by Josh Sewell
The Suicide Squad
(Rated R for strong violence and gore, language throughout, some sexual references, drug use and brief graphic nudity. Opens in theaters August 6 and also available on HBO Max.)
The premise: Guardians of the Galaxy writer-director James Gunn jumps from Marvel to DC with this semi-reboot of 2016’s misguided Suicide Squad. Once again, the story revolves around a team of villains (played by Idris Elba, Margot Robbie, John Cena and more) who are promised reduced prison sentences if they help the U.S. government with a deadly mission.
The verdict: Leave it to James Gunn, the guy who made beloved heroes out of a grouchy racoon and a talking tree, to rehabilitate one of DC’s most toxic cinematic properties. All the promise that was squandered in the original version is maximized to its full potential here. Wisely, Gunn pretends David Ayer’s movie doesn’t exist and starts from scratch with a hilarious, ultraviolent opening sequence that establishes the bonkers tone and explains the premise for newcomers.
That means Will Smith’s antihero and Jared Leto’s ill-advised “Hot Topic Joker” are nowhere to be found. Instead, Robbie’s Harley Quinn – by far the most famous character – is paired with lower-tier villains portrayed by Elba, Cena, David Dastmalchian and far too many other actors to mention, all of whom are perfectly cast. Let’s just say Gunn packs the movie with tons of famous faces who don’t stick around very long.
Everyone is fantastic, but the clear standouts (for me, at least) are newcomer Daniela Melchior, as a young woman who can control rats, and a CGI shark-human hybrid voiced by Sylvester Stallone. He’s basically the squad’s twisted version of Groot, just not as cuddly and far more bloodthirsty.
Although its third act goes on a bit too long, The Suicide Squad is an absolute blast. Gunn’s oddball sense of humor works perfectly, as does the giant heart he hides under layers of f-bombs and graphic violence. Everybody in the cast gets the tone he’s going for and they work really well together. It’s easily the strongest movie of DC’s post-Nolan universe and – believe it or not – one of 2021’s best overall.
Grade: A-
Nine Days
(Rated R for language. Opens in theaters August 6.)
The premise: Winston Duke (from Black Panther and Us) plays Will, an enigmatic recluse whose job is to monitor several televisions, each broadcasting a different person going about his or her daily life. When one of the screens goes blank, Will is tasked with interviewing several unborn souls (played by Zazie Beetz, Bill Skarsgard and Tony Hale, among others) to see which would be best suited for a new existence on Earth. As Will engages in conversations that challenge his preconceived biases, the candidates are eliminated one-by-one and he’s forced to reexamine his own past.
The verdict: I got a chance to see writer-director Edson Oda’s deeply moving existential drama during the Atlanta Film Festival earlier this summer and it remains my favorite film of the year so far. It’s a profound viewing experience, allegorical and full of dream logic that makes no sense, but feels right at the same time. (It would actually make a compelling double-feature with David Lowery’s The Green Knight, which opened last week.)
Each character, brilliantly portrayed by a host of outstanding performers (with Duke and Beetz making the most poignant impression), represents a different kind of personality – all with a legitimate argument for why they should exist. Oda’s feature debut is a staggering achievement that should mark the beginning of a wonderful career. Unfortunately, Nine Days might be tough to find playing locally, but I strongly urge you to seek it out.
Grade: A
Vivo
(Rated PG for some thematic elements and mild action. Available on Netflix August 6.)
The premise: In this new animated musical, a rare kinkajou (voiced by Lin-Manuel Miranda, who also contributed several new songs) spends his days playing music with his beloved owner Andrés (Juan de Marcos). But when tragedy strikes, Vivo must deliver a message from Andrés to his former love, the famous singer Marta Sandoval (Gloria Estefan).
The verdict: While Vivo has its moments, I don’t think Disney and Pixar have anything to worry about. The film’s biggest selling point is Miranda’s music, which is terrific as usual. However, the story and characters surrounding them are too slight to pack the emotional punch of similar stories like Coco or Moana.
The Broadway superstar’s vocal performance as Vivo is solid too, but he’s a surprisingly unpleasant protagonist for most of the running time. I imagine screenwriters Kirk DeMicco and Quiara Alegría Hudes (Miranda’s In the Heights collaborator) were building the foundation for the character’s eventual change of heart, but it’s tough to be happy for his transformation when he’s not that fun to spend time with.
Finally, the animation style isn’t that visually appealing, despite lots of vivid colors and interesting cinematography (the legendary Roger Deakins was a visual consultant). Luckily, those aspects and Miranda’s skill as a songwriter carry the heartwarming but familiar tale.
Grade: B-
Book Review:
The premise: Guardians of the Galaxy writer-director James Gunn jumps from Marvel to DC with this semi-reboot of 2016’s misguided Suicide Squad. Once again, the story revolves around a team of villains (played by Idris Elba, Margot Robbie, John Cena and more) who are promised reduced prison sentences if they help the U.S. government with a deadly mission.
The verdict: Leave it to James Gunn, the guy who made beloved heroes out of a grouchy racoon and a talking tree, to rehabilitate one of DC’s most toxic cinematic properties. All the promise that was squandered in the original version is maximized to its full potential here. Wisely, Gunn pretends David Ayer’s movie doesn’t exist and starts from scratch with a hilarious, ultraviolent opening sequence that establishes the bonkers tone and explains the premise for newcomers.
That means Will Smith’s antihero and Jared Leto’s ill-advised “Hot Topic Joker” are nowhere to be found. Instead, Robbie’s Harley Quinn – by far the most famous character – is paired with lower-tier villains portrayed by Elba, Cena, David Dastmalchian and far too many other actors to mention, all of whom are perfectly cast. Let’s just say Gunn packs the movie with tons of famous faces who don’t stick around very long.
Everyone is fantastic, but the clear standouts (for me, at least) are newcomer Daniela Melchior, as a young woman who can control rats, and a CGI shark-human hybrid voiced by Sylvester Stallone. He’s basically the squad’s twisted version of Groot, just not as cuddly and far more bloodthirsty.
Although its third act goes on a bit too long, The Suicide Squad is an absolute blast. Gunn’s oddball sense of humor works perfectly, as does the giant heart he hides under layers of f-bombs and graphic violence. Everybody in the cast gets the tone he’s going for and they work really well together. It’s easily the strongest movie of DC’s post-Nolan universe and – believe it or not – one of 2021’s best overall.
Grade: A-
(Rated R for language. Opens in theaters August 6.)
The premise: Winston Duke (from Black Panther and Us) plays Will, an enigmatic recluse whose job is to monitor several televisions, each broadcasting a different person going about his or her daily life. When one of the screens goes blank, Will is tasked with interviewing several unborn souls (played by Zazie Beetz, Bill Skarsgard and Tony Hale, among others) to see which would be best suited for a new existence on Earth. As Will engages in conversations that challenge his preconceived biases, the candidates are eliminated one-by-one and he’s forced to reexamine his own past.
The verdict: I got a chance to see writer-director Edson Oda’s deeply moving existential drama during the Atlanta Film Festival earlier this summer and it remains my favorite film of the year so far. It’s a profound viewing experience, allegorical and full of dream logic that makes no sense, but feels right at the same time. (It would actually make a compelling double-feature with David Lowery’s The Green Knight, which opened last week.)
Each character, brilliantly portrayed by a host of outstanding performers (with Duke and Beetz making the most poignant impression), represents a different kind of personality – all with a legitimate argument for why they should exist. Oda’s feature debut is a staggering achievement that should mark the beginning of a wonderful career. Unfortunately, Nine Days might be tough to find playing locally, but I strongly urge you to seek it out.
Grade: A
(Rated PG for some thematic elements and mild action. Available on Netflix August 6.)
The premise: In this new animated musical, a rare kinkajou (voiced by Lin-Manuel Miranda, who also contributed several new songs) spends his days playing music with his beloved owner Andrés (Juan de Marcos). But when tragedy strikes, Vivo must deliver a message from Andrés to his former love, the famous singer Marta Sandoval (Gloria Estefan).
The verdict: While Vivo has its moments, I don’t think Disney and Pixar have anything to worry about. The film’s biggest selling point is Miranda’s music, which is terrific as usual. However, the story and characters surrounding them are too slight to pack the emotional punch of similar stories like Coco or Moana.
The Broadway superstar’s vocal performance as Vivo is solid too, but he’s a surprisingly unpleasant protagonist for most of the running time. I imagine screenwriters Kirk DeMicco and Quiara Alegría Hudes (Miranda’s In the Heights collaborator) were building the foundation for the character’s eventual change of heart, but it’s tough to be happy for his transformation when he’s not that fun to spend time with.
Finally, the animation style isn’t that visually appealing, despite lots of vivid colors and interesting cinematography (the legendary Roger Deakins was a visual consultant). Luckily, those aspects and Miranda’s skill as a songwriter carry the heartwarming but familiar tale.
Grade: B-
Billy Summers by Stephen King
Mommie Dearest
(Rated PG. Now available.)
The camp classic Mommie Dearest celebrates its 40th anniversary with a new Blu-ray in the Paramount Presents line, which hit stores earlier this summer. Based on Christina Crawford’s controversial tell-all, the film features Faye Dunaway in her iconic performance as Joan Crawford, struggling for her career while battling personal demons. Newly restored from a 4K transfer, the film is presented in a limited-edition disc with collectible packaging. Special features include four behind-the-scenes featurettes; audio commentaries with filmmaker John Waters and drag queen Hedda Lettuce; and access to a digital copy of the film.
The premise: Billy Summers is a hired killer with a unique requirement – he’ll only take the assignment if the target is a truly bad person. Now Billy has decided to retire, so it’s time for the famed “one last job.” However, just like in the movies, everything goes wrong. Now the decorated Iraq War vet must use his skills to stay alive and try for a shot at redemption.
The verdict: Stephen King is widely considered the master of horror (and my all-time favorite author), but over the last several years he’s proven just as adept at the crime genre. His latest thriller avoids the supernatural entirely (aside from a couple of winks for diehard fans), sticking to a propulsive narrative with almost unrelenting tension and a pleasant but complicated protagonist.
King maintains his talent for crafting realistic characters and authentic small-town settings, ensuring that his longtime “Constant Readers” are still enjoying themselves even when there’s not much happening plot-wise. Although the second half evokes a different tone than the first, both sections ultimate work together to form yet another winner for an author who’s well past retirement age but still at the top of his game. Billy Summers builds so cinematically that I’m sure it’s only a matter of time before I’m reviewing the film adaptation.
Grade: B+
Home Video Spotlight
The verdict: Stephen King is widely considered the master of horror (and my all-time favorite author), but over the last several years he’s proven just as adept at the crime genre. His latest thriller avoids the supernatural entirely (aside from a couple of winks for diehard fans), sticking to a propulsive narrative with almost unrelenting tension and a pleasant but complicated protagonist.
King maintains his talent for crafting realistic characters and authentic small-town settings, ensuring that his longtime “Constant Readers” are still enjoying themselves even when there’s not much happening plot-wise. Although the second half evokes a different tone than the first, both sections ultimate work together to form yet another winner for an author who’s well past retirement age but still at the top of his game. Billy Summers builds so cinematically that I’m sure it’s only a matter of time before I’m reviewing the film adaptation.
Grade: B+
Home Video Spotlight
(Rated PG. Now available.)
The camp classic Mommie Dearest celebrates its 40th anniversary with a new Blu-ray in the Paramount Presents line, which hit stores earlier this summer. Based on Christina Crawford’s controversial tell-all, the film features Faye Dunaway in her iconic performance as Joan Crawford, struggling for her career while battling personal demons. Newly restored from a 4K transfer, the film is presented in a limited-edition disc with collectible packaging. Special features include four behind-the-scenes featurettes; audio commentaries with filmmaker John Waters and drag queen Hedda Lettuce; and access to a digital copy of the film.
Reach out to Josh Sewell on Twitter @IAmJoshSewell
Comments
Post a Comment