Reel Recap: January 2021

I still have several Reel Recaps drafted to share for March-December of 2020, but I thought it would be beneficial to share these more regularly. I'm still not ready to unveil my Top 10 Films of 2020 because I'd like to watch more films and catch up on reviews beforehand. I'm writing them in reverse chronological order to get the ones fresh on my mind finished first. Therefore, I've completed December 2020 and am about halfway through November 2020. Luckily, those were the months I watched the most, so it shouldn't be much longer before I finish the rest. However, I will share them chronologically, so I'll start with March-April before tackling the rest. This will be a tedious process behind-the-scenes, so thank you for bearing with me. I've also decided to write a review for WandaVision once the first season ends. 

Reel Recap: January 2021

The Departed - Watched January 9, 2021 (Netflix)

Nominated For: Best Picture, Best Director; Martin Scorsese, Best Supporting Actor; Mark Wahlberg, Best Adapted Screenplay, and Best Film Editing.

Won: Best Picture, Best Director; Martin Scorsese, Best Adapted Screenplay, and Best Film Editing.

Synopsis: An undercover cop and a mole in the police attempt to identify each other while infiltrating an Irish gang in South Boston.

Runtime: 151 minutes

MPAA Rating: R (for strong brutal violence, pervasive language, some strong sexual content and drug material)

Who should see it? Adults interested in crime dramas and Martin Scorsese's filmography.

Adapted as an American remake of the Hong Kong film Internal Affairs, The Departed is directed by Martin Scorsese and features a script from William Monahan. Given Scorsese's affinity for crime dramas, it's a no-brainer that he would be drawn to this project and the right filmmaker for the job. Many of Scorsese's trademarks are present, including breakneck pacing, voice-over narration, violent crime, and a rocking soundtrack. These elements culminate nicely in one of Scorsese's liveliest motion pictures. Scorsese's longtime editor Thelma Schoonmaker continually delivers astounding results, and her Oscar-winning work here is no exception. It's impressive how much information is communicated quickly without overwhelming the viewer, and then the film moves at a perfect pace. The parallel undercover storyline between Billy and Sergeant Sullivan serves as a fascinating focal point for the narrative, adding an element of tension and suspense as their paths begin to interweave. I was also impressed by how often the film took me by surprise with sudden significant plot developments. The star-studded cast of Leonardo DiCaprio, Matt Damon, Jack Nicholson, Vera Farmiga, Martin Sheen, and Mark Wahlberg all deliver terrific performances, lending a sense of realism to their varied characters. I'm still in the process of viewing all of Martin Scorsese's acclaimed filmography, but The Departed rightfully ranks towards the top. It's no wonder this was the film to win him the Oscar for Best Director. 

 

Film Assessment: A+

Pieces of a Woman - Watched January 11, 2021 (Netflix)

Nominated For: Best Actress; Vanessa Kirby.

Synopsis: When a young mother's home birth ends in unfathomable tragedy, she begins a year-long odyssey of mourning in this deeply personal story of a woman learning to live alongside her loss.

Runtime: 126 minutes

MPAA Rating: R (for language, sexual content, graphic nudity and brief drug use)

Who should see it? Adults interested in grief-driven dramas.

Rooted in the personal experiences of director Kornél Mundruczó and his partner and screenwriter Kata Wéber, Pieces of a Woman explores the multitudes of grief. Anyone who's experienced difficulties during childbirth or a miscarriage should be forewarned that Pieces of a Woman may be tough to watch. Some scenes involving Shia LeBeouf were especially uncomfortable to watch, considering the recent allegations against him. Warnings aside, the film really only has a few things going for it. Most notably, Vanessa Kirby is exceptional in the lead role. There's a raw vulnerability to her performance that's never stretched to the point of feeling overdone. You buy into her trauma because it's genuine. The opening thirty minutes that precede the title card are the most compelling, and the film rarely matches those heights in the remainder of its runtime. The birthing scene is shot in an extended one-take, and I was impressed at how organic the camerawork felt when it could have easily come across as a flashy gimmick. Benjamin Loeb's cinematography and Howard Shore's score proved to be the film's most reliable aspects. Aside from the aforementioned elements, the film was hollow and lifeless. Pieces of a Woman is naturally a bit of a downer due to the subject matter, but the ensuing melodrama often felt contrived. The script seems unsure of itself and its grander point beyond the idea of communicating a woman's struggle to match her grieving process to others' expectations. And uneven performances from the likes of LeBeouf and Ellen Burstyn didn't help matters. While I applaud Mundruczó and Wéber for their bravery in telling a story so personal, the intended emotional beats failed to really resonate with me. 

Film Assessment: C+

One Night in Miami - Watched January 16, 2021 (Prime Video)

Nominated For: Best Supporting Actor; Leslie Odom Jr., Best Adapted Screenplay, and Best Original Song "Speak Now" (written by Leslie Odom Jr. and Sam Ashworth).

Synopsis: A fictional account of one incredible night where icons Muhammad Ali, Malcolm X, Sam Cooke, and Jim Brown gathered discussing their roles in the civil rights movement and cultural upheaval of the 60s. 

Runtime: 114 minutes

MPAA Rating: R (for language throughout)

Who should see it? Adults interested in a dramatization of the night Cassius Clay became the world heavyweight champion, and the gathering of Muhammad Ali, Malcolm X, Sam Cooke, and Jim Brown that followed.

One Night in Miami is Regina King's feature directorial debut and an adaptation of Kemp Powers' 2013 stage play, with a script from Powers himself. Like most stage adaptations, One Night in Miami's limited scope continually reminds the audience of the medium its story was initially intended. King imbues the story with some visual flourishes and the occasional change of scenery to escape this feeling, but the dialogue-heavy affair never quite feels cinematic. A substantial chunk of the runtime is dedicated to a night-long conversation. Though the four lead performers ran away with the material, the relatively anti-climactic events left much to be desired. Conflict naturally accompanies the gathering of such culturally significant and strong personalities, but the ruffled feathers are quickly tidied, so it veers more toward passive-aggression. As previously mentioned, Kingsley Ben-Adir, Eli Goree, Aldis Hodge, and Leslie Odom Jr. each step into the shoes of four larger-than-life cultural figures and measure up to their respective legacies. The four actors also had a very lively rapport with one another, so their friendship felt authentic. The shifting topic of conversation and differing viewpoints regarding 1960s race relations are compelling, but there's little else of interest in the grand scheme of the story. However, I especially liked the narrative's central idea that a simple discussion behind closed doors would empower its participants to further leverage star power in the service of civil rights. 

Film Assessment: B

Wayne's World - Watched January 24, 2021 (Fubo)

Synopsis: Two slacker friends try to promote their public-access cable show.

Runtime: 94 minutes

MPAA Rating: PG-13 (for sex-related dialogue)

Who should see it? Fans of the SNL sketch.

Based on a Saturday Night Live sketch, Wayne's World was directed by Penelope Spheeris and written by Mike Myers and husband-wife, Bonnie and Terry Turner. As I watched this for the first time, only one thing came to my mind: "This is so stupid." While I'll admit there were occasionally some clever gags and fourth wall breaks, the over-exaggerated characterization and outlandish plot elicited more eye-rolls than laughter from me. Expanding on an SNL sketch is challenging because sometimes humor works best in an abbreviated timeframe and doesn't translate well to pad out a feature-length film. In that sense, Wayne's World is a comedic time capsule. It may have been considered hilarious when released, but it hardly holds up almost 30 years later. It's so obnoxious that it's almost amusing, but not quite. 

Film Assessment: C+

The Little Things - Watched January 30, 2021 (HBO Max)

Synopsis: Two cops track down a serial killer.

Runtime: 127 minutes

MPAA Rating: R (for violent/disturbing images, language, and full nudity)

Who should see it? Adult fans of crime thrillers and Denzel Washington.

John Lee Hancock's The Little Things has lingered around Hollywood for nearly 30 years. Clint Eastwood, Danny De Vito, and even Steven Spielberg were each attached to direct at separate points, but alas, Hancock wound up helming his own screenplay. With the hindsight of watching The Little Things, it makes sense why each of those high profile directors would have chosen to walk away. Though The Little Things was written before Se7en, the number of similarities between the two is astonishing, especially considering a little over 25 years to revise the script. The difference being that Se7en makes for an enthralling viewing experience, whereas The Little Things is a tedious watch with little payoff. The film's pacing and structure were puzzling, as the story calls for a slower tempo, but Hancock repeatedly jolted ahead to the next scene before earning your interest. Circling back to the script, there was so much uninspired police jargon and unnatural human interactions that you'd think the dialogue was generated by artificial intelligence that'd been shown several police procedurals. Despite being headlined by three Oscar winners, the performances hardly register. Denzel Washington naturally possesses an intense gravitas, and that stoicism is here in spades. Still, Joe Deacon barely has any personality otherwise. Meanwhile, Rami Malek persists in having an awkward screen presence in what should be a serious role. Playing the prime suspect Albert Sparma, Jared Leto's a certified creep, so brilliant casting, I guess? In the end, it's the little things, like the lack of enticing mystery and intrigue, that hindered The Little Things from delivering a compelling narrative and made the proceedings that much duller. 

Film Assessment: C-

'The Equalizer 2' Review

The Equalizer 2 shadows the mysterious and elusive former black ops operative Robert McCall as he goes above and beyond to serve justice on behalf of the powerless and oppressed. When those closest to McCall are put in harms way and matters get personal, McCall sets off on a warpath to find the individuals responsible and make them pay. 

Chronicling the second chapter of McCall's story, director Antoine Fuqua and screenwriter Richard Wenk each reprise their respective duties from The Equalizer. Over the span of Washington's forty-one year acting career, he's yet to play the same part twice... Till now. Believe it or not, but The Equalizer 2 is actually the first sequel for both Fuqua and celebrated actor Denzel Washington in addition to being their fourth collaboration together. Once you've taken that information in consideration, it's easy to imagine that Fuqua and Washington are very selective about their projects. They are both respected names in Hollywood after all... Therefore, it would seem reasonable that they each saw potential in Wenk's script that compelled them to return. Because why else would you go down the sequel route?...

Well, after seeing The Equalizer 2, I think their reasoning was much simpler... A nice paycheck seems to have been the primary incentive for this series continuation which is jam-packed with problems. First and foremost, the sequel centers around an unfocused narrative that's bogged down by a plethora of plot lines, lots of location hopping, an abundance of action clichés, and the blandest baddies I've seen in awhile. The plot also unravels at a plodding, methodical pace so large stretches of the film are unbelievable boring. There are certainly spurts of action here and there, but none of the activity is interesting enough to leave much of an impression. The action is not particularly well-shot or edited either, which made the fight choreography difficult to follow and left me with a headache as opposed to a grin. 

There's also a persisting question as to why the characters behave the way they do. The climactic action set-piece takes place during a full blown hurricane as the beachfront town's been evacuated, and I wondered who in their right mind would willingly follow someone into such a storm. Of course, the antagonists do so with the typical "tying up loose ends" motivation, but I didn't quite buy that as a compelling enough reason... Additionally, the storm made for such a drab background that it was very tiring to watch, and the occasional poor green-screen work didn't help matters. 

Furthermore, Robert McCall is a Lyft driver this time around. This functions as a plot device for McCall to interact with members of the surrounding community and as the shameless product placement you're suspecting it to be. There's even a bit about a five star rating that simultaneously warrants a chuckle and an eye-roll, in that exact order. It just felt odd to watch this second installment bend over backwards to prominently showcase the Lyft logo when it previously employed McCall at a knock-off Home Depot. The first film avoided the idea of intentional product placement altogether, but the sequel succumbs to shamelessly promoting actual companies far too quickly and far too easily. 

An element that The Equalizer 2 does carry over from its predecessor is McCall being a proactive member of his community. Of course, it would be tremendously difficult to abandon this idea since it's the very essence of the character, but stranger things have happened. Anyways, this becomes somewhat problematic whenever these threads interfere with the overarching plot. There are certainly some occasional heartwarming beats, but these are few and far between in this bloated sequel. They often feel like unnecessary detours and don't quite work in execution. The first film did a much better job integrating McCall's mentorship into the ongoing story because it tied into everything else. 

Surely, Denzel made a difference though, right? Well, yes and no... Denzel Washington doesn't really ever turn in a poor portrayal, but I'd consider this to be one of his most average performances yet. Washington has a natural charm and gravitas that instantly elevates any material he's given, so so he's convincing as both a cold-blooded killer and an astute mentor. It's the script that really lets him down because his character doesn't really experience any growth and Washington rarely gets an opportunity to showcase his ability or range. Acting alongside him, Ashton Sanders does a fine job as troubled teenage Miles Whittaker. Washington and Sanders have a solid rapport with one another so the surrogate father/son relationship is especially convincing, but the subplot itself is uninteresting and uneventful.

In the supporting ranks, recognizable actors such as Pedro Pascal, Melissa Leo, and Bill Pullman are totally wasted. Pascal has very little screentime or personality, which cripples his character almost entirely. If you've seen the trailers, you might know what happens to Leo, and then Pullman's completely forgotten about at the end. 

In an effort to achieve true balance within the franchise, The Equalizer 2 is as equally mundane as the first film was entertaining. In other words, you can expect this action-thriller to be a tedious use of two hours.

Film Assessment: C-

Throwback Thursday Review: 'The Equalizer'

Since there were two major sequel releases this past weekend, I decided to share two Throwback Thursday Reviews coinciding with both films. I'm a little late on this one due to the hub-bub of San Diego Comic Con, but I've already published my reviews of Mamma Mia! and Mamma Mia! Here We Go Again and you can expect my review of The Equalizer 2 soon. This week, I aim to review Teen Titans Go! To The Movies and complete my Mission: Impossible series of reviews with reviews for Mission: Impossible - Ghost Protocol, Mission: Impossible - Rogue Nation, and the upcoming Mission: Impossible - Fallout. Additionally, I will be likely be sharing my thoughts on You Were Never Really Here and Love, Simon sometime before my post disclosing my best and worst films of the year so far. I've also decided to push that post back one last time to give my other reviews some breathing room.

'The Equalizer' Review

The Equalizer trails Robert McCall, a man who's put his mysterious past behind him and dedicated himself to starting a quiet life. But when McCall meets a young girl who has been exploited and manhandled by violent Russian mobsters, he comes out of self-imposed retirement and hones his particular skillset to fight for the helpless.

Based on an '80s television series, The Equalizer was written by Richard Wenk and directed by Antoine Fuqua. While Fuqua's direction is slick and stylish, this vigilante thriller is firmly grounded in reality and McCall's humanity as well. If it weren't for his exceptional skillset, McCall would be no different from the "Average Joe," and this is communicated quite well as the hum-drum of his ordinary life unfolds at the start. He makes do working at a Home Mart, motivating those closest to him, and reading through each book on the list of 100 books everyone should read. He really does seem like a normal guy till everything goes south. It's a slow burn to get to the real action, but the wait is worth it because of everything it does to develop McCall and instill an understanding of his surrounding community.

Although the jump-cut edits are excessive at times and it's therefore more difficult to follow the fight choreography, the action in and of itself is gritty, gruesome, and particularly enjoyable to watch. The jump-cuts were probably done to mask Denzel and his stunt double, but they also detract from the flow of the sequence and are quite jarring. In that regard, The Equalizer is hardly different from any other run-of-the-mill action flicks to be released in the last ten years. 

What sets The Equalizer apart from today's action-thriller landscape is having an actor of Denzel Washington's caliber front and center. While hardly his best work, Washington brings a calm, stoic demeanor to McCall that contrasts wonderfully with the brutality on display. Washington also pairs nicely with whoever he's sharing the screen with, whether it be Chöe Grace Moretz, Johnny Skourtis, Melissa Leo, Bill Pullman. Haley Bennett, or David Harbour. 

Opposite Denzel, Marston Csokas relishes in the villainy of playing a Russian mobster. While certainly not a ground-breaking portrayal or even a well-rounded role from a writing perspective, Csokas elevates his material tremendously and makes for a menacing antagonist despite his nonthreatening name of Teddy.

All things being equal, The Equalizer balances the scales as an entertaining action-thriller that's well-worth a watch. It may not be a genre game-changer, but it wasn't ever trying to be, and that's well within reason. 

Film Assessment: B-

'Fences' Review

Nominated For: Best Picture, Best Actor; Denzel Washington, Best Supporting Actress; Viola Davis, and Best Adapted Screenplay.
Won: Best Supporting Actress; Viola Davis.

Fences is the film adaptation of August Wilson's Pulitzer Prize-winning play chronicling 53 year old garbage man Troy Maxson and his complicated home-life. I won't dive into further detail in regards to the plot because it's best to watch the film as fresh as possible, and I have yet to see the stage show so I had a clean slate and felt it improved the experience.

Denzel Washington stars and directs certainly proving this material could make the leap from stage to screen but I will say the general structure of the plot, long scenes of dialogue (occasionally monologues), and lack of sets and a genuine musical score make the proceedings feel very theatrical and not quite cinematic, it was apparent this was adapted from a stage play and that sometime the transition doesn't work as well as intended.

Washington does however wisely puts focus on the tremendous acting on display and the rich character drama occurring in the simple narrative. Fences features Viola Davis and Washington front and center as both had previously appeared in the 2010 stage play revival earning Tony's for their incredible performances. It's no wonder that they continue to give it their all considering they're both quite familiar with their respective roles.

Denzel Washington is probably one of the most likable actors working in Hollywood today yet he manages to channel all the characteristics of a raw, hardened, and broken man. Washington's Troy is a complex protagonist but one I doubt you will leave the theater liking, to put it simply he's a jerk. Maxson's actions push those closest to him far away yet these characters are practically bound to him since they're family and seeing the heated interactions between husband/wife and father/son really help drive the narrative forward.

It's odd but telling of August Wilson's screenplay that the words between these characters have such a huge impact on the story and oddly it's the actions we don't see but instead hear about that speak louder than words, bringing the well known idiom to fruition and another piece of evidence that the source material was meant for the stage.

Viola Davis makes great use of every moment of screen-time as Troy's wife Rose, showcasing an immense emotional range from nuanced irritation to an outright emotional breakdown that will draw sympathy from even the hardest heart in the audience. Other strong supporting performances that don't shrink at the outstanding work from their formidable costars include Stephen Henderson as Troy's happy-go lucky pal Mr. Bono, Jovan Adepo playing Troy's determined son Cory, Russell Hornsby portraying Troy's other son Lyons who wants to make a name for himself as a musician, and Mykelti Williamson as Troy's damaged brother Gabe.

In conclusion, Fences is worth seeing for it's passionate performances but I doubt I will revisit it anytime soon. Fences works best as a performance piece but outside of that doesn't offer much else as the film begins to wear on the viewer in the third act epilogue. Maybe an intermission would have helped.

Film Assessment: B

'The Magnificent Seven' (2016) Review

This 2016 take on The Magnificent Seven is a remake of The Magnificent Seven (1960), which is actually a remake of Seven Samurai in a western setting, and tells a familiar story of seven gunslingers tasked with defending an Old Western town from a gold digger and his army of cutthroat henchmen.

Antoine Fuqua steps up to the task of telling the story one more time as director and I feel Fuqua maintained a nice balance between paying homage to crucial moments from the 1960's adaptation and daring to modernize the film with a more representative diverse cast and blockbuster style action. Fuqua and his cinematographer Mauro Fiore frame some gorgeous shots of the devoid western landscape against the harsh sun that evoked classic western imagery.

The visual effects, stunt crew, and production design team all collaborated to set up some truly awesome and memorable action set pieces that will no doubt give you something to smile about. My one nitpick with these sequences is very minuscule in that these gun men can't seem to miss a single shot. They shoot, reload, shoot, and so on never failing to miss their mark, it's something that's evocative of most modern blockbusters, but in this case seemed a little too unrealistic. Where The Magnificent Seven falls a tad short of the 1960's version is in it's script.

The screenplay devised by Richard Wenk and Nic Pizzolatto does a great job of making the seven more unique likable characters, fleshing out their backstory, and interjecting some undercurrent symbolic Christ allegories to make the proceedings more interesting but some dialogue comes across as forced humor. I really must commend them on their creative character names because they all perfectly encompass the grit of the Old West. The duo keep a lot of their writing at surface level never quite fully exploring the bountiful areas to explore that a Western provides.

The Magnificent Seven also features the final compositions from James Horner, a brilliant film composer who only recently died in a plane crash. While Horner didn't get to complete the scoring, his longtime friend and collaborator Simon Franglen helped ensure Horner's works made it into the final cut and with the help of his music department  who finished out the score to be as James Horner-esque as possible. In addition, the music team don't ignore the Elmer Bernstein's classic themes, incorporating them into the film's final moments. The end result though was truly exceptional and brought to mind everything that should accompany a classic western; solemn tragedy, high riding adventure, and bristling energy.

The incredible cast assembled inject even more fun to the proceedings as it's clear the chemistry on set was genuine and that these actors were genuinely having a great time. Denzel Washington, Chris Pratt, Vincent D'Onofrio, Ethan Hawke, Byung-Hun Lee, Manuel Garcia-Rulfo, and Martin Sensmeir make up the seven and though some cast members were more developed than others, everyone has their moment in the limelight.

Haley Bennett was a surprising standout playing a capable female character in Emma Cullen, a step up from her damsel-in-distress role earlier this year in Hardcore Henry. 

Peter Sarsgaard plays the greedy gold digger Bartholomew and comes across as the typical villain that wants to profit off others' misfortunes by stealing land to mine for gold. I feel it's worth noting that I saw The Magnificent Seven in IMAX and felt the enhanced sound and immense screen size made the viewing experience all the better so if you're willing to pay for the premium viewing experience you will get your money's worth.

While The Magnificent Seven doesn't venture out of the traditional Western sandbox, it succeeds on being a fun shoot 'em up that's definitely worth a watch. The Magnificent Seven is exactly what it's marketed to be, a wildly entertaining popcorn western with strong direction, a terrific cast having the time of their lives, and a legendary film composer's final rousing score.

Film Assessment: B+