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| Courtesy of 20th Century Fox |
(Rated R for strong violence, torture, sexual content, language and some graphic nudity.)
The cast: Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Joley Richardson, Charlotte Rampling and Jeremy Irons.
What it’s about: After Russian ballerina Dominika Egorova (Lawrence) suffers a gruesome, career-killing injury, she and her ailing mother (Richardson) face a bleak and uncertain future. Her uncle (Schoenaerts), a high-ranking government official, recruits her for Sparrow School, a secret program that trains young people to use their bodies and minds as weapons. Dominika emerges as a dangerous asset and is immediately sent to earn the trust of an American CIA agent (Edgerton).
The good: Lawrence reteams with her Hunger Games director Francis Lawrence (no relation) for this twisted spy thriller (based on the novel by former CIA operative Jason Matthews) that’s strangely relevant again, considering our current political climate. It’s more in the vein of John le Carre’s espionage tales (especially Tinker Tailor Solider Spy) than a slam-bang action extravaganza.
Don’t get me wrong – there’s plenty of violence, but it’s not escapist fare. The brawls on display are brutal and ugly, especially a climactic knife fight that – while viciously effective – had me staring at the floor for long stretches of time.
Yet again, Lawrence proves why she’s one of our greatest modern actresses. Her role is a difficult, often thankless one that forces her to go to some dark places and endure sequences of simulated torture. The scenes depicting Dominika’s Sparrow School training couldn’t have been easy to endure psychologically.
That’s particularly true for a shocking sequence requiring her to undress in a room full of extras and attempt to seduce one of her fellow cadets. It’s a moment clearly designed to show Dominika reclaiming power that the Sparrow School is trying to take from her, although I can’t imagine that made it any easier to shoot. Her co-stars deliver solid performances as well (especially Irons, in an extended cameo), but there’s never any doubt this is fundamentally a one-woman show.
The not-so-good: Those expecting the Atomic Blonde-style flick the trailers are selling are in for a shocking surprise. This isn’t “Ha! We made a Black Widow movie before Marvel could.” It’s basically Trigger Warning: The Movie, a bleak, 140-minute meditation on the horrors of sexual assault as patriotism. It’s a fascinating film, if you know what you’re in for; but I’m guessing there are going to be a ton of angry, disappointed viewers this weekend.
Tonally, Red Sparrow is all over the place. It doesn’t know if it wants to be a realistic drama, a political mystery or an erotic thriller that Paul Verhoeven might’ve made back in the 1990s. It also runs out of steam fast at the halfway point, making me wonder who thought it was a good idea to make it nearly two-and-a-half hours long.
Grade: B-
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| Courtesy of Disney |
(Rated G.)
The cast: Barbara Luddy, Larry Roberts, Peggy Lee and Verna Felton.
What it’s about: Disney’s 1955 animated classic tells the story of Lady, a spoiled cocker spaniel, who crosses paths with a mutt known as the Tramp. He’s from the wrong side of the tracks, but sudden unpleasant changes at home make Lady want to spent time with him. Over the course of a few days, he shows her the pleasures of living spontaneously, while she teaches him the value of home and family.
The good: Like most of Disney’s work from this era, the animation is simply beautiful. Modern computer animation might be more sophisticated and lifelike, but there’s just something about the old-school, hand-drawn style. Keep in mind it was also the first completely animated feature released in Cinemascope (a format specifically designed for widescreen), so each part of the frame is packed with loving detail, not just the adorable main characters.
Speaking of which, has there ever been a movie that better captured the studio’s gift for lovable, anthropomorphic creatures? Sure, Bambi’s sweet and Dumbo has those floppy ears. But think back to that iconic scene when the titular characters share a plate of spaghetti and meatballs in the alley of an Italian restaurant. It’s hard to compete with that level of cuteness.
The not-so-good: It’s never wise to hold old movies to our current standards of decorum and cultural sensitivity. However, watching Lady and the Tramp in 2018 (the first time I’d seen it since I was a kid) is a jarring education in 1950s stereotypes.
The “Siamese Cat Song” sequence is downright racist in its depiction of felines with slanted eyes and buck teeth, not to mention Peggy Lee doing a cringeworthy impression of an Asian person speaking in broken English. The Italian waiters aren’t depicted much better, but at least they’re positive figures, the rare human characters who treat animals with love and respect.
Even at a brief 76 minutes, if feels like Lady and the Tramp runs out of story before the movie’s over. I know a lot of viewers hold it up as a beloved masterpiece, but it was never one of my favorites. It’s still sweet and entertaining (mostly), but it doesn’t compare to other Disney films from that era like Cinderella, Peter Pan and Sleeping Beauty. To each his own, I suppose.
Special features: Sing-along version of the film, “Inside Walt’s Story Meetings” (integrated into the film), “Stories from Walt’s Office” featurette, fun facts, deleted scenes and more.
Grade: B
Coco Blu-ray
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| Courtesy of Disney |
The cast: Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt and Alanna Ubach.
What it’s about: Young Miguel (Gonzalez) dreams of becoming a famous guitar player like his hero, Ernesto de la Cruz (Bratt). There’s just one problem: his family has banned music for generations after his great-great grandfather left his family to become a performer. After a series of mishaps causes Miguel to become trapped in the Land of the Dead, he meets a charming schemer named Hector (Bernal) and the two set out to uncover Miguel’s family history and help him get back home.
The good: Pixar continues its long tradition of destroying my emotions with this powerful narrative about the importance of family and remembering your roots. Director Lee Unkrich, a crucial member of the studio’s creative team, maintains his successful track record while (with help from co-director Adrian Molina) branching out to tell stories that mainstream American audiences aren’t used to seeing on the big screen.
In the case of Coco, that means immersing viewers in the world of Mexican culture without resorting to tired clichés or stereotypes. The animation is gorgeous, full of vibrant colors and unique designs. The film’s depiction of alibrejes, spirit animals that assist souls in the afterlife, is also stunning.
The film’s score, once again crafted by longtime Pixar composer Michael Giacchino, is quite strong. Robert Lopez and Kristen Anderson-Lopez, who wrote the instant classic songs for Frozen, work their lyrical magic once again with the poignant “Remember Me.” The tune takes on new, deeper meanings each time it’s performed, which means I was a blubbering mess by the finale.
The not-so-good: Pixar definitely has a template for its films at this point. Chances are you’ll guess the twists in Coco far sooner than the movie wants you to. I picked up on a piece of misdirection and guessed the big reveal about 45 minutes before it happened, but that didn’t mean I was any less invested in the story.
Special features: Commentary track, deleted scenes, “Paths to Pixar” and “The Music of Coco” featurettes, and more.
Grade: A-
The film’s score, once again crafted by longtime Pixar composer Michael Giacchino, is quite strong. Robert Lopez and Kristen Anderson-Lopez, who wrote the instant classic songs for Frozen, work their lyrical magic once again with the poignant “Remember Me.” The tune takes on new, deeper meanings each time it’s performed, which means I was a blubbering mess by the finale.
The not-so-good: Pixar definitely has a template for its films at this point. Chances are you’ll guess the twists in Coco far sooner than the movie wants you to. I picked up on a piece of misdirection and guessed the big reveal about 45 minutes before it happened, but that didn’t mean I was any less invested in the story.
Special features: Commentary track, deleted scenes, “Paths to Pixar” and “The Music of Coco” featurettes, and more.
Grade: A-
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