Authors: Walter Chaw Archives - Page 34 of 146

Alien: Covenant (2017)

May 19, 20172017, Authors: Walter Chaw, Directors: Ridley Scott, Horror, Sci-Fi, Theatrical, Thriller

*/****
starring Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride
screenplay by John Logan and Dante Harper
directed by Ridley Scott

by Walter Chaw When you call your film “Prometheus,” you’re borrowing centuries of critical thought, grafting yourself to the idea of the ascension of Christianity on the backs of vanquished pantheons and suggesting the mischief in stealing the light of Heaven (the better with which to build your own unholy automatons). Mary Shelley knew this when she subtitled Frankenstein “Or, the Modern Prometheus,” and Ridley Scott knew this, too, when he partnered with everyone’s favourite half-assed theologian/philosopher/one-eyed king Damon Lindelof to make a prequel to one of his two or three movies that are worth a damn, Alien. Not content to leave well enough alone, Scott is back with Alien: Covenant (hereafter Covenant), whose title invokes either a promise made by God as represented by Jesus’s crucifixion in the Christian New Testament, or the promises God makes in the Old Testament to Noah, Abraham, Moses, and David–each of which, Christians may tell you, predicts the New Covenant. The old ones were written in stone, you see, but the new one is written on your heart. Another Shelley, Percy, makes a cameo in this one as his “Ozymandias” is recited at some length, reminding mainly that it was used better, and more subtly, in “Breaking Bad”. There, it was assumed the viewer knew the piece in question. The film narrates it. It’s the difference between being respectful of your audience, and being a pretentious dick.

King Arthur: Legend of the Sword (2017)

May 14, 20172017, Action, Adventure, Authors: Walter Chaw, Drama, Fantasy, Theatrical

***/****
starring Charlie Hunnam, Astrid Bergès-Frisbey, Djimon Honsou, Eric Bana
screenplay by Jody Harold and Guy Ritchie & Lionel Wigram
directed by Guy Ritchie

by Walter Chaw This is the part where I confirm I've read my Malory and Pyle, my T.H. White, of course. That I've seen Excalibur and Monty Python and the Holy Grail and The Sword in the Stone and any number of First Knights, including even Unidentified Flying Oddball, which I loved when I was a kid easily-scarred by that weird android doppelgänger of Dennis Dugan's wayward astronaut. I was a big fan, too, of Choose Your Own Adventure #86: Knights of the Round Table. In other words, one of the most popular Western myths went pile-driving through the three decades of my relative cultural sentience. When I had a brief obsession with WWII, I brushed up on all the literature just to better understand why the British saw Churchill as the Once and Future King. Just last year, one of 2016's best films, Jackie, featured an extended sequence in which the titular widow wandered through the White House listening to the score from Camelot. Even my early Lego fantasies with the Castle playsets featured an adultery subplot where my French best friend made off with my Queen. I'm not a fan, then, so much as a victim of the mythology's ubiquity.

Snatched (2017)

May 14, 20172017, Action, Authors: Walter Chaw, Comedy, Theatrical, ZERO STARS

ZERO STARS/****
starring Amy Schumer, Goldie Hawn, Joan Cusack, Ike Barinholtz
written by Katie Dippold
directed by Jonathan Levine

by Walter Chaw Snatched is an unbearable piece of shit about an unbearable piece of shit (Amy Schumer) and her mother (Goldie Hawn), who get kidnapped for ransom in Ecuador and eventually escape into Colombia. Being an unbearable piece of shit is, of course, Amy Schumer’s shtick, and she plays it to the hilt here as Emily, a self-absorbed, selfie-obsessed piece of shit who gets dumped by her boyfriend (Randall Park, describing their respective career trajectories in his only bit of dialogue) after losing her job. Said boyfriend is a rocker about to go big and be inundated with “hundreds of pussies,” breaking the ice on the vagina jokes that begin with the title, sort of, and continue more or less unabated for ninety interminable minutes. Fans of Schumer will be reminded that her vagina smells like soup. It occurs to me that the only way this film could have been good would be if Tom Green were starring in it and it was twenty years ago. Tom Green was brave. Amy Schumer is not brave.

Guardians of the Galaxy Vol. 2 (2017)

May 4, 20172017, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Superhero, Theatrical

**/****
starring Chris Pratt, Zoe Saldana, Dave Bautista, Kurt Russell
written and directed by James Gunn

by Walter Chaw Twice as desperate/half as good, James Gunn’s Guardians of the Galaxy Vol. 2 (hereafter GOTG2) is still sort of fun even if the moments of delirious, spontaneous joy we’d come to know from the previous film are few and far between. Arguably, only the opening title sequence, which seems to make sport a little tiny bit of the marketing insanity around “Dancing Baby Groot,” really hits the right balance of self-knowledge and sticking the landing. Consider, though, that even in that sequence there’s too long spent on the same “stoplight” gag from the first film’s mid-credits scene where Groot (voiced by Vin Diesel) stops dancing whenever Drax (Dave Bautista) looks at him. When you’re making a hip in-joke reference to a stinger buried in the end titles of your prequel, you’ve gone deep into the post-modern. Absent, too, for the most part, is the ease of “Vol. 1″‘s familial subplot, dragged as it is into the foreground and forced into exposition as each troubled member of the titular gang has a moment to wax eloquent (and at length) about how they only ever wanted a dad/sister/family/daughter/wife/son/I get it already. What’s left is a movie that feels arrogant, somehow, as though it knows by its nature that it’s critic proof and will make a bajillion dollars and is now the 800lb gorilla in the Marvel room. Just exactly like that, come to think of it.

Hidden Figures (2016) – Blu-ray + DVD + Digital HD

April 19, 20172016, 2017, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD

*/**** Image A- Sound A Extras B+
starring Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner
screenplay by Allison Schroeder and Theodore Melfi, based on the book by Margot Lee Shetterly
directed by Theodore Melfi

by Walter Chaw Theodore Melfi’s Hidden Figures is so inextricably bonded to the rote motions of awards-season biographical uplift melodrama that it functions as proof of a template studios give to directors who won’t kick too much about art and individuality and expression and all that high-falutin’ stuff. Better, it’s proof of an attachment that fits onto the Studio sausage press ensuring that all the mashed and salted discards are extruded in the proper proportion into the collective cow gut. Hidden Figures is the story of three African-American women in the 1960s who go to work for NASA’s Mercury program in the days after the Sputnik launch. It talks about how they’re brilliant but forced to pee in segregated bathrooms; how they’re proud family women but treated like second-class citizens or worse. It positions a white man of power who sees their value all the way through to letting one of the ladies be a co-author on a report she seems to have written herself. It has the end-credits thing where pictures of the real women whose stories the movie ostensibly tells are shown with titles detailing the horrific shit they endured to get their names on a building. Well, one of them anyway. It even has that thing in movies about numbers where there’s a lot of running to try to make math exciting to watch. What it doesn’t have is any lingering impact whatsoever: no gravitas, no surprise, no interest, nothing. The only thing to say about Hidden Figures, really, is that if you spend time praising it, you’re being patronizing–and that is the very definition of irony.

Collateral Beauty (2016) – Blu-ray Disc

April 9, 20172016, 2017, Authors: Walter Chaw, Blu-ray Disc, Drama, Esoterica, Will Smith, ZERO STARS

ZERO STARS/**** Image A+ Sound A Extras F
starring Will Smith, Edward Norton, Keira Knightley, Helen Mirren
written by Allan Loeb
directed by David Frankel

by Walter Chaw Collateral Beauty is the conversation you had that one time with the stupidest person you’ve ever met, in that it’s so stupid it poses an existential problem for you. It happened to me once when, as a bartender, one of the waitresses asked me with concern how she could transform the Coke float she’d ordered into the Sprite float the customer had ordered. I didn’t know. I still don’t. And not having the answer to a question posed by the stupidest person you’ve ever met is horrifying. It’s like you come home one day and your guinea pig greets you with a zen kōan. It’s Kafka’s great unwritten tale. It’s Collateral Beauty: a question with no answer posed by the stupidest movie ever made. Really, the only solution is to dump it out and start from scratch. Collateral Beauty is about grief, sort of, and gaslighting, and it’s shot like a visit to Whole Foods in the sense that it’s burnished with a classy patina and full of pretty people you’d like to be. Then you get to the checkout lane and it’s too much, but you’re too embarrassed to put anything back. Also, the food tastes like ass.

Rogue One: A Star Wars Story (2016) – Blu-ray + DVD + Digital HD

April 7, 20172016, 2017, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Sci-Fi, Star Wars

Rogue One
***½/**** Image A Sound A Extras B-
starring Felicity Jones, Diego Luna, Ben Mendelsohn, Alan Tudyk
screenplay by Chris Weitz and Tony Gilroy
directed by Gareth Edwards

by Walter Chaw A deep cut for Star Wars fanatics, Gareth Edwards’s Rogue One: A Star Wars Story also happens to be the single most topical fiction of 2016, talking as it does–in bold, melodramatic strokes befitting a space opera–about the importance of rebellion in the face of fascism. “Order,” says Empirical stooge Krennic (Ben Mendelsohn). “Terror,” corrects brilliant weapons engineer Galen (Mads Mikkelsen). And the representative of the fascist regime smiles, as though it were all just a matter of semantics, this idea that terror and order are opposite sides of the same devalued coin. He’s engaged in a kind of political double-speak, in gaslighting–things that until this year were the scourge of banana republics and other backwards backwaters. The Empire that Krennic represents needs Galen to help them complete their Death Star superweapon, with the ’80s-era Reagan/Thatcher rationale that overwhelming destructive deterrents are the only way to truly keep the peace. Galen is compelled to cooperate to keep his daughter, Jyn (Felicity Jones), safe and anonymous in the protection of violent revolutionary Saw (Forest Whitaker). The rest is Jyn’s quest to clear her father’s name by stealing plans for the Death Star and delivering them to a fractured resistance that isn’t entirely sure if it wouldn’t be a good idea to give the Empire a chance. You know, maybe they won’t do all the things they said they were going to do?

Ghost in the Shell (2017)

April 1, 20172017, Action, Authors: Walter Chaw, Canada, Crime, Drama, Mystery, Scarlett Johansson, Sci-Fi, Theatrical, Thriller

**½/****
starring Scarlett Johansson, ‘Beat’ Takeshi Kitano, Michael Carmen Pitt, Juliette Binoche
screenplay by Jamie Moss and William Wheeler and Ehren Kruger, based on the comic “The Ghost in the Shell” by Shirow Masamune
directed by Rupert Sanders

by Walter Chaw Emily Yoshida, in an article for THE VERGE addressing the outcry over the casting of Scarlett Johansson in Ghost in the Shell, has the last word on the topic as it pertains to anime in general and Mamoru Oshii’s seminal original in particular (an adaptation of a popular manga to which most casual fans in the West won’t have been exposed). She provides a stunning, succinct historical context for Japanese self-denial and the country’s post-bellum relationship with technology, then writes a review of this film in which she systematically destroys it for its essential misunderstanding of the source material. I agree with every word. I learned a lot. And I still like the new film, anyway. I think Ghost in the Shell is probably fascinating in spite of itself and because the environment has made it dangerous for pretty much anyone to discuss what its critics (not Yoshida, per se) wish it did. I like it because its production design is beautiful and I like it even though it’s basically a RoboCop port that takes the American attitude of being horrified by technology rather than the Japanese one of being largely defined by it. It’s puritanical. It was interpreted, after all, by a country founded by Pilgrims. Ghost in the Shell often doesn’t know what to do with the images it’s appropriating, and when push comes to shove, the dialogue falls somewhere between noodling and empty exposition. Still, there’s something worth excavating here.

20th Century Women (2016) – Blu-ray + Digital HD

March 27, 2017****/****, 2016, 2017, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, FFC Must-Own

20thcenturywomen2

****/**** Image A Sound A Extras B-
starring Annette Bening, Elle Fanning, Greta Gerwig, Billy Crudup
written and directed by Mike Mills

by Walter Chaw Mike Mills’s 20th Century Women is beautiful for the way that it listens. It hears how people talk, and it lets them. It watches the way people interact and allows that to speak volumes for them. It’s a film, like so many lately, about communication. There’s a moment, late, where a young man–a boy, really–says to his mother that he’s an individual: “I’m not all men, I’m just me.” And she says, “Well… yes and no.” It’s a beautiful exchange, performed exquisitely, timed perfectly. It’s sublime, not the least for being smart and dead-on. Kind and pointed and impossibly eloquent about certain uncomfortable truths, 20th Century Women is an invitation to have ultimate conversations about how we ruin our children with our best intentions and how that has always been so and will always be so. In multiple interludes, Mills speeds up the film, blurring the action with lighting effects and throwing in archival images while including narration like “the world is very big.” It is. The picture holds to the idea that the world is incomprehensible and that we’re acted on by forces we cannot control–and at the end of it, after we’re gone, it goes on without having known we were there. There’s a certain piquancy to that that needs to be earned, and is earned.

Personal Shopper (2016)

March 24, 2017****/****, 2016, 2017, Authors: Walter Chaw, Drama, France, Germany, Horror, Mystery, Theatrical

****/****
starring Kristen Stewart, Lars Eisinger, Sigrid Bouaziz, Anders Danielsen Lie
written and directed by Olivier Assayas

by Walter Chaw There’s a brilliant song by Patty Griffin called “Every Little Bit” that, among other piquant turns of phrase, includes the lyric “I still don’t blame you for leaving, baby, it’s called living with ghosts.” At around the 30-minute mark of Olivier Assayas’s Personal Shopper, our survivor Maureen (Kristen Stewart) tells a confidante she had made a vow with her late twin brother to make contact from beyond the grave should one pre-decease the other. “And then?” he asks. “I guess I’ll live my life and let it go.” Then a long, gliding shot of Maureen riding her moped through the Parisian nighttime scored to simple, haunted strings that are augmented towards the end of the sequence by percussion, which reveals itself to be a pencil against parchment. Maureen works as a personal shopper for a German fashionista who never seems to be home. In her off moments, she helps her brother’s “widowed” girlfriend Lara (Sigrid Bouaziz) try to suss out if his ghost is unquiet and lurking in the house they shared. Maureen’s a medium, you see, or at least she and her brother played at being mediums–a morbid pastime informed by a heart ailment, unpredictably mortal, shared by the siblings. A doctor warns her against any strenuous activities or emotions. She’ll suffer both before the end.

Beauty and the Beast (2017)

March 21, 20172017, Authors: Walter Chaw, Disney, Family, Fantasy, Musical, Romance, Theatrical

*/****
starring Emma Watson, Dan Stevens, Luke Evans, Emma Thompson
screenplay by Evan Spiliotopoulos and Stephen Chbosky and Bill Condon, based on the screenplay by Linda Woolverton
directed by Bill Condon

by Walter Chaw Three cheers for Disney’s dedication to diversity. I saw a production of “A Christmas Carol” last year with a fully integrated cast. It made no sense, but hooray for diversity at any cost, even at the expense of sense–even at the risk of self-parody. Even when it doesn’t move the ball, necessarily. I’m not talking about making Gaston’s fawning sidekick LeFou (Josh Gad) overtly gay instead of merely coding him as such, I’m talking about making every other person a person of colour for the express purpose of being on the right side of some imaginary, constantly-moving but unforgiving line in history. Sometimes, it’s a good thing; sometimes it feels desperate; and sometimes, it’s just premature. When it’s good, it looks like Disney’s Rogue One, where the diversity spoke to oppressed cultures revolting against a fascist, white-nationalist regime. When it’s not good, it looks clueless. We’re not a post-racial society; presenting us as such, burdened as it is by the damning weight of good intentions, comes with the danger of excreting another Cloud Atlas fantasy–the type of movie the white people in Get Out would make: tone-deaf and offensive at worst. Or, as with this live-action Beauty and the Beast, just sort of silly and twee.

Kong: Skull Island (2017)

March 13, 20172017, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Theatrical

*/****
starring Tom Hiddleston, Samuel L. Jackson, John Goodman, John C. Reilly
screenplay by Dan Gilroy and Max Borenstein and Derek Connolly
directed by Jordan Vogt-Roberts

by Walter Chaw The thing about porn flicks is that few visit them for their plot and characterizations. Enter Kong: Skull Island, monster porn in which a group of people visit the titular monster on the titular island and witness monster-on-monster violence in a series of very expensive-seeming and escalating tableaux. This is, in and of itself, neither indictment nor recommendation, just observation that porn is good for two things: jerking-off and sociological ruminations. Some would say those are one and the same; I would say that if you want to know what a society is concerned about, you could do worse than vet popular porn categories. I would also offer that the topic of miscegenation, which the vast majority of folks pretend not to think about very much, appears to be of primary importance when it comes to pornography. Many porn actresses, in fact, delay their first “interracial” (code for white women with black men, generally) scene until after they’ve sold their amateur and anal statuses. It’s the last taboo before there are no new lands to conquer. And, for the most part, porn plays into that trepidation as a product of the standard social stereotype of black men having larger dicks and a greater level of commensurate sexual savagery than their meeker Caucasian counterparts. Let’s not even talk about the cashew-hung Asian. Ditto, there doesn’t seem to be much of a mainstream market for black porn actresses (over-sexed), though Asian women do attract a premium for the mystique afforded them in South Pacific brothels during WWII. No study of primatology is complete without a careful survey of their sexual proclivities, after all.

Moana (2016) – Blu-ray + DVD + Digital HD

March 13, 20172016, 2017, Adventure, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Disney, DVD, Family, Musical

Moana1

**½/**** Image A+ Sound A Extras B
screenplay by Jared Bush
directed by Ron Clements & John Musker (co-directed by Don Hall & Chris Williams)

by Walter Chaw Arguably, the only place it really matters in terms of the diversity tango in Disney’s new animated musical Moana is in the songwriting and voice-acting, and so although there are only white people directing (four credited directors) and writing (eight credited scenarists), find Opetaia Foa’i and Lin-Manuel Miranda behind the music and Dwayne Johnson and Auli’i Cravalho behind the Pacific Islander characters. This is progress. Also progress is what seems, to this non-Polynesian, like a real effort to not appropriate a culture so much as represent its mythology, tied as it must be to a narrative about a young woman, Moana (Cravalho), a stout Disney heroine of that certain mold for whom adventure calls, declaring her independence from the patriarchy. We’ve seen her before, is what I’m saying, but she’s neither sexualized nor given an aspirational mate/therapeutic marriage. Progress. I’ll take it. There’s even a moment where demigod Maui (Johnson) makes a crack about Moana being in the Disney canon. Progress? Self-awareness, at least. I’ll take that, too. What’s unfortunate is that for everything that’s very good about the film, there’s something very familiar. The argument should probably be made that familiarity is the sugar that helps the medicine of its progressive elements go down. It worked for The Force Awakens.

Rules Don’t Apply (2016) – Blu-ray + DVD + Digital HD

March 2, 20172016, 2017, Authors: Bill Chambers, Authors: Walter Chaw, Biopic, Blu-ray Disc, Comedy, Drama, DVD, Romance

Rulesdontapply3

*/**** Image A+ Sound A+ Extras C+
starring Warren Beatty, Annette Bening, Matthew Broderick, Lily Collins
screenplay by Warren Beatty
directed by Warren Beatty

by Walter Chaw The title refers to Howard Hughes, I think, and becomes a song its ingénue sings a couple of times over the course of the film. Moreover, it refers to Warren Beatty at this point in an extraordinary career that began in the New American Cinema and that wave of Method actors filling in the spaces left behind by the Golden Age. He was impossibly beautiful, and played against it whenever he could. He was whip-smart. Unabashedly political. Unapologetically a legendary philanderer who made perhaps his greatest single impression on my generation with a surprise cameo in then-girlfriend Madonna’s documentary monument to herself, Truth or Dare. Any investigation, though, finds that Beatty is a definitive voice of a definitive moment in the cinematic history of the United States. It’s been fifteen years since his last film as an actor, twenty as a director. In the meantime: rumours and speculation about this long-gestating production–his dream project, the culmination of a storied career behind and in front of the camera. And now here it is, Rules Don’t Apply, and it’s exceedingly uncomfortable, a film that leaves Beatty, acting here as co-star, director, producer, and credited screenwriter, exceptionally vulnerable. As capstones go, it’s an interesting one.

Get Out (2017)

February 25, 20172017, Authors: Walter Chaw, Horror, Mystery, Theatrical

***/****
starring Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford
written and directed by Jordan Peele

by Walter Chaw It’s the easiest thing in the world to make a movie about bigots; it’s a lot harder to make a movie about liberals who mean well, but are feckless elites who not only don’t make things better, they actually, through their platitudes and paternalistic attitudes, make things worse. It’s about money. If anything has been confirmed beyond a shadow of a doubt, it’s that everything’s about money. The villains of Jordan Peele’s directorial debut Get Out aren’t white people–they’re rich white people. (Its closest analogue is Brian Yuzna’s Society.) A movie about white privilege, it’s a comedian’s film in that, like the best comedians, it recognizes some awkward truisms and makes them manifest in a situation that builds on itself. This is a great set. It gets on a roll. Its central riff is a complicated one: rich white liberals are so detached and alien that through their best intentions, they’re actively responsible for the continued oppression of minorities in the United States. There was a string of films in 2016 that raised this as a possibility (I Am Not Your Negro and OJ: Made in America high among them), but in Get Out the idea has found its natural home in the horror genre. The bookend to Romero’s Night of the Living Dead, it even shares the same set-up for a radical “down” ending. The decision Get Out makes at that terminal crossroads says everything. It’s a challenge to the audience to check their own attitudes about how black men are demonized in our culture: abusers of white women, sexually threatening to white men, and murderers of both; angry and bestial.

The Great Wall (2016)

February 22, 20172016, 2017, Action, Adventure, Authors: Walter Chaw, China, Fantasy, Theatrical, Thriller

*½/****
starring Matt Damon, Jing Tian, Pedro Pascal, Andy Lau
screenplay by Carlo Bernard & Doug Miro and Tony Gilroy
directed by Zhang Yimou

by Walter Chaw Gloriously, fantastically stupid from beginning to end, Fifth Generation legend Zhang Yimou’s The Great Wall is also, you know, not terrible on the grand scale of terrible things. The popular narrative around this picture is the casting of Matt Damon as some sort of “white saviour” in a film about China’s most notable architectural achievement–except that it’s not really about the Wall and Damon doesn’t really save anything, though he does put to rest any sort of debate about whether or not he’s a credible action star…or even star star. He tries on an Irish accent here that consists mainly of his trying to talk around a marble. That is, when he remembers he’s supposed to be doing an accent. It’s Kevin Costner-as-Robin Hood levels of comically horrific, and, just like Costner’s Robin Hood: Prince of Thieves, The Great Wall is an attempt to grit-up and culturally contextualize some ridiculous rural folktale. The folktale, in this instance, is Zhang’s own classic Red Sorghum, which earned him some trouble upon release because of its depiction of the old men running the Chinese government as senile, corrupt, and perverse. Indeed, The Great Wall depicts Chinese leadership as tradition-bound in a bad way, its “emperor” figure a child hiding behind his throne. It wouldn’t be much of a stretch to see the monstrous child in Red Sorghum grown into this pathetic figure of a leader. If the film weren’t so stupid, in other words, it would probably have gotten Zhang in trouble again.

Manchester by the Sea (2016) – Blu-ray + DVD + Digital HD

February 20, 2017****/****, 2016, 2017, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD, FFC Must-Own

Manchesterbythesea

****/**** Image A- Sound A Extras B-
starring Casey Affleck, Michelle Williams, Kyle Chandler, Lucas Hedges
written and directed by Kenneth Lonergan

by Walter Chaw Kenneth Lonergan is a brilliant writer who specializes in small interpersonal moments. His plays are extraordinary. The two previous films he directed, You Can Count on Me and Margaret, are masterful portraits of human failure and weakness. He is a poet of imperfection and imperfect resolution. Margaret gained attention for the lengths to which Lonergan fought for a cut that exceeded a contracted-upon two-and-a-half-hour running time. Martin Scorsese, with whom Lonergan collaborated on the script for Gangs of New York, helped facilitate a 165-minute cut that, to my knowledge, has never been screened. When Margaret finally hit home video after a swell of support from online advocates, the long version had inflated to 186 minutes. I’ve only seen the theatrical and extended cuts of the film. I love them both. I rarely wish movies were longer; Lonergan’s are the exception. That has something to do with his writing, of course, and something to do with his casts, who, to a one, have contributed extraordinary work–perhaps the best work of their careers. Crucially, Lonergan trusts them to deliver his words. He doesn’t garnish them with gaudy camera angles, or underscore them with expository soundtrack cues. Mark Ruffalo once said of Lonergan, affectionately, that the playwright was only playing at being humble. For me, however Lonergan is with other people, his humility comes through in the extent to which he allows his actors to do their job.

A Cure for Wellness (2017)

February 19, 20172017, Authors: Walter Chaw, Esoterica, Germany, Horror, Mystery, Theatrical, Thriller

***/****
starring Dane DeHaan, Jason Isaacs, Mia Goth
screenplay by Justin Haythe
directed by Gore Verbinski

by Walter Chaw Gore Verbinski’s A Cure for Wellness is lurid unto beautiful, exquisite pulp, just barmy enough to attract a cult and just smart enough to deserve it. The central conceit is that humans are only really good as biological filters for pollutants; in place of the batteries of The Matrix, the film sees people as distilleries for some sort of immortality potion. The process kills them. I learned when I was young that rabies is a kind of fear of water: its sufferers die of thirst even surrounded by water. The old, rich, white/white-collar victims of A Cure for Wellness entomb themselves in an alpine sanatorium invested in hydrotherapy in hopes of feeling, you know, better. Their sickness is of the soul, alas. The irony of the water cure offered by their ostensible saviours is that the patients become desiccated, mortally. There seems to be a message in there about how the illness of soulless acquisition is self-inflicted, and the amount expended in solution only exacerbates it. Money is bad. The making of it is incestuous, perverse, and insatiable. It’s a strange thing to say in a movie that cost a lot of money, but the point is well taken. Especially now.

John Wick: Chapter 2 (2017)

February 15, 20172017, Action, Authors: Walter Chaw, Crime, Theatrical, Thriller

***½/****
starring Keanu Reeves, Common, Laurence Fishburne, Ian McShane
written by Derek Kolstad
directed by Chad Stahelski

by Walter Chaw There’s something of Highlander in John Wick: Chapter 2, this idea that there are people-looking things walking among us, wrestling for control of something, jockeying for arcane positions in mysterious hierarchies. It’s disturbing in the best way; dislocating, world-building. It’s what makes stuff like The Matrix work, the suggestion that there’s a reality underlying ours–and in a scene among pigeons on top of a New York tenement, the film features a Matrix reunion where Morpheus (Laurence Fishburne) greets Neo (Keanu Reeves) with a “been a long time” nod. John Wick: Chapter 2 is meta in a way that fits exactly right into the feeling of a picture that spends most of its time building on the alternate universe introduced in the original. It’s aligned right there with M. Night Shyamalan’s Split and the possibility that there are comic-book worlds outside of DC and Marvel and they’re, what’s the word? They’re amazing.

The Lego Batman Movie (2017)

February 12, 20172017, Action, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Superhero, Theatrical

*½/****
screenplay by Seth Grahame-Smith and Chris McKenna & Erik Sommers and Jared Stern & John Whittington
directed by Chris McKay

by Walter Chaw Ugly, loud, twenty minutes too long, and half as clever as it thinks it is, Cartoon Network stalwart Chris McKay’s The Lego Batman Movie is saved from becoming something other than Shrek: Longform Commercial by a single scene that demonstrates a genuine emotional knowledge of the Batman character: Batman (a returning Will Arnett), after a long day of antic motion, stays up by himself in his immense, empty home, gazing at a picture of his dead parents and wishing they could have seen how he turned out. It happens early, though, and the rest of the picture’s content to make fun of DC lore (“It’s worth a Google!” says Joker (voiced by Zach Galifianakis), having listed a few of the stupider villains in Batman’s rogue’s gallery) while attempting occasional earnestness here and there along the long road to the standard kid-fare message of “family is where you find it.” The Lego Batman Movie is both fan-pleasing and self-loathing, placing it in the company of the wave of faux-nostalgia garbage millennials wear now like that tenth-generation McGinty claiming Irish heritage on St. Patrick’s Day. A low bar for inauthenticity, and by the third or fourth joke about how corny the old TV show is, you remember the old TV show had more meta intelligence in any ten minutes of a given episode than the whole of this exhausting exercise.