Are we done with these? The "dumps," I mean. Seems like we were committed to spooling out our collective film and TV rantings into these meaty dumps for a while. Now, I see we're going back to our consistent yet pellet-sized droppings. I'm not complaining or anything. It's just...
Eh, I'll complain about anything. I really just need a hobby. You know, something besides writing on this blog. Anywho...
Moana
Disney has been killing it this year. Especially their animation division -- I mean, they're even giving Pixar a run for their money. Pixar for Christ's sake! (I think I ranked Moana and Zootopia both over Finding Dory this year -- but, hey, they're all great movies.)
This film is more of a Disney classic. Your standard, delightful musical following the princess-who's-not-a-princess on an almost fairly tale-like adventure. The music is excellent (a tip of the hat over to Lin Manuel-Miranda for help on that one), and voice acting is spot on. Sure, the Rock isn't the best singer, but he's great in his role of Maui -- the demigod who's completely full over himself despite sending the world into crisis mode. Best scene? It's got to be when Moana and Maui venture into the underworld (at least I think it was called that) to steal back Maui's weapon from a treasure hoarding crab voiced by Jemaine Clement. One of the film's best diddies is in this scene. My only complaint would be that our heroes' time in this world lasted just a tad longer.
This film is more of a Disney classic. Your standard, delightful musical following the princess-who's-not-a-princess on an almost fairly tale-like adventure. The music is excellent (a tip of the hat over to Lin Manuel-Miranda for help on that one), and voice acting is spot on. Sure, the Rock isn't the best singer, but he's great in his role of Maui -- the demigod who's completely full over himself despite sending the world into crisis mode. Best scene? It's got to be when Moana and Maui venture into the underworld (at least I think it was called that) to steal back Maui's weapon from a treasure hoarding crab voiced by Jemaine Clement. One of the film's best diddies is in this scene. My only complaint would be that our heroes' time in this world lasted just a tad longer.
Hell or High Water
Many, many people have recommended this film to me. A modern day western, as it's been explained. Well, I'll continue on the trend of recommending this film to others like it were a goddamn chain letter.
This film is slow burn that's beautifully shot with even more mesmerizing performances. I think this totally deserves the Oscar praise it's received, and wouldn't be entirely surprised if it went home with best screenplay -- I say still having yet to watch all the nominations on that list.
Don't Breathe
Sam Raimi and Frede Álvarez are teaming up again after the Evil Dead reboot no one asked for. This time to tell a story about a couple of Detroit-based robbers who get word that some blind ex-military guy is secretly holding only a small fortune hidden in his house somewhere. Seems like it's going to be an easy job (despite them not knowing the layout of the house at all, nor where the money could be stashed -- I mean, what if it's in a safe no one knows the combination to?), but these are a naïve group of kids.
The film was shot fairly well, and the story definitely has some sharp turns that will leave you screaming at your TV, "NO! God, that's soooo gross!" However, it's not a great film. Certainly not a film worthy of all the hype it received over the fall when we had other superb horror films this year with the likes of The Witch and The Conjuring 2 -- the verdict is still out on Quija 2: Origin of Evil, but the critics certainly didn't hate it. Perhaps I'll get to that film soon. Perhaps not.
Jack Reacher: Never Go Back
Normally, I'm all about a Tom Cruise action film. The Mission Impossible franchise is a ton of fun! Then Jack Reacher came along and it felt like he was Ethan Hunt's vagabond cousin taking a year off from spy-work to just travel the countryside. Still fun, just toned back a bit.
Then they decided to give Reacher a sequel. (Not surprising. It is a book series after all.) But a poor move. I could not get into this movie for the life of me. They keep the idea that Jack Reacher is this tough-as-nails fighter who's existence is more myth than man. The army couldn't hold him, so he broke free and now he cruises the country looking to take down any bad guy that has the misfortune of getting in his face... whether that be some jerk at the local dive bar or corrupted government official.
Where this movie switches things up is exploring the dilemma of can this machismo man actually find and hold onto love, or -- dare I say -- a family? The story forces Reacher to do two things. First, he's got to defend and clear the name of this military operative (whom he has a crush on) that's been wrongly accused of a crime. And, second, Reacher learns that he may have teenager daughter whom he also needs to keep safe from the bad guys.
My major complaint is that these two conflicts (defending his love and his daughter) don't work well together. Either have the story about finding/saving your love, or a story about reconnecting/protecting your daughter. But squeezing in both feels like neither one is served properly making the whole story weak. I could see what they were trying to go for with this whole "family" idea. Reacher and his love both work to keep the girl save and now this loner actually has a family, but it just doesn't land well.
When in doubt... make it simple. I think this film could have borrow from that logic.
Speaking of logic... we don't need a third movie. Spoiler: Reacher's supposed daughter is not his daughter so I think we can call it quits here.
Then they decided to give Reacher a sequel. (Not surprising. It is a book series after all.) But a poor move. I could not get into this movie for the life of me. They keep the idea that Jack Reacher is this tough-as-nails fighter who's existence is more myth than man. The army couldn't hold him, so he broke free and now he cruises the country looking to take down any bad guy that has the misfortune of getting in his face... whether that be some jerk at the local dive bar or corrupted government official.
Where this movie switches things up is exploring the dilemma of can this machismo man actually find and hold onto love, or -- dare I say -- a family? The story forces Reacher to do two things. First, he's got to defend and clear the name of this military operative (whom he has a crush on) that's been wrongly accused of a crime. And, second, Reacher learns that he may have teenager daughter whom he also needs to keep safe from the bad guys.
My major complaint is that these two conflicts (defending his love and his daughter) don't work well together. Either have the story about finding/saving your love, or a story about reconnecting/protecting your daughter. But squeezing in both feels like neither one is served properly making the whole story weak. I could see what they were trying to go for with this whole "family" idea. Reacher and his love both work to keep the girl save and now this loner actually has a family, but it just doesn't land well.
When in doubt... make it simple. I think this film could have borrow from that logic.
Speaking of logic... we don't need a third movie. Spoiler: Reacher's supposed daughter is not his daughter so I think we can call it quits here.
Hey, dump on! I encourage posts of whatever format! I think the blog is basically just you and me at this point anyway...
ReplyDeleteMoana's a must-see for me, and as soon as it hits Netflix (doesn't Disney have a deal with Netflix?) I'm in. Ditto Kubo, on like, Amazon Prime or wherever that one lands. Agree on Dory - it was fine, but nothing special. My tepid take? Pixar's in trouble, post-Disney. Inside Out aside, what was their last big hit? Toy Story 3? Yeah, 2010 called...
Glad you loved Hell or High Water - I liked it when I saw it and its only grown on me since then. I'm sure Keith and Danielle and Marissa will share their thoughts with me on a podcast at some point. Looking at the best screenplay race though, I hate to say it, but La La Land is gonna steal it. Honestly, what the fuck is a musical even doing in that category? The Lobster, Manchester, and Hell or High Water were three of my favorite movies of the year and I've heard glowing things about 20th Century Women - I'd be happy with any of the four of them out-muscling the La La hype. I mean come on, screenplay?
Don't Breathe is also on my list, but much lower. Let's call it a likely Halloween 2017 watch for me. In a similar vein, have you seen Hush? It's on Netflix, it's a 2016 movie, and it seems like the perfect companion peace to this one - a deaf woman (rather than a blind man) endures a home invasion. The sympathies are, of course, swapped.