World War II. As I was just telling my dad, there’s something of all the early ’80s movies American filmmakers made that were about going back and winning Vietnam to it, only this movie is actually good; Godzilla in this film is so blatantly an avatar of nuclear annihilation that a Japanese populous who JUST had to deal with that in the actual historical record can now, with a can-do attitude and a bit of science (and what little military power the American occupiers will allow), actually swing back ’round and take down. I love that it gives you a monster attack right off the bat, in the prologue that introduces you to our protagonist: kamikaze deserter Koichi Shikishima (Ryunosuke Kamiki), whose self-loathing only grows when he finds himself one of two survivors of an attack by a pre-nuclear testing version of the big G. I also still love this ongoing trend of finding new, slightly different ways of doing the along-the-spines buildup towards Godzilla firing his atomic breath, and how what had become just another tool in his arsenal has become an EVENT. Interesting that the two theatrical Godzilla flicks Toho’s made since the Legendary/Warner Bros. series began have both been very different takes on the original “Japan Vs. Godzilla” formula as opposed to the later “Godzilla, protector of Japan, versus whatever new nonsense monster we have going on this week” model; I’m here for either one, but I do think it’s a lot easier to care about the story going on around all the devastation set pieces — here, Shikishima’s all-encompassing case of survivor’s guilt, driving every action he makes through the whole of the movie — in the earlier mode, where Godzilla is the disaster instead of the solution. A superb monster flick with engrossing drama and top flight effects; I was stunned it’s playing here in town, and would encourage anyone with a soft spot for movies where monsters flatten Tokyo get out there and give it a watch.

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Movies Review

REVIEW – The Marvels

I hate to dismiss other folks’ opinions out of hand, but I can’t shake the feeling that the people hating on this flick are reviewing something that’s not actually the movie on the screen. Like, they got annoyed with one or two other Marvel Studios pictures in the last couple of years and are carrying that into this one, or they’ve internalized that “oh no, trouble at Marvel!” Variety article that was going around a week or two ago. What’s on the screen is a fun and touching story of bonding and regrets, making up for mistakes and lost time, with a first-rate cast and some truly terrific action.

Oh, and cats. Lots and lots of cats.

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Movies Review

REVIEW – Ant-Man and the Wasp: Quantumania

It takes a while to feel like a new year is finally happening — that, oh, right, we’re into this year. And sadly, I think the arrival of the first big, shiny, corporate IP tentpole flick is one of those signs that the year has finally arrived. Now, of course, I do love me some corporate IP-driven entertainment, but there’s a continuum these things ride, with one end being “this is film-shaped content,” with all the negative connotations that cursed word brings, and the other being, “oh wow, some poor fools poured their soul into this thing they don’t own.” Having just gotten a Marvel flick that fits more-or-less into the latter category, I guess — and yes, I suppose I’m tipping my hand here — the former was due.