Amidst a controversy surrounding one of its cast members, Shane Black’s reboot of The Predator does not fail to deliver. That is, as long as you expect a mindlessly violent creature film containing dull characters and jumbled plotlines. The action scenes are executed reasonably well and the comedy is utilized in clever ways, but, unfortunately, there is nothing offered here that truly revitalizes this beloved sci-fi franchise.
This film follows the lethal alien hunter known as the Predator who crash-lands on Earth after being the prey of another, mysterious extraterrestrial. Quinn McKenna (Boyd Holbrook) is an elite military sniper who encounters the Predator in the jungles of Mexico while on a mission and is sent to a mental health hospital back in the U.S. for treatment. After Quinn’s son Rory (Jacob Tremblay) discovers some of the Predator’s gear, he accidentally triggers the intergalactic war between alien and humankind.
The vast cast of characters that appear throughout this film is its most entertaining aspect, but also its worst flaw. Will Traeger (Sterling K. Brown) and Casey Bracket (Olivia Munn) are among the best characters in the story. Brown plays a stern but eccentric CIA agent who is at odds with McKenna in terms of locating and killing the Predator. He is fantastic in this role and brings a lot of much-needed enthusiasm. Munn’s character is a biological researcher who is taken in to aid in the hunt for the famed alien. She portrays this strong-willed scientist with incredible energy but unfortunately, her character is overshadowed by the male characters the majority of the film. Shane Black and Fred Dekker’s writing on this movie did not do Munn’s character her due justice in the slightest. Bracket is developed to be an extremely valuable asset in the group of characters, but the constant ridicule about her being a female and weaker than the rest was unnecessary. As the only prominent female character in the film, her treatment was not appreciated.
In addition to the decent characters, the humor in the film is handled very well and provides a lot more comedic scenes than expected. Most of the laughs stem from the group of “loonies” that McKenna is assigned with. Nebraska Williams (Trevante Rhodes), Coyle (Keegan-Michael Key), Baxley (Thomas Jane), Lynch (Alfie Allen), and Nettles (Augusto Aguilera) provide some of the funniest characters that bring light to the darkest and most violent scenes.
The overlying issue with this massive group of characters is that all of their stories are not balanced well enough. All of the subplots are aimed towards finding the Predator and putting its destruction to an end, but the motivations behind the different groups become blurry. The conflicts between McKenna’s family, the CIA, Bracket, and otherworldly forces did not reach a common point. This entanglement of subplots becomes too complicated to follow which begged the question of who was actually the predator and who was the prey? This film would have been much more engaging if there were fewer people to focus on and richer, more interesting stories between the protagonists and antagonists.
Unlike the lack of character development, there is plenty of exaggerated action. The majority of it appeared quite ridiculous and was not purposeful at all. Plenty of gunfire and explosions riddled the adrenaline-fueled scenes, but it became very mindless after the first half. However, as one might expect, it definitely brought back the masculine, 80’s atmosphere. The only enjoyable aspects are the final scene and the use of practical effects. The last fight scene felt more grounded than the rest of the film and might have even been choreographed! A true miracle! Larry Fong, a frequent collaborator of Zack Snyder, and his sharp, detail-oriented, cinematography could have also aided in this. The style of the Predator creatures in the movie is impressive too. Ryan Nicholson and Tom Woodruff Jr.’s practical effects were gorgeous and just like the original film from 1987, make the threatening alien assassin much more realistic.
The Predator is a very forgettable action film, but there is no doubt that Black’s reboot will be adored by fans of the franchise. The references and overall story elements are quite reminiscent of the original films, but because of its confusing plot, this installment simply misses the mark.
‘Aquaman’ review: James Wan manages to deliver a satisfying underwater superhero origin story
Well, it appears that audiences will be forced to find another superhero to make the butt of a joke.
James Wan‘s Aquaman is a spectacular comic book film that proves itself a leap in the right direction for the DC Extended Universe. This incredibly well-crafted underwater adventure creates a spectacular world that truly has no match in visual delight, making it one of the most vibrant and colorful stories in the DC film series yet that demands to be seen in theaters. Flawlessly traversing genres and providing a little bit of something for everyone, Wan has given audiences the perfect comic book experience.
Aquaman is the story of Arthur Curry (Jason Momoa), the half-bred Prince of Atlantis, born to a surface-dwelling lighthouse keeper named Tom (Temuera Morrison) and the queen herself, Atlanna (Nicole Kidman). Arthur is raised knowing about his Atlantean heritage, but not aware that his half-brother Orm (Patrick Wilson) has been declared king in his absence. When Princess Mera (Amber Heard) seeks out Arthur to stop Orm from declaring war on the surface world, Arthur must reluctantly challenge him to claim his rightful throne as the king that the seven seas needs.
The pure passion for a character that was seen in Patty Jenkins’ direction of Wonder Woman in 2017 is similarly seen in how James Wan handled Aquaman. Wan embraces the fact that this fish-talking superhero has been a joke for decades, but instead of taking an unnecessarily dark look at this hero’s origin story, he has boundless fun with its potential. This film is the splash of creativity and liveliness that was desperately needed in the midst of audience’s other favorite heroes going through some rough times after a certain snap of the fingers. Where Wan exceeds most, however, is his ability to take this story in so many different directions without making it appear sloppy. It is quite difficult to place a genre on this movie, as it seamlessly transitions from science-fiction to comedy to horror to romance and everything in between without missing a beat. Throughout the film, Wan seems to take inspiration from his own experience in horror, as well as iconic franchises like Star Wars, Indiana Jones, and Lord of the Rings, just to name a few, while blending them all together beautifully.
Comic book purists will be very satisfied with this film as well, as Wan has certainly done his research on that front. Aquaman is a perfect culmination of the Aquaman mythos that has been constantly built upon since his first appearance in 1941. Paired with an undeniably catchy, synth-pop soundtrack, the balance between this character’s original story and its modernity for the current scene in cinema is fantastic. Since the character of Aquaman was introduced in 2016’s Batman v Superman: Dawn of Justice and brought back for last year’s Justice League, he has evolved to truly make his own film the best entry into this shared universe. There still exists a bit of Zack Snyder’s signature polish in this movie as he is an executive producer, but not much of his directorial influence is seen, which is undoubtedly for the best. Wan was the greatest possible choice to helm this character’s wild solo film in its vividly royal, underwater setting, making for a picture perfect fantasy adventure.
David Leslie Johnson-McGoldrick and Will Beall’s script is the one unfortunate aspect of this film that fails to deliver the same amount of epic quality. This type of story has been told before and much of the dialogue throughout this film was consistently weak. While effective, the majority of this script is full of tropes and one-liners that can venture into painful and cheesy screenwriting territory. The surprising benefit of this, however, is how self-aware the writing is. These two screenwriters knew that they were writing a film about one of the most ridiculed heroes in pop culture history and because of that, the story does not take itself too seriously. This film knows that it doesn’t have to pretend to be something that it’s not and it has no need to try either. Knowing there is nothing to lose means that the writers are simply there to please moviegoers with a purely entertaining story. Despite the generic writing, Momoa, Heard, and the rest of the ensemble have an absolute blast with their characters. Each actor and actress emits passion and energy through their performances and it is obvious that they put so much care and effort into creating something special.
This film is wonderfully done in all of its technical parts as well. The colors and visuals that entranced the world of the undersea kingdoms were simply stunning as visual effects supervisor Kelvin McIlwain has a tremendous eye for not just beauty, but fantasy world-building too. While DC’s previous films have had quite a lack of color and even Marvel films stick to a certain grading, this movie breaks that formula in the most appealing ways possible. The fight choreography, coordinated by Jon Valera, was very exciting and brilliantly utilized the different powers and abilities that the various characters had. These action sequences were also aided by the very fluid cinematography from Don Burgess; his use of wide shots and lots of twisting of the camera created some mesmerizing scenes. Regardless of how much CGI was used throughout this movie, there were also many fantastic shots that aimed to establish the absolutely wild tone of whatever genre Wan was switching to next.
Aquaman is an unapologetically fun thrill ride that is the epitome of a great adventure movie. James Wan holds nothing back in terms of gorgeous visuals and relentless entertainment value and the entire cast and crew make this underrated superhero one of the best fantasy films ever. There’s also a scene where an octopus plays the drums, so make of that what you will.
‘Roma’ review: Alfonso Cuarón’s black-and-white family drama is nothing short of a masterpiece
As someone who has long championed Alfonso Cuarón‘s 2006 dystopian thriller Children of Men as being the best film in the Oscar-winning Mexican filmmaker’s career, I was astonished when I slowly began to realize about halfway through watching Roma, Cuarón’s latest offering, that my opinion about Children of Men was no longer the same.
Roma, Cuarón’s semi-autobiographical black-and-white love letter to his hometown of Mexico City and the women who raised him, is arguably his best work to date for an assortment of different reasons, mostly because it’s a stunning achievement not only in Cuarón’s personal filmography, but rather cinema as a whole.
Set in the early 1970s in the bustling, upper-middle-class neighborhood of Colonia Roma, Cuarón’s most personal project to date follows the day-to-day life of Cleo (played extraordinarily by newcomer Yalitza Aparicio), who is based on Cuarón’s actual real-life nanny, Liboria “Libo” Rodríguez, to whom the film is dedicated to.
Cleo is relatively quiet and mostly keeps to herself as she does chores around the house of the family she works for like picking up laundry, cleaning up dog poop, and making sure all of the bedrooms in the house are tidy. She even puts the children to bed late at night and is there to wake them up bright and early in the morning when it’s time to start getting ready for school.
In her off hours, Cleo enjoys gossiping and reminiscing with Adela (Nancy Garcia), the family’s cook, and going to the local movie theater with Fermin (Jorge Antonio Guerrero), a martial-arts enthusiast with whom Cleo shares somewhat of a distant relationship with—a relationship that will eventually set them even further apart as the film goes on.
It’s somewhat of a shame that not every person will have the pleasure of experiencing Roma, which is currently playing in theaters in select cities before launching globally on Netflix later this month, the same way I did, in a theater, to fully absorb Cuarón’s masterpiece for the remarkable piece of work that is truly is.
Cuarón’s exquisite 65mm black-and-white photography beautifully captures every detail that comes into frame, making excellent use of long takes and wide shots, while Cuarón’s equally impressive editing allows the story to unfold with an incredible amount of patience, yet it does so with efficiency, never letting the film lag for even a second.
There’s also something to be said about Skip Lievsay’s marvelously complex sound design, whether it’s the sound of a splash of water hitting the ground or gunshots ringing out as a student protest turns deadly, and Eugenio Caballero’s meticulous production design, which utilizes sets that are so simple, yet so intricate at the same time.
A film that is packed with an overwhelming amount of beauty, emotion, and intimacy, Roma is a mighty impressive feat on the part of Cuarón and evidently sets forth a new standard when it comes to this type of personal filmmaking. Or perhaps just filmmaking in general.
Roma’s limited theatrical run is currently ongoing in select cities including New York, Los Angeles, and London. Find out if it’s playing in your city here. The film will launch globally on Netflix on December 14.
‘The Favourite’ review: Yorgos Lanthimos’ oddball period piece runs out of steam far too soon
A year after the release of his brutal, absurdist dark family drama The Killing of a Sacred Deer, Greek auteur Yorgos Lanthimos is back again with The Favourite, an unsurprisingly bizarre, rather over-the-top glimpse into the life of England’s least known ruler, Queen Anne, and the lesbian love triangle at the center of her life in the early 18th century.
The story of The Favourite is actually grounded in some fact, if you can believe it, and follows an obese, gout-ridden, emotionally unstable Queen Anne (Olivia Colman) as she struggles to help guide the country of England through its ongoing war with France from inside the confines of her Royal Palace, a place where she spends most of her time holed up in her bedroom.
Oddly enough, though, for some who’s a Queen and ruler of her nation, Anne is deeply insecure and highly susceptible to manipulation, and so she yearns for the love, attention, and guidance of Lady Sarah Churchill (Rachel Weisz), her life-long friend, political advisor, secret lover, and one of few people who know how to keep her in check.
But when Sarah’s younger, mud-covered peasant of a cousin Abigail (Emma Stone) comes around the palace looking for a job, before eventually becoming a royal herself, things begin to take an absolute turn for the worst as the two battle it out for Anne’s love—even if it means lying to and taking advantage of the Queen herself.
While there’s certainly something to be said about Colman, Weisz, and Stone, who are all beyond extraordinary in their respective roles and deliver what are undoubtedly some of the best performances of the year, I couldn’t help but feel somewhat annoyed by some of The Favourite‘s wild antics and extreme nature.
By the middle of the second act, it felt as though the once witty, profanity-laden jokes had grown old, while the story itself had quickly begun to lose the momentum it so excellently was able to keep up during the first half of the film, leading us into a ridiculously abrupt final act, which features an ending that felt more like a cop-out than anything else.
Nonetheless, though, I still very much admire and respect The Favourite‘s commitment to being an oddball period piece. The posh costume and production designs are downright stunning, to say the least, and the soundtrack, which includes classical compositions from the likes of Handel and Bach, fits it all just so well.
Not to mention there’s Irish cinematographer Robbie Ryan’s dark, gritty 35mm photography, which captures every moment in the film in such incredible fashion. Perhaps he utilized the fisheye lenses one too many times for my liking, but the rest of his camerawork is so flawlessly executed that, frankly, it’s an issue I’m willing to let slide.
Despite its handful of flaws, many of which I believe to be more the fault of Lanthimos than it is of screenwriters Deborah Davis and Tony McNamara, The Favourite is still an exceptional piece of work that will most definitely be a favorite (pun 100 percent intended) in the forthcoming awards season thanks in part to its three leading ladies.