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-

'Fast & Furious Presents: Hobbs & Shaw' Review

Synopsis: Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.

Runtime: 135 minutes

MPAA Rating: PG-13 (for prolonged sequences of action and violence, suggestive material, and some strong language)

Who should see it? Fans of Dwayne "The Rock" Johnson, Jason Statham, and the Fast & Furious franchise.

Branching off from the central Fast & Furious series, Fast & Furious Presents: Hobbs & Shaw is the franchise's first spin-off. As each Fast & Furious entry drove further away from the series' starting point of street racing and small-time heists, real-world physics were chucked out the window. To no-one's surprise, Hobbs & Shaw continues that trend of escalated absurdity. If you bother scrutinizing the logic of Hobbs & Shaw, you will be miserable for two hours and fifteen minutes. To best enjoy this ride, you should suspend disbelief and mindlessly munch on popcorn.

Considering I haven't been impressed by recent projects involving "The Rock" and Statham, I approached Hobbs & Shaw with appropriate skepticism. The only Fast & Furious films I've really appreciated are the fifth, sixth, and seventh installments. I felt the franchise finally found its stride with Fast Five but grew concerned the franchise ran out of fuel when I didn't take to The Fate of the Furious. Directed by David Leitch and featuring a screenplay from Chris Morgan and Drew Pearce, Hobbs & Shaw rides the thin line between overbearing and entertaining. Surprisingly, this bombastic summer blockbuster won me over with the charm of its cast, technical merits, and outlandish high octane action.

Leitch's extensive background as a stunt coordinator and experience helming Atomic Blonde, Deadpool 2, and John Wick serves him well here. Leitch embraces the lunacy of the franchise's physics-defying spectacle, pairing it with the visceral intensity and visual flair frequently found in his filmography. I was occasionally disoriented by the use of quick cuts and shaky cam, but the action sequences are easy to interpret and impressively absurd for the most part. Carrying over from Leitch's previous projects, cinematographer Jonathan Sela lends an attractive aesthetic to the affair with stylish lighting and quality camerawork. I expected the entire movie to look like concrete, so I was delighted to see some stunning shots amidst the ludicrous action. Unfortunately, the film failed to really surprise me otherwise.

Regarding plot, Hobbs & Shaw is about as predictable as it gets. The buddy spy action-comedy plays out like most other flicks of its ilk, and the dialogue is equally ridiculous as the action. In Fast & Furious tradition, Hobbs & Shaw even champions the franchise's principle focus on family. Does it get any deeper than hearing that word spoken out loud from time-to-time? Not particularly, but when has it ever? Hobbs & Shaw is exactly as advertised, an over-the-top action movie with heart and plenty of cheesy one-liners. Exactly what you'd expect from a summer blockbuster.

Dwayne Johnson and Jason Statham reprise their respective roles of Luke Hobbs and Deckard Shaw to headline the first Fast & Furious off-shoot. The baseline charisma and star power associated with Johnson and Statham are probably enough to garner most viewer's interest, and the duo measures up to that presumption. The two actors possess the macho physicality as well as an engaging rapport since their back-and-forth banter is undoubtedly a highlight. They bicker endlessly, and while not every joke lands, those which do are hysterical. The insults, which felt primarily improvised, effectively critique the other's general Hollywood persona without seeming too self-aware.

However, it's Vanessa Kirby, the breakout star of Mission: Impossible - Fallout, who emerges as a scene-stealer. Kirby's Hattie Shaw rounds out the grouping of Johnson and Statham as an intriguing third-party and capable femme fatale. Her fight scenes were particularly impressive, as they were in Fallout, so Kirby is definitely cut out for action. She's reportedly up for the role of Catwoman in Matt Reeve's The Batman, which I'd LOVE to see pan out. 

Elsewhere, Eiza González is prominently featured in the marketing material but merely relegated to a single scene. She's serviceable in the capacity used but didn't really have much opportunity to leave a lasting impression. Other high-profile actors appear in a series of uncredited surprise cameos that are funny, but somewhat distracting. It's also worth noting that there are three comedic post-credit scenes and you may be fortunate enough to see a teaser for Christopher Nolan's next film Tenet beforehand. Don't expect teases towards a sequel or you may be disappointed.

Last but not least, Idris Elba's cybernetic terrorist Brixton was a formidable foe. Elba's screen presence coupled with the character's resilience compensated for the script's shortcoming characterization while providing a worthwhile villain.

Fast & Furious Presents: Hobbs & Shaw puts the pedal to the mettle as a prime example of an entertaining, over-the-top action-comedy. It won't be in contention for any awards, and you'll likely forget what happens soon afterward, but it's an ideal movie to close out the summer moviegoing season. Maybe this series still has gas in the tank after all.

Film Assessment: B-

'Mission: Impossible - Fallout' Review

Mission: Impossible - Fallout accompanies Ethan Hunt and the IMF team as they join forces with CIA assassin August Walker to prevent a disaster of epic proportions. With the fate of the world at stake, the group find themselves in the ultimate race against time as their virtue is tested like never before after a mission gone wrong.

Mission: Impossible - Fallout is the sixth installment in the long-running spy series and also the first film in the franchise to carry the same director. Previously, each addition to the franchise was spearheaded by a different director and they were loosely connected to one another. However, Christopher McQuarrie broke the mold by returning to write and direct Fallout as the first direct sequel in the series after his excellent work on Rogue Nation. Since Tom Cruise is a prominent producer in addition to being the series' lead actor, I believe his close affiliation with Cruise may have helped him stick around, but it's equally likely he was the first director to have been offered and accepted a consecutive gig.

By tightly securing Fallout to the five prior films, McQuarrie is able to explore an interesting idea that Hunt's noblest intentions could be coupled with unforeseen consequences. The choices from Ethan's past resurface to haunt him, so the question is posed whether Hunt should compromise his morality for the sake of completing a mission more efficiently. It's a fascinating way to deconstruct the tortured psychology of one of America's greatest action heroes because Hunt is pushed to his limits here. Compounding with whatever his current dilemma may be, a new problem arises and the situation suddenly intensifies. This builds and builds over two and a half hours, amounting to one of the most intense, unrelenting experiences I've ever had in a cinema. The stakes escalate and escalate as the situation becomes more and more dire. Believe it or not, but this is the first time that the mission's actually felt impossible.

I sat through the entire credits, am currently walking out to my car, and STILL have goosebumps and am trying to catch my breath...

— David Weiser (@weiser_david) July 27, 2018

As a brief aside, here's a tweet of mine from Thursday night where I described my immediate reaction to the film as best I could. Given my initial impression and the immense hype surrounding this spy sequel, I knew I needed to see the film a second time to confirm my suspicions before I said anything that could be perceived as being too reactionary.

With that being said, there's absolutely no doubt in my mind that Mission: Impossible - Fallout is one of the greatest action films I've ever seen in the cinema. Believe the hype folks because this is an exhilarating, non-stop adrenaline rush that truly warrants comparisons to The Dark Knight and Mad Max: Fury Road. It's that good...

McQuarrie and his crew quite literally take the franchise to astonishing new heights as Cruise became the first actor to perform a HALO Jump from 25,000 feet in the air. The gear he's wearing apparently didn't even exist prior to filming because this feat is so unprecedented and requires extensive training... But Cruise is an absolute mad man, and I respect the hell out of his commitment to performing these insane stunts for our amusement. 

Aside from pulling off that baffling stunt, you're probably curious if the action in one of the most consistently entertaining action franchises measured up to everything that had come before. Well, the action, plot, and character all work in tandem to deliver the edge of your seat suspense audiences have come to expect from the series. The technical precision across the board is phenomenal to such a degree that I believe it is well within reason that Fallout could rightfully become the first Mission: Impossible film to be recognized by the Academy in some capacity, whether it simply be an honorary stunt award or a slew of technical nominations. The editing is seamless, Rob Hardy's cinematography is stunning, full of grandiose, sweeping shots that are a wonder to behold, and surely will be talked about for years to come, and Lorne Balfe's swelling score is an unrelenting accompaniment that intensifies the proceedings tenfold.

The action itself includes a bare-knuckled hand-to-hand confrontation in a bathroom, numerous chases through Paris by foot, motorcycle, and car, and an invigorating helicopter sequence. Every sequence packs a visceral punch as not only some of the best work in the franchise, but some of the best-executed action I've ever witnessed. Oh, and by the way, that image above showcases Cruise jumping between buildings and he broke his ankle mere moments later. But it doesn't stop there... Cruise broke his ankle, got up, and kept going. That's the take they used in the finished film.

Like the last three installments, Fallout is an ensemble effort and everyone brings their A-game once more. Pushing the age of 56, Cruise never ceases to amaze, and I believe he's cemented his status as an all-time great movie star unlike any other. Reprising their respective roles from Rogue Nation are Rebecca Ferguson, Simon Pegg, Ving Rhames, Alec Baldwin, and Sean Harris who each do excellent work. Ferguson is particularly kick-ass in her moments of action, Pegg is much more involved in the actual mission this time around, Rhames fulfills his duties as a loyal friend and crucial part of the team, Baldwin earns his appointment as the newly minted IMF director, and Harris relishes in Solomon Lane's soft-spoken villainy. Lastly, Michelle Monaghan makes her return as Julia and that brings an unexpectedly strong emotional component to the proceedings. Jeremy Renner was noticeably absent, but that was on account of prior obligations to filming Avengers: Endgame. However, that did enable some satisfying substitutions...

Additions to the cast include Henry Cavill, Angela Bassett, and Vanessa Kirby who are all quite impressionable. Bassett is a fitting head of CIA and Kirby makes for an intriguing femme fatale as the enigmatic White Widow. It is Cavill's August Walker who stole the show in my book though. It should come as no surprise that the Man of Steel would project a formidable physical presence, but Cavill exhibits the acting chops to back it up. It was also very fascinating to observe the layers in Cavill's performance on a second viewing. I'd love to see him bring that intensity to Superman. 

One does not simply discuss Cavill's role without touching on the infamous Mustachegate though... For those who aren't aware, Cruise's on-set injury delayed Fallout's production while Justice League underwent reshoots. Warner Bros. either could shave the stache and foot the bill to digitally add it in Fallout or digitally remove it themselves... Paramount refused to allow Cavill to shave the stache, so Warner Bros. was forced into the latter option. That then resulted in the most unnatural human mouth ever seen which has become a huge talking point among fans. I'm not entirely sure that the mustache was necessary to the extent of derailing Justice League, but it looked really cool so who could possibly complain? Aside from that, enjoy this gif of Henry Cavill reloading his fists because it's awesome!

In actuality, Mission: Impossible - Fallout is a fitting title because I believe it’s impossible for me to have a falling out with this franchise considering each successive entry has been progressively better than the last. Mission: Impossible - Fallout is not only the best film in the franchise or the best I've seen this summer... I legitimately believe it to be the best action film I've ever seen and I have no idea how M:I 7 could conceivably top this, but I'd love to see them try at the very least. Your mission, should you choose to accept it, is to stop whatever you're currently doing and see Mission: Impossible - Fallout on the biggest screen near you as soon as you possibly can!

Film Assessment: A+