'Professor Marston and the Wonder Women' Review

[This review was originally written in October 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

Professor Marston and the Wonder Women tells the true story of the coupled psychologists William Moulton Marston and Elizabeth Marston as they become involved in an unconventional romance with their instructional assistant Olive Byrne. The film then tells how the polygamous relationship inspired the creation of the one of the most iconic female comic book characters ever created, Wonder Woman, and the forgotten controversies surrounding her existence.

Wonder Woman had a big year in 2017 as it marked her 76th anniversary and the release of her first feature film that blew the lid off the box office and garnered nearly unanimous praise from critics, Wonder Woman. It seems like the release of a film outlining the story behind her inception couldn't have possibly come at a better time. I'll admit the scoop on Wonder Woman's creation was the drastic draw for myself, as I'm sure it will be for most people who watch the film, but viewers approaching Professor Marston and the Wonder Women should be cautious of the fact that the film is more about the circumstance surrounding the creator than the creation of the comic itself.

Written and directed by Angela Robinson, Professor Marston and the Wonder Women centers on an unordinary romance, but refuses to treat it as such. I think that for the purposes of this film, it makes sense for Robinson to avoid ostracizing the trio because the character's predicament is normal from their own point-of-view. While this sort of relationship would still be deemed peculiar today, it was firmly frowned upon then. Despite not agreeing with the concept of polygamy myself, I can't deny that the film's exploration of it was fascinating.

Luke Evans, Rebecca Hall, and Bella Heathcote each are able authenticate the idea three different people could love each other equally. You buy into their love because they do too. While Evans' portrayal of William Moulton Marston is quite charming, Heathcote and Hall are the ones who run away with the movie. Heathcote imbues Olive with both shyness and strength so that it's understandable how multiple people could be easily infatuated with her. Hall, on the other hand, is afforded an opportunity to express some exceptional acting chops as Elizabeth, and she delivers.

One thing that can't be ignored anytime a film's "based on a true story" is just how accurate the adaptation is contrasted to the real events. Usually it's difficult to tell, but it's always a fair assumption that certain moments were dramatized for the purposes of invigorating the story. Well, it turns out that's the case here as Professor Marston and the Wonder Women's accuracy has fallen under question by William Marston's granddaughter and other family members. Apparently, the family wasn't consulted in the making of the film, a conscious choice on Robinson's behalf so she could explore the story through her own eyes. That decision just seems incredibly odd to me, because you think there'd be a lot of insight to gain from involving the family along the way. Plus, it'd spare you the trouble of hearing any of the family member's outcries against the film later on.

Professor Marston and the Wonder Women works well for what it is (even if that means it's a conventional bio-pic), but the film isn't quite as bulletproof as Wonder Woman's bracelets. The first two acts steam full speed ahead with the romance angle, but everything derails in the uneven third act. Once the film gets to the comic book's origin, the pacing gets all out of whack as some segments feel rushed and others are unnecessarily drawn out. The runtime itself is approximately an hour and forty-eight minutes, but it admittedly felt much longer than that because of superfluous material. One other thing that bothered me was how the actors didn't appear to age at all in the twelve years presented by the film. I understand aging makeup is tricky and all, but it's like as if no one even bothered. 

Professor Marston and the Wonder Women is certainly an interesting watch, in-spite of its unsure accuracy, but my greatest takeaway from Professor Marston and the Wonder Women was the realization that Wonder Woman has long since evolved past Marston's conceived notions to become a more fitting feminist icon for today. 

Film Assessment: B-

'Beauty and the Beast' (2017) Review

Nominated For: Best Costume Design and Best Production Design.

Beauty and the Beast is the latest live-action retelling of one of Disney's classic animated films, joining the ranks of remakes abound from the studio. Before seeing this I had no idea what to expect considering Disney's live-action remakes have been hit or miss for me. I loved The Jungle Book (2016), was satisfied with Cinderella (2015) and Pete's Dragon (2016), found myself disappointed by Maleficent, and absolutely hated Alice in Wonderland (2010). The very idea of remaking what is regarded to arguably be one of Disney's greatest films is daunting and hats off to director Bill Condon for putting forth an admirable effort. 

Screenwriters Stephen Chbosky and Evan Spiliotopoulos make a number of tweaks to the 1991 animation that I wasn't quite expecting. A majority of these changes are incorporated to fill plot holes or simply modernize the tale as old as time, serving as a dual edged sword in return. On one hand, the characters are rewarded richer backstories and slight modifications made the romance between Belle and Beast feel more organic as opposed to good ol' fashioned Stockholm Syndrome. On the flip side, the extra exposition stretches out the story leading to uneven pacing that permitted some scenes to drag their feet across the floor. 

One change in particular that has been met with ample controversy was the decision to portray this version of LeFou as the first openly gay Disney character and the description of an "exclusively gay moment" appearing in the film's finale. While those two statements are accurate, the controversy surrounding them is simply unjustified. The characterization is subtle and the moment referred to is a blink-and-you'll-miss-it occurrence that's not quite worth boycotting the film over in my opinion (I'd compare it to how Sulu was treated in Star Trek Beyond). If anything, this change actually improves the character; granting LeFou a more fulfilling character arc than his stint as the dopey sidekick in the animated incarnation. Even though I thought the change was unnecessary when I walked in, I can see why the alteration was made and can agree it enhanced that aspect of the story in a way I didn't expect. 

I was pleasantly surprised not to watch a beat-for-beat retread but fear not Disney purists because all the iconic imagery, sensational songs, and classic moments maintain their luster. Alan Menken returns to his scoring duties, composing a few additional songs in addition to updating his pre-existing tunes. On that note, if you try to sing along you may find it a little difficult because the lyric annunciation and syncopated rhythms differ from what you're used to (You'll probably adjust once you hear the updated soundtrack a few times). Grand musical numbers "Gaston" and "Be Our Guest" are still showstoppers while the new renditions of "Belle", "Something There", and "Beauty and the Beast" are equally enchanting as the original versions. Though the new songs were mostly mediocre, I found  "Evermore" to be a brilliant baritone ballad for Dan Stevens (the Beast). 

Across the board I was quite impressed by the cast's universal musical abilities. Luke Evans and Ewan McGregor stood out in particular as they were the two I was most concerned about but were the two who nearly stole the show. I was also worried about the visual effects depicting the inhabitants of Beast's castle and Ewan McGregor's french accent as Lumière judging from the trailers but turns out my anxieties were ill-conceived. 

The production design team behind Beauty and the Beast piece together a practical lavish set, breathtakingly gorgeous costumery evocative of the clothing worn by the animated characters, and exceptional visual effects that blend seamlessly with the surrounding world. The design of the household servants projects the guise of antique medieval home decor, allowing for more believable anthropomorphized objects in contrast to the cartoonish look evidenced by the animation. 

The Beast is probably the best live-action translation possible in terms of appearance but the entire time you can tell he's a byproduct of CG-animation so he's not quite perfect (but it's really close). Elsewhere, the casting is about perfect across the board and I was shocked to see they each offered something new rather than emulating what's come before. 

Emma Watson puts her own spin on Belle, striking a nice balance of gentleness, beauty, and intellect that allows this version of Belle to come across as a capable heroine who's definitely an ideal role model for young girls everywhere. Dan Stevens impressed me quite a bit as he captured the anguish, torture, and inner humanity of the Beast through his motion-capture portrayal (assisted by the vfx department of course). 

Luke Evans offers an ambitious take on Gaston and I have to say he succeeds in spades while Josh Gad injects a new dimension to LeFou (that I spoke of earlier) in addition to serving as a nice dose of comedic relief. Evans and Gad's pairing as Gaston and LeFou stood high and mighty as one of the film's highlights. Evans expertly apprehends the pompous, narcissistic over-the-top demeanor whilst avoiding the appearance of a stale one-dimensional antagonist. 

As for the antique appliances, Ewan McGregor, Ian McKellen, Emma Thompson, and Nathan Mack each portray the bravado, restraint, motherly instinct and childlike wonder of Lumière, Cogsworth, Mrs. Potts, and Chip's respective personalities. I felt McGregor nailed the french accent but Thompson came off as yearning too much for Angela Lansbury's voice on occasion leading to some inconsistent dialogue delivery. Fun fact: McGregor went back and rerecorded his dialogue because he wasn't satisfied with his first go-around. The remaining ensemble is composed of Kevin Kline, Stanley Tucci, Gugu Mbatha-Raw, and Audra McDonald filling the roles of Maurice, Maestro Cadenza, Plumette, and Madame Garderobe who each muster serviceable roles in the story. 

All in all, Beauty and the Beast is a glamorous reiteration of the 1991 animated classic that boasts an impressive ensemble, illustrious effects, and secure direction. My screening was in IMAX 3D so I'd recommend seeing this on the biggest screen possible considering the massive screen and refined sound amplified the experience of the grand musical numbers. In conclusion, Beauty and the Beast (2017) may not stand toe-to-toe with Beauty and the Beast (1991), because the original's nearly perfect, but it offers enough pleasantries to more than justify the price of admission. 

Film Assessment: A-

'The Girl on the Train' Review

The Girl on the Train is the latest suspenseful novel to be adapted to the silver screen and tells of Rachel, a girl who takes a daily commute on a train and peers into the passing communities crafting her own picturesque fantasies of the passerby's lives. A series of tangled events unfold and suddenly Rachel finds herself amidst a missing persons case that oddly involves many of those she's glimpsed upon in the train. 

I'm being purposely vague considering The Girl on the Train's reliance and heavy abundance of twists and turns. The Girl on the Train was deemed by many before it's release to be this year's Gone Girl and after seeing it I can confirm there are some thematic parallels, similar plot points, and both have their fair share of shocking plot twists. Otherwise, they're vastly different films/novels with scarce similarities. 

Tate Taylor directs the dramatic thriller and with cinematographer Charlotte Bruus Christensen frames some compelling visuals of the intricate events with a more muted color palette added in post production. Taylor successfully invokes suspense, but in some of the film's more bizarre moments fails to portray the actors in a sincere demeanor. Danny Elfman synth-driven compositions are an appropriate accompaniment to the melodrama and leave a lasting effect of anxiety throughout. I was shocked to learn the film's score was from Dany Elfman because typically his scores are more extraordinary while this orchestration consisted of fairly good run-of-the mill compositions. 

The screenplay penned by Erin Cressida Wilson adapting Paula Hawkins' novel manages to put the audience on the edge of their seat, but find itself muddled in non-chronological storytelling. The script occasionally flashes back to provide glimpses of the characters' background and the flashbacks are evident but the return to the present day was inconspicuous. The plot twists found in the screenplay range from predictable to surprising, but most typically the latter. The first act makes the lead female characters quite unsympathetic by painting them in a negative light, making the characters feel cold and distant, and it's only in the second act that the characters are redeemed. 

With name talent in the three lead female roles I was psyched to see what these actresses would have to offer consider how impressed I've been with much of their recent work where they each had scene stealing turns (i.e. Rebecca Ferguson in Mission: Impossible - Rogue Nation, Hayley Bennet in The Magnificent Seven (2016), and Emily Blunt in a great number of things including Sicario, Live. Die. Repeat., and Into The Woods). 

However, it turned out that Emily Blunt was the only one to make any impression here. Blunt handles the unreliable characterization of Rachel exceptionally well. Blunt perfectly embodies an emotionally vulnerable, fractured alcoholic and showcases a wide acting range that I feel would be worthy of an Oscar nomination if the Best Actress race weren't so crowded this year. 

Hayley Bennet plays Megan as over-sexualized in surprisingly specific strokes that the role calls for and Rebecca Ferguson's Anna is a thinly sketched concerned wife and mother. Both are fine in the capacity used but neither actress lived up to their true potential in my eyes when their previous performances are taken into consideration but I feel that it's either a result of the lacking source material or poor direction. The other supporting performances are hardly worth mentioning, for either lack of effort or minimal screen time, but include Justin Theroux, Luke Evans, Édgar Ramírez, and Allison Janey. 

In summary, The Girl on the Train is filled with bland performances, mediocre direction, and it's all headed by a messy screenplay. The Girl on the Train's saving graces are an outstanding performance from Emily Blunt, a Danny Elfman score, and some unforeseen plot twists but it's not quite enough for me to recommend you see in theaters, if you're truly interested check it out with the home media release.

Film Assessment: C+