movies Archives - Page 23 of 111 - Ramblin' with Roger

Spider-Verse: 4+ different Spideys

Good thing I don’t suffer from arachnophobia

As I’ve noted, Spider-Man was my favorite character in the Marvel universe. So I decided to watch, in one week in August, four different iterations of the web-slinger, none of which I had seen before. Essentially each is it own Spider-Verse.

Spider-Man 3 (2007): This is the third of the Sam Raimi films. I loved the first two, which I saw back in 2002 and 2004. I’m fond of the players – Tobey Maguire as Peter/Spidey, Kirsten Dunst as Mary Jane, and James Franco as Harry Osborn. Yet the film felt too overstuffed with villains. Sandman has a backstory that makes him rather sympathetic. Meanwhile, Eddie Brock is pretty unlikable from the beginning.

And Peter was pretty oblivious to the travails of his girlfriend. If she had left him for Harry, it would have been totally understandable. When this black goo appears on earth, why didn’t it trigger Peter’s Spidey sense?

It was about 1.4 good movies. In other words, too much. Yet I didn’t hate it as much as I had feared.

Amazing Spider-Man 2 (2014): This is the second of the Marc Webb films, with Andrew Garfield as Peter and Emma Stone as Gwen Stacy. But also overstuffed. I never cared that much about this Harry Osborn. The Elektro villain (Jamie Foxx) had a cringeworthy origin and was not terribly interesting. But this is what tipped me off that I didn’t care: the climax of the film I found oddly undramatic.

Swinging younger

Spider-Man: Into the Spider-Verse (2018): Now this was intriguing. Miles Morales is a nerdy teenager who becomes the Spider-Man of his universe. Is he ready? Heck, no. But he gets help from one Peter B. Parker. At this point, it’s a bit of a buddy pic, in a good sense.

Eventually, fellow web slingers also show up, and they’re wonderful in their own unique ways. The visuals are weird and wonderful, including an absurdly large Kingpin with a relatively tiny head. The movie works because of some fine voice actors, starting with Shameik Moore. I haven’t read the comic book in a quarter-century, yet I recognized this film as the love letter to Spider-Man it was intended to be.

Spider-Man: Far From Home (2019). Where I grew tired of the first two Spidey franchises, I’m actually warming up to the Tom Holland character. Part of it is him being totally weirded out when it appears his Aunt May (Marisa Tomei) and Happy Hogan (Jon Favreau) might be expressing romantic interest with each other.

Meanwhile, Peter is going on a class trip to Europe with his best friend Ned (Jacob Batalon), his major crush MJ (Zendaya), and the others. Peter ends up doing the superhero gig again, taking on some elementals. Fortunately, he is aided by an alien ally, Mysterio (Jake Gyllenhaal)! Or so it would seem. Very satisfying up through the closing credits. Then the OMG coda.

A franchise?

Rotten Tomatoes considers Spider-Man, in its various iterations, a franchise. And a successful one, at that.
Average Tomatometer Score/Rank: 81.25% (11th)
Average Audience Score/Rank: 77% (15th)
Average Domestic Box Office/Rank: $411,579,893.13 (7th)

Could the new Spider-Man movie bring all the Spider-Men together?

Movie review: Mank (as in Herman)

Herman Mankiewicz

The first movie I saw in an actual cinema was Mank. I viewed it at Landmark’s Spectrum 8 in Albany the Thursday before the Oscars. Only some of the seats were available, for COVID reasons. I’ve been vaccinated so I was feeling reasonably comfortable.

I had been looking forward to seeing this film since Ben Mankiewicz, a host on Turner Classic Movies, talked about it several months earlier on CBS Sunday Morning.

Ben’s interest was not just cinematic, though. He is a grandson of the topic of the film, Herman Mankiewicz, a noted writer for newspapers and magazines, who famously may have co-written as many as 40 films.

The movie is about “1930’s Hollywood is reevaluated through the eyes of scathing social critic and alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane (1941),” the only movie for which he was, with Welles, actually credited with writing.

Didn’t love it

This was a story I knew something about. Mank’s peculiar platonic relationship with actress Marion Davies (a very good Amanda Seyfried), who was the paramour of William Randolph Hearst (Charles Dance). Mank’s long-suffering wife Sara (Tuppence Middleton) explains why she stays with her husband: “It’s never boring.”

But despite the cool black and white details, I found the narrative frustratingly jumbled. The review in Jacobin magazine addresses much of it. “The ‘Mank’ story hardly needs embellishment, but the Finchers, father, and son, give it plenty anyway. There are about fifty published posts out there that explain which parts of Mank are factual and which are made up.”

“The dinner party scene is a garbled mess, though [director David] Fincher seems to have lavished elaborate care upon it.” It’s set up as Important but it felt oddly flat.

“The way it’s filmed is so blandly unmemorable, it would’ve done much to undercut it. The film’s lax flashback structure from Mankiewicz’s point-of-view seems to be in contrast to Citizen Kane’s dynamic flashback structure from multiple, contradictory points of view.” While the chronology was noted throughout, the need for jumping back and forth in time was lost on me.

Or maybe I just missed it

Think Christian suggests that in the “Oscar-nominated film, Gary Oldman plays a truth-teller in a gadfly’s clothing.” So “Mank repeatedly lampoons the latent hypocrisy and brutal inhumanity of Hollywood’s dream machine. In doing so, this self-described ‘washed-up’ screenwriter impishly reminds viewers that, flaws and all, great prophets (and artists) courageously speak truth to power.”

For instance, “Mank witnesses Louis B. Mayer (Arliss Howard) earnestly plead with his MGM employees to accept a fifty-percent pay cut so the studio may survive the Great Depression intact… Knowing Mayer’s self-serving nature and deep pockets, Mank sardonically observes, ‘Not even the most disgraceful thing I have ever seen.’” But he doesn’t say this to Mayer, so…

Still, “whereas Mayer feigns caring but lives indifference, Mank takes the opposite path.” Mank’s transcriber Rita Alexander (Lily Collins) works with him on the Kane script as he recovers from a car accident.

“When asked [by Rita] to defend her loyalty to her alcoholic and antisocial patient, Mank’s German caregiver, Fraulein Freda (Monika Gossmann), reveals that he secretly donated the funds necessary to save 100 Jewish residents in her village from Nazis. Confronted with his altruism, Mank replies, ‘Dear Freda. What’s German for blabbermouth?’

Perhaps all of the goodness of the movie is there somewhere. The critics gave it an 83% positive review, though only 60% of the general audience agreed. Or maybe I wanted to like my first cinematic experience in 14 months too much. Having finally seen all of the nominated films for Best Picture this season, Mank might be my least favorite; ah, well.

Documentary movie review: 76 Days

Anonymous, and others

Covid-19 started in the Wuhan province of China, with a population of 11 million, late in 2019. The film 76 Days documents how the hospitals there dealt with the pandemic in early 2020.

Initially, it was a rather brutalizing situation, with hospital staff dealing with a surge of patients literally trying to force their way in. The doctors and nurses covered with protective equipment from head to toe, the filmmakers kindly inserting names via subtitles.

Just as we saw in the American news coverage, these hospital workers were engaged in important, and exhausting, work. It was often raw and somewhat chaotic. Some got discharged, some didn’t make it.

Over time, fortunately, the viewer sees a sense of hope, and even humor, emerge. There was no narrative thrust to the film per se, particularly early on. Eventually, there were certain characters you start to identify.

The fisherman wants to go home before it’s safe for him and especially his family. The married couple is isolated in separate male and female wings. The new parents are waiting for their baby to finally come home.

The viewer also sees brief scenes outside of the hospital of people in lockdown, adjusting to the new situation. And finally, on April 4, 2020, horns blaring to mourn the dead.

Thumbs up

The documentary received 100% positive reviews on Rotten Tomatoes. It was made by Hao Wu, Weixi Chen, and Anonymous. To read how the film was made and why one creator is not identified, read this interesting article in Variety.

76 Days is a remarkable, and fortuitous, documenting of a historic, albeit awful, event. It’s less terrible when we see the bravery and compassion of the staff. And the final scene, in many ways, is the most touching.

This film is available on Paramount +, free with the subscription, or on Amazon Prime, for an additional fee.

Movie review: The Father [Zeller]

about dementia

In the film The Father, the storytellers found a new way to figure out how to portray losing one’s facilities. We see Anthony (Oscar-nominated Anthony Hopkins) in his apartment.

Or maybe it’s the apartment of his daughter Anne (Oscar-nominated Olivia Colman). She’s moving from London to Paris. He finds this ridiculous since “They don’t even speak English.” Or maybe she isn’t.

Anne is clearly devoted to her father, although occasionally exhausted. Anthony can be prickly with his primary caretaker, which is often the case, though he appears to love her as well.

Laura (Imogen Poots) is one of his caretakers, looking very much like someone else to him. Paul (Rufus Sewell) is Anne’s impatient partner. The portrayal of different actors in the same roles is a clever device. Mark Gatiss is The Man and Olivia Williams, The Woman.

The screenplay is by Christopher Hampton and Florian Zeller, based on Zeller’s play. This is probably why the production feels a bit stagey.

Or maybe that’s an asset. Megan Basham of the WORLD notes, “The close-set and small cast are the ideal building blocks to illustrate the narrowing that so often comes with the end of life, when the world available to us, both physically and socially, grows so small.”

Because I was so damned confused – as we are supposed to be, I suspect – I didn’t really warm up to this film until near the end. It’s very well acted; it’s just a tough subject.

In the pantheon

The Father is a fine addition to the list of Movies About Alzheimer’s and Dementia You Shouldn’t Miss, published in January 2020. I’ve seen only the two most recent, Away From Her and Still Alice. These are more dramatic portrayals, as I recall, effective in their own ways.

The reviews for The Father were 98% positive in Rotten Tomatoes. Eli Glasner of the CBC News Network writes, “Ultimately I’m struck by Anthony Hopkins’ courage. At 83, fearlessly taking on this role with such vulnerability.”

Movie: The United States v. Billie Holiday

born Eleanora Fagan

Andra Day started drinking (some) and smoking cigarettes to prepare for her leading role in the movie The United States v. Billie Holiday. She shared that detail in several interviews, including with Oprah Winfrey and Trevor Noah. But, she added, she avoided taking narcotics. She felt a lot of responsibility in taking the role of such a musical icon.

Her investment of time and manner was well-rewarded. Day sounded very much like the recordings I have of Lady Day. The mannerisms are quite credible. She deserved the Golden Globe win and Oscar nomination for Best Actress.

I do wish I liked the movie as much as I appreciated Andra Day’s performance.

On the other hand

The storyline was brutalizing to Billie, as she’s kicked, punched, slapped, and sexually exploited repeatedly. Yet the narrative is oddly contrived and disjointed, with an uneven tone, convoluted chronology, and wasted opportunities. There’s a flashback in a whorehouse that should have been less confusing and more impactful.

Near the beginning and end of the film was Leslie Jordan in a dreadful wig playing a celebrity journalist interviewing a financially desperate but unwilling Holiday. I found it cringeworthy.

It is documented that she was hounded by the feds, who got her dealer-level jail sentences for possession of small amounts of heroin. But Harry Anslinger (Garrett Hedlund), the actual head of the Federal Bureau of Narcotics, which became the Drug Enforcement Administration, was a one-note villain as written. The real man was clearly an avowed racist, who also hated jazz. But his rage over Strange Fruit, the anti-lynching song is without foundation, and, coming in 1947, was eight years after the recording.

A chunk of the film tells how Billie was betrayed by a Black informer and lover, an FBI agent, named Jimmy Fletcher (Trevante Rhodes). It doesn’t bother me that it was largely fictionalized, but it didn’t provide help to the muddled narrative. The performers playing Louis Armstrong and Billie’s maybe-lover, actress Tallulah Bankhead, were disappointing cameos.

The director is Lee Daniels. The script was by Suzan-Lori Parks, based on the book Chasing the Scream by Johann Hari. Daniels, in particular, has done great work in the past, directing Atar and the Butler and executive producing the TV series Empire.

Still, your experience may differ. While only 53% of the critics on Rotten Tomatoes liked it, largely based on Andra’ Day’s performance, 88% of the general audience approved.

Lady Sings the Blues

Now I’m feeling the need to watch the 1972 movie Lady Sings the Blues. It was a Berry Gordy production starring Diana Ross, Billy Dee Williams, and Richard Pryor. Even though the critics were kinder to that film (69% positive), even the efficacious reviews were often a mixed bag. For instance, “Watch Ross dazzle in her screen debut but realize you will not gain much insight into Billie Holiday, the artist or the person.”

Maybe it’s because Billie Holiday was so much an enigma. In the recent movie, she says that she’d never read her own “autobiography,” ghostwritten by William Dufty. For legal reasons, the book had to leave significant information out, such as her relationships with Charles Laughton, in the 1930s, and with Bankhead, in the late 1940s.