by Josh Sewell
Based on the box office performance of recent installments, as well as anecdotal evidence from social media and real-world conversations, people are suffering from a major case of Marvel fatigue. Guardians of the Galaxy, Vol. 3 notwithstanding, a deluge of recent sequels and Disney+ series are being met with a collective shrug.
It’s a bummer that The Marvels (the sort-of sequel to 2019’s Captain Marvel) is opening this weekend with almost no anticipation. While it definitely has some problems, the weird, silly movie feels like a welcome course correction for the studio’s upcoming plans. Of course, there’s a good chance mastermind Kevin Feige and the other folks at Marvel will learn all the wrong lessons when it inevitably underperforms at the box office. I really don’t want them doubling down on safe, boring storytelling choices.
Since the events of Avengers: Endgame, Carol Danvers (Brie Larson) – aka Captain Marvel – is continuing to combat dangers throughout the universe, while also working to reclaim her missing memories. When she encounters a strange wormhole in space caused by a mysterious woman (Zawe Ashton), her powers become entangled with those of teen superhero Kamala Khan (the delightfully adorable Iman Villani) and Carol’s estranged niece Monica Rambeau (Teyonah Parris), who fans last saw in WandaVision.
The good news is that The Marvels is mostly standalone. Even if you didn’t see the Disney+ shows that introduced Captain Marvel’s new teammates, the flick catches you up fast. Unless I’m mistaken, there’s no connection whatsoever with the poorly received Secret Invasion series (which I still haven’t caught up with).
I didn’t expect the flick to be so funny, but it’s a welcome return to the tone of earlier Marvel fare. While the plot is clunky, at least it has a distinct personality and takes a few chances here and there. As with almost all MCU entries, it mainly stumbles when it tries to set up stuff for the future. And, of course, there’s the franchise’s continuing problem with lame villains.
Larson is solid, but – whether it’s the result of all the table-setting or the well-publicized reshoots – it feels like she’s sidelined in her own movie. Vellani and Samuel L. Jackson (returning yet again as Nick Fury) are the MVPs, although alien cat Goose once again steals the whole movie from his human counterparts.
Grade: B
The Holdovers
(Rated R for language, some drug use and brief sexual material. Opens in theaters November 10.)
Alexander Payne is unquestionably a talented filmmaker, but his works don’t always connect with me. I loved 2004’s Sideways and 2011’s The Descendants, but I find some of his other movies a little too cynical and mean-spirited. That’s why I went into The Holdovers, his latest effort, a bit hesitant. Turns out the heartwarming dramedy is a strong contender for my Top 10 next month.
Set in the 1970s, The Holdovers follows curmudgeonly history teacher Paul Hunham (Paul Giamatti, reuniting with Payne after Sideways), who is forced to stay on campus at his New England prep school during Christmas break to babysit the handful of students with nowhere to go. Although he resents the task at first, he eventually forms a surprising bond with intelligent troublemaker Angus Tully (Dominic Sessa, in his astonishing film debut) and the school’s head cook Mary Lamb (the phenomenal Da’Vine Joy Randolph), who recently lost her son in Vietnam.
One of the most frequent criticisms I hear is “nobody makes movies for grown-ups anymore,” citing the never-ending stream of comic book flicks, sequels, reboots, etc. The Holdovers is a welcome answer to those complaints. From the opening credits – which evoke the height of 1970s cinema – to the emotional, personal stakes of the plot, the film is a throwback to a much different era of big-screen storytelling.
Giamatti, who was robbed of an Oscar nomination for his outstanding work in Sideways, will almost certainly get another chance for his phenomenal performance here. On the surface, Hunham is not a likeable guy by any stretch. It’s by sheer force of will that Giamatti makes him a character worth rooting for. I really hope Academy voters honor his work.
Speaking of robbed, the same thing happened to Randolph, who should’ve earned a Best Supporting Actress nomination for 2019’s Dolemite Is My Name. I don’t see that repeating this year – her outstanding work makes the actress a well-deserved frontrunner. Carrie Preston (a Macon native best known for her work in True Blood and The Good Wife) is also terrific in a small but important role.
David Hemingson’s funny, poignant screenplay ensures viewers connect with the protagonists despite their flaws. The characters aren’t perfect, but the film works hard to make them endearing to the audience nonetheless. We’re in the midst of a ridiculously crowded awards season, but I hope moviegoers give The Holdovers a chance.
Grade: A-
Home Video Spotlight
Gran Turismo
(Rated PG-13 for intense action and some strong language. Now available on 4K, Blu-ray, DVD and VOD.)
Based on the true story, a team of underdogs – including a working-class gamer (Archie Madekwe), a former racecar driver (David Harbour) and an idealistic motorsport executive (Orlando Bloom) – risk it all to earn victory in one of the most elite sports in the world. Special features include deleted and extended scenes; four behind-the-scenes featurettes; and a code to redeem a digital copy of the film.
Violent Night
(Rated R for strong bloody violence, language throughout and some sexual references. Now available on 4K Ultra HD, Blu-ray and Digital.)
In this dark action-comedy, a team of mercenaries (led by John Leguizamo) breaks into a wealthy family’s compound and takes everyone hostage. However, they are not prepared to battle the family’s unexpected protector – Santa Claus (David Harbour), who happens to be there delivering presents. Special features include deleted and extended scenes; behind-the-scenes featurettes; a making-of documentary; feature commentary with director Tommy Wirkola, producer Guy Danella, writers Pat Casey and Josh Miller; and a code to redeem a digital copy of the film.
American Graffiti (50th Anniversary Edition)
(Rated PG. Now available on 4K Ultra HD, Blu-ray and Digital.)
Before he changed the movie industry forever with Star Wars, George Lucas directed this coming-of-age story, set in the era of hot rods, drive-ins and rock ‘n’ roll. Starring Ron Howard, Richard Dreyfuss, Harrison Ford, Cindy Williams, Mackenzie Phillips and Suzanne Somers in their breakout roles, this nostalgic tale follows a group of 1960s teenagers on their last summer night before college. It was nominated for five Oscars (including Best Picture and Best Director) and features an iconic soundtrack with songs by Buddy Holly, Chuck Berry, The Beach Boys and Bill Haley & His Comets. Special features include a making-of documentary; actor screen tests; a theatrical trailer; feature commentary with Lucas; and a code to redeem a digital copy of the film.
The Marvels
(Rated PG-13 for action/violence and brief language. Opens in theaters November 10.) Based on the box office performance of recent installments, as well as anecdotal evidence from social media and real-world conversations, people are suffering from a major case of Marvel fatigue. Guardians of the Galaxy, Vol. 3 notwithstanding, a deluge of recent sequels and Disney+ series are being met with a collective shrug.
It’s a bummer that The Marvels (the sort-of sequel to 2019’s Captain Marvel) is opening this weekend with almost no anticipation. While it definitely has some problems, the weird, silly movie feels like a welcome course correction for the studio’s upcoming plans. Of course, there’s a good chance mastermind Kevin Feige and the other folks at Marvel will learn all the wrong lessons when it inevitably underperforms at the box office. I really don’t want them doubling down on safe, boring storytelling choices.
Since the events of Avengers: Endgame, Carol Danvers (Brie Larson) – aka Captain Marvel – is continuing to combat dangers throughout the universe, while also working to reclaim her missing memories. When she encounters a strange wormhole in space caused by a mysterious woman (Zawe Ashton), her powers become entangled with those of teen superhero Kamala Khan (the delightfully adorable Iman Villani) and Carol’s estranged niece Monica Rambeau (Teyonah Parris), who fans last saw in WandaVision.
The good news is that The Marvels is mostly standalone. Even if you didn’t see the Disney+ shows that introduced Captain Marvel’s new teammates, the flick catches you up fast. Unless I’m mistaken, there’s no connection whatsoever with the poorly received Secret Invasion series (which I still haven’t caught up with).
I didn’t expect the flick to be so funny, but it’s a welcome return to the tone of earlier Marvel fare. While the plot is clunky, at least it has a distinct personality and takes a few chances here and there. As with almost all MCU entries, it mainly stumbles when it tries to set up stuff for the future. And, of course, there’s the franchise’s continuing problem with lame villains.
Larson is solid, but – whether it’s the result of all the table-setting or the well-publicized reshoots – it feels like she’s sidelined in her own movie. Vellani and Samuel L. Jackson (returning yet again as Nick Fury) are the MVPs, although alien cat Goose once again steals the whole movie from his human counterparts.
Grade: B
(Rated R for language, some drug use and brief sexual material. Opens in theaters November 10.)
Alexander Payne is unquestionably a talented filmmaker, but his works don’t always connect with me. I loved 2004’s Sideways and 2011’s The Descendants, but I find some of his other movies a little too cynical and mean-spirited. That’s why I went into The Holdovers, his latest effort, a bit hesitant. Turns out the heartwarming dramedy is a strong contender for my Top 10 next month.
Set in the 1970s, The Holdovers follows curmudgeonly history teacher Paul Hunham (Paul Giamatti, reuniting with Payne after Sideways), who is forced to stay on campus at his New England prep school during Christmas break to babysit the handful of students with nowhere to go. Although he resents the task at first, he eventually forms a surprising bond with intelligent troublemaker Angus Tully (Dominic Sessa, in his astonishing film debut) and the school’s head cook Mary Lamb (the phenomenal Da’Vine Joy Randolph), who recently lost her son in Vietnam.
One of the most frequent criticisms I hear is “nobody makes movies for grown-ups anymore,” citing the never-ending stream of comic book flicks, sequels, reboots, etc. The Holdovers is a welcome answer to those complaints. From the opening credits – which evoke the height of 1970s cinema – to the emotional, personal stakes of the plot, the film is a throwback to a much different era of big-screen storytelling.
Giamatti, who was robbed of an Oscar nomination for his outstanding work in Sideways, will almost certainly get another chance for his phenomenal performance here. On the surface, Hunham is not a likeable guy by any stretch. It’s by sheer force of will that Giamatti makes him a character worth rooting for. I really hope Academy voters honor his work.
Speaking of robbed, the same thing happened to Randolph, who should’ve earned a Best Supporting Actress nomination for 2019’s Dolemite Is My Name. I don’t see that repeating this year – her outstanding work makes the actress a well-deserved frontrunner. Carrie Preston (a Macon native best known for her work in True Blood and The Good Wife) is also terrific in a small but important role.
David Hemingson’s funny, poignant screenplay ensures viewers connect with the protagonists despite their flaws. The characters aren’t perfect, but the film works hard to make them endearing to the audience nonetheless. We’re in the midst of a ridiculously crowded awards season, but I hope moviegoers give The Holdovers a chance.
Grade: A-
Home Video Spotlight
(Rated PG-13 for intense action and some strong language. Now available on 4K, Blu-ray, DVD and VOD.)
Based on the true story, a team of underdogs – including a working-class gamer (Archie Madekwe), a former racecar driver (David Harbour) and an idealistic motorsport executive (Orlando Bloom) – risk it all to earn victory in one of the most elite sports in the world. Special features include deleted and extended scenes; four behind-the-scenes featurettes; and a code to redeem a digital copy of the film.
(Rated R for strong bloody violence, language throughout and some sexual references. Now available on 4K Ultra HD, Blu-ray and Digital.)
In this dark action-comedy, a team of mercenaries (led by John Leguizamo) breaks into a wealthy family’s compound and takes everyone hostage. However, they are not prepared to battle the family’s unexpected protector – Santa Claus (David Harbour), who happens to be there delivering presents. Special features include deleted and extended scenes; behind-the-scenes featurettes; a making-of documentary; feature commentary with director Tommy Wirkola, producer Guy Danella, writers Pat Casey and Josh Miller; and a code to redeem a digital copy of the film.
(Rated PG. Now available on 4K Ultra HD, Blu-ray and Digital.)
Before he changed the movie industry forever with Star Wars, George Lucas directed this coming-of-age story, set in the era of hot rods, drive-ins and rock ‘n’ roll. Starring Ron Howard, Richard Dreyfuss, Harrison Ford, Cindy Williams, Mackenzie Phillips and Suzanne Somers in their breakout roles, this nostalgic tale follows a group of 1960s teenagers on their last summer night before college. It was nominated for five Oscars (including Best Picture and Best Director) and features an iconic soundtrack with songs by Buddy Holly, Chuck Berry, The Beach Boys and Bill Haley & His Comets. Special features include a making-of documentary; actor screen tests; a theatrical trailer; feature commentary with Lucas; and a code to redeem a digital copy of the film.
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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