The Incredibles 2

It has taken 14 long years to get here! Snap comment: It was worth every minute of waiting..

"The Incredibles" is my favorite Pixar film. It was the perfect combination of comic book story, action, humor and best of all, it played like a James Bond film. There were secret identities and an impenetrable fortress to penetrate, and the movie had a score that any 007 adventure would be proud to claim as it's own. The movie was family friendly and it played with the notions of family, middle age, and a sense of nostalgia for the whole time it ran. It was a two hour movie that crammed in all the best stuff you cab imagine and it had a shiny retro style to it that any kid of the 1960s would recognize as part of their personal heritage. The conclusion of the movie promised that we would be seeing further adventures, even if it lacked the "James Bond will Return" sign off that has finished the Bond films for 50 years. So that begs the question, why did it take so long to get a sequel out?

Well first you have to figure out what happens with "The Underminer", the character who appears at the end of the original. Once you wrap that up, there is the question of what status the "Supers" are going to have, since the original limitations that forced them underground in the first place are still on the books. Also, to keep things fresh and not simply repeat the same story line, you will need new characters,both villains and supers. Don't forget that you also have "Jack Jack" to take care of. We know he has a variety of surprises in store for his family, if you took a year to develop each of the potential powers that Jack Jack has to fruition, and write them into the story with at least one gag for each, well that would take a decade at least.

As usual, I will not be summarizing the whole story for you, that's not how I roll on this blog. I will say that there is a little domestic problem that is similar to the storyline in Mr, Mom, but that the movie uses this to drive characters rather than to simply generate jokes. Mr. Incredible has to be worn down in some ways to make him vulnerable, and nothing like three uncooperative children will do that faster. Elastigirl has the main plot line to follow and it is she who must initially confront the new threats.

Frozone gets a slightly bigger opportunity to participate in this adventure, and even though it is a PG film, and Samuel Jackson is voicing the character, we get by without all the usual Jacksonisms. When the final confrontation is taking place, Lucius, Helen and Bob, patiently wait their turns on stage. It is the kids who get to drive the action in the last third of the story and boy do they get to do some fun stuff. Violet takes charge and needs to be both quick and smart about the decisions she makes. Dash is impetuous which leads to trouble but also a great deal of fun, especially concerning the Incredimobile. After having so many superheros in The Marvel and D.C. universes end up having battles, the confrontations in this film have to be unique and for the most part they are. There are several new supers who have a role to play in the story and they muct both be overcome and included in the final wrap up.

Let's face it, Edna Mode is everyone's favorite character from the first film. She steals the scenes she is in, and we are all waiting on pins and needles for her inclusion in this story. While remaining true to the character, Edna seems to harbor a little warmth beneath those bangs and the vocal delivery of  director Brad Bird again steals every moment the character is near the screen. If there is ever a spin-off story planned for extending this franchise, this is the character that needs to be exploited. She is so arch and clever and brilliant, I'm sure we could follow a story with her much more effectively than we could with any Minions.

The most successful humor in the story comes from Jack Jack, and it may be the scene that everybody remembers years from now. The Super Baby confrontation with a lowly but determined racoon is worth the price of admission in itself. It is not just a series of gags, which it does have, the story manages to make these two non speaking characters more interesting than the villain/super conflicts in the rest of the story. 

The look of the design in this film can still be attributed to googie architecture and retro cartoons from the 1960s. Helen has a motorcycle to die for but the car is the thing I will remember. The other supers are welcome echos of comic books past. When Elistigirl confronts the "Screenslaver" the animation is adjusted to highlight all the angles and color contrasts and it makes an amazing sequence which looks very different from the rest of the film but fits in perfectly. 

Bob Odenkirk sounds just smarmy enough to raise suspicions while in the end turning out to be just as smart as we thought another character was. Catherine Keener may get stereotyped as a mesmerizing character if she plays one more part like this. They are welcome additions to the film and they add personality to characters that could easily just be tropes in the vocal cords of someone else. As far as I'm concerned, Michael Giacchino, should have his name inscribed on the Oscar that he was not even nominated for fourteen years ago. His music work here uses some of the same themes but it plays so organically with the new story and the returning characters, that it all feels fresh.   

I really am looking forward to going back and seeing this movie again. Pixar has had a couple of weak enties in the last few years but along with "Coco" from last year, they seem to be on a new winning streak. Let's hope it lasts long enough to get us to "The Incredibles 3". 

Ocean's 8

It's been more than a decade since this franchise had an entry. The purpose of a re-boot like this is of course money, but that does not mean that there can't be something worth watching as a result. The Three Soderbergh films were sort of a mixed bag. The first was delightful, the second one strained and lacking the light touch of the first and then the third one coming close to the first in deftness. He is an Executive Producer on this film but this is really the baby of writer/director Gary Ross. Mr. Ross has been hit or miss for me as well, penning and directing the great "Seabuscuit" and "Pleasantville", but also writing "The Tale of Desperaux" which I wanted to love but did not. With this outing however, we are on solid ground.

Maybe it is a high concept twist to put together an all female crew to mimic the skills and character points of the male version, but for the most part it works. The plot set up is a little clunky in tying the cast to the other films, but in the long run, marketing is what got this film greenlit in the first place so it is essential from that perspective. From a story point of view, not so much. Nothing that happened in the previous films is relevant to anything that happens here. They only serve as a model for the twists and diversions a heist picture must make to create some suspense and make the film entertaining. For the most part, Ross and his team follow the template well.

There is an extended opening section where we meet the main character, Debbie Ocean, Danny's sister. We see her being released from prison after making a persuasive plea for parole. The guards aren't taken in because they know from first hand experience that she is still a hustler. There are several moments where we get to see her strut her stuff and establish that she is a clever thief and capable of pulling off the confidence games that are going to be part of the heist that serves as the center of the film. Sandra Bullock can play these moments effectively, and there are a couple of times when she needs to be a bit cold-hearted, she does that well too. The rest of the opening section involves recruiting the team and setting up the crime. Like the other films, we are only given enough information to keep us going in the right direction, while still being able to be surprised along the way.

The one weakness that I see in the film that is fairly obvious, is that the other members of the team are drawn in a sketchy manner. Wheras character development was a big part of the men's version of this plot, the women end up simply reflecting some stereotypes from crime films. There is a cool counterpart played by Cate Blanchett, a mysterious hacker played by Rihanna, and a meticulous fence in Sarah Paulson.  Mindy Kaling gets the nerdy counterfeiter part and there is a street smart pick pocket. The only member of the team that really develops some character is Helena Bonham Carter, a clothing designer that gets drawn into the plot. Her part was better fleshed out than any of the other cast except Bullock.

You have to make a few allowances for heist films. Nothing ever follows the plan, that's part of the fun, but things can't fall into place with the degree of certainty that happens in most films of this ilk. If you can let those moments go and just sit back for the ride, you will enjoy the little treats along the way, and the song score helps as well. This is a refreshing crowd pleaser that lacks the angst of some of the bigger films out there, but it will go down well with a cold beverage on a summer night. 

Lambcast: The Shawshank Redemption

I told you that there would be more Lambcasts coming down the pike. So here is this Months MOTM at the Lambcast. Lots of love but a little shade gets thrown in as well. Have a listen.

Hereditary

Whenever something comes to you with a great deal of advance hype, it is my advice to ignore it as much as possible. Inevitably one of two things will happen. First, the movie can live up to the hype which is great, but the experience of surprise is diminished and you feel less like the discoverer of something special, and more like another passenger on the hype train. The second outcome is even less satisfying.You find the film a disappointment and you struggle to reconcile the hype with your dissonant reaction to it. A24 Studio has released some films that I really enjoyed, including my favorite film of 2015. "It Comes At Night" was a horror based film from last year that I really liked. Another film that I saw streaming, that was referenced as a endorsement for this film was "The Witch". I was conflicted, because I hated that film. So where does "Hereditary" come down?

In spite of some excellent visuals and disturbing ideas that are very intriguing, as a movie, "Hereditary " ends up in the disappointment column. I was looking forward to this, it is promoted as being truly frightening, and Toni Collette is being given awards, six months before awards season begins. The performance by our lead actress will deserve some attention for sure, but the rest of the movie is a miss. It is bifurcated into a family drama/trauma story and a supernatural possession film. It works pretty well in the former capacity while having great visuals wasted in the later. Maybe I am being influenced by some recent film experiences too much because this movie reminded me of the incoherence of another movie experience I wrote and talked about a couple of weeks ago. An old horror film from 1971 begins incoherently, but as the film moves along, the ideas become a bit clearer so that you can see a plot thread while watching it. "Hereditary" has the same disjointed style but never coalesces into something tangible. I don't think a movie needs to spell everything out for you along the way, but if you want us to care about characters and dread the coming horror, an audience usually needs to figure out where they stand in regards to the events they are watching. I never could make such an inference.

Toni Collette is Annie, an artist who has recently lost her mother, a woman that she had a unsettled relationship with. Annie specializes in making miniatures of homes, museums, theaters etc. She recreates in detail, scenes from everyday like. She is working on multiple projects, one for a museum that she has done work for before, but also a few personal stories are being shrunk down to scale size often with sad detail. The opening of the film draws us into this story by taking us into a miniature of the house she lives in, only the perspective shifts and it is suddenly the real house and her family that we are seeing.  So from the outset, we have no clear idea if what we are watching is supposed to be real, or if it is a visualization of an idea that bounces between reality and one of the art pieces. At any moment, the story feels as if we are in a dream sequence or an extended vision. At one point Annie reveals that she sleep walks and has visions of events that are not real. There are a couple of dream, within a dream moments,and that is also creating uncertainty in perspective. What is nightmare vs. what is real, this is the basis for almost everything that happens in the story. As a result, the vision we get are like the dioramas she is creating, moments in time that may be part of something bigger or simple visions of something unpleasant. Without the ability to trust anything you are seeing, you will likely become a dispassionate observer rather than an empathetic companion to the characters.

My daughter and I discussed this and the analogy that we both felt reflected the story problem was to an essay being written for a college class. Each paragraph has unique points to it, some of which are frightening or disturbing. Another paragraph comes along with a different scenario, and often a different emotional element. The second paragraph has something to recommend it as well but it feels completely disconnected from the preceding material. As the following paragraphs repeat the process, the narrative feels disjointed. In the last paragraph the student tries to pull it all together so that we can see how everything is connected. Maybe in a paper you can get away with that, but when the whole plot of your movie has to be explained in the last two minutes of the film, that simply seems like bad storytelling. Let me illustrate with two episodes from the film. In one scene, there is a character who panics like a normal person would when an emergency occurs. A sudden unexpected development follows, and the traumatized  character is in shock, so much so that the extent of a horrifying accident is only passed on to others by their accidental discovery of it. That scene plays out beautifully, in a horrifying manner that is in fact disturbing. The follow up on it however feels so unreal as to be scripted from a completely different story line.  A second scene results in our main character revealing a personality quirk with another very disturbing story attached to it. It shows us that the character has a tenuous hold on reality. That hold is supposed to be the point of the story, at least that seems where it was headed, but again, we don't get a firm perspective until the end of the movie. Maybe if the film was structured like "Memento", it would work more, but it is put together like a haunting film, but the supernatural elements seem to show up out of left field after the traumatic sequence takes place. That supernatural element feels about a half hour too late.

Every time we start to build some suspense, the moment is undermined by the uncertainty of the character's reality. There are some images that should frighten us, but they have less impact because it could all be a dream again. When Annie creates a diorama of the tragic event from an objectivity point of view, it is a horrifying moment. When she is given a method to reach out to a loved one in the after life, it feels contrived. The other family members are only perceived from her viewpoint for most of the story. When the viewpoint shifts to the other characters, it seems like the film has suddenly changed. The tone is different and unsatisfying. Without a clearer backstory on the family relationships, it is hard to tell if the dynamics are new, problematic or simply typical. In a film like "The Exorcist" the audience participates and empathizes with as well as anticipating events in the characters lives. With "hereditary", I found myself saying "why?", even as I was looking at something that should be a horrifying moment to bring us into the story.

Lambcast: Modern Animation Draft

It is Official Now, I am Co-Host of the Lambcast. Jay Cluitt doesn't want to be burned out by the time he is 33, so he has asked me, a guy twice his age to spell him on a regular basis. I'll be co-hosting or hosting on my own several times this Summer. You will be seeing more posts like this, linking to the Lambcast Podcast. Please take advantage and listen. We usually have a great time talking movies.

This week however it is a Draft Show and all bets are off. It's a competition, so listen to the show and then go vote for the slate [mine] that you think is the best.



Click below to go vote.

http://www.largeassmovieblogs.com/2018/06/vote-for-the-winner-of-the-modern-animation-draft.html

Forgotten Filmcast Podcast: The Brotherhood of Satan

Todd invited me to be a guest on his show again, and we picked a film that let me get in another post for the Strother Martin Film Project.

Stop by and listen for an hour of Satanic horror.

Solo: A Star Wars Story

So, thirty-five years ago tonight, my best friend and I sat on Hollywood Blvd. for more than sixteen hours, waiting in line to get a ticket to Return of the Jedi. A frat guy from UCLA was holding a place for his fraternity brothers and they all crashed the line a couple of hours before the midnight screening, almost starting a small riot. Our wives met us after work and joined us in line so they had been there for six hours, and they were not happy either. We got bumped from the first show and ended up near the front of the line for the 3 am show. That's right, 3 am. After it let out, Art and Kathy wisely went home, Dee and I went around to the front of the theater, got in line again, and went to the 6 am show. We later met Art and Kathy about 2 pm for a show in West Covina. So Three times on opening day, what a bunch of geeks. The world today is soooo different. Pre-opening ticket sales, reserved seats, a screening well before midnight, where did all the stupid fun go?

Tonight we left the house after ten, there was no line up for our showing of "Solo" because we were in a theater with reserved seats, and the suburban crowd was not as raucous as the crowd at the Egyptian 35 years ago. This time I was joined by my wife and my daughter who will turn 30 next month, yikes I am old. I'm not too old however to not enjoy a "Star Wars" film, which I definitely did. "Solo" is a controversial film because of the production disruption, the casting rumors and for some fans, a fatigue around the development of films in this franchise. Forget all of that, taken on it's own, "Solo" is a solid space action film with a central character that we already know about and some side characters that will make the story even more rewarding.

My two major criticisms of the film are easy to knock off at the start. The set up of the character Han and his relationship with Qi'ra is rushed and a bit murky. We are dropped into an action sequence before we have much opportunity to figure out the lay of the land. It is ultimately fine but I don't think it sets up their relationship as well as it needs to be. That's because there is a case sequence and series of action scenes that are visually strong but don't let their characters play off of each other enough to quite pull us into the relationship as much as is needed. The connection between Han and the band of criminals he ends up running with is developed a lot more effectively later on, and the movie gets that the character and not the action should be driving the story. The second weakness I i felt concerns the music. Without the ear friendly themes of John Williams, the music simply fills in spots rather than heightening them. It's only when a well known motif shows up that the score comes alive. I have loved scores by John Powell before, but this just misses being the ear candy that I crave in these movies.

OK, now for the good stuff. This is a caper film with two elaborate heists driving the story. There is a lot of creativity that was put into the visuals in the film, to make those stories interesting. Traditionally, you would have a planning sequence in a heist film and the audience would be let in on the agenda. That way when things go wrong, we will be reacting to the shifts and bumps with the characters. Here the first plan is just laid out quickly to give some context but we are immediately plunged into the action and that is the locomotive for the plot at this point. This is a train heist with a myriad of complications including a rival band of pirates that attempt to steal from the thieves. The action on a freight train in a hostile world in space was elaborate, visually inventive and it allowed for some character development as well. This was the kind of thing that was necessary but missing in the opening section.

The introduction of iconic characters is the strongest element in the film. Han and Chewbacca get connected in a very appropriate manner and one that sets up a relationship that we will see play out over the original films very effectively. There is some great humor in their sequence and the by play that develops between these characters is almost immediately natural. The one character that everyone will be talking about is Lando Calrissian. Donald Glover sparks the scenes he is in in just the same way that Billy Dee Williams did in the two films from the early 80s. He is debonair and clever, but not always as clever as he thinks he is. Some might call his interactions with Han "fan service" but it is exactly the kind of story seed set up almost 40 years ago that we want to see come to fruition, and it is glorious. 

There are some other characters introduced into the story that that make this film a bit more unique. The aforementioned Qi'ra is both a love interest and a potential femme fatale. Dryden Vos is the Jabba like villain who is in the threatening background of the story until the climax when he is much more at the center. Paul Bettany does not get to do much more than wear some scars until the end of the film. Woody Harrelson's Becket is a cipher. Maybe some good in him, certainly some scoundrel, but not the light hearted scoundrel that is out title character. I especially liked the vocal performance of Phobe Waller-Bridge as the droid L3. Her tone matches the quirky and combative nature of this crew member of the team. The relationship L3 has with Lando is both touching and farcical. Along with K-2SO in "Rogue One" and R2D2 with C3PO in the other stories, it seems like the richest characters in this universe may be the droids.

There was a lot of speculation and rumor about Alden Ehrenreich in the lead role. In some quarters it was suggested that the movie was doomed because of his performance and that maybe the two directors who left the project had not done enough to get a solid performance out of him. I don't know what went on before Ron Howard came on the project, but Ehrenreich is great. He looks the part and he can carry off the attitude in a lot of the scenes where he is called on to be both naive and a bit too clever for his own good. That he can hold himself against the charisma of Glover's Lando is enough to tell you he is solid in the part.

Haters are going to be disappointed because this is not the failure that was predicted. This is an entertaining picture, set in the Star Wars universe, and it meets it's objectives. The characters we want are set up for more adventures and they have the personality to succeed. There are subplots that suggest connections to the larger story but they do not dominate the film. Finally, there is a clear atmosphere of fun that is a lot closer to the original film than we have had in any of the contemporary Star Wars movies. Box office watchers will speculate all they like, "Solo: A Star Wars Story" succeeds as a movie, whether or not it outpaces, lags behind or matches any other Star Wars films or expectations.