Posts Tagged ‘tom holland’

Who’da thunk it — apparently all it takes to get the “Marvel Zombie” crowd to like Spider-Man flicks again is to bring ’em under the banner of the MCU. Or is it?

To be sure, director Jon Watts’ Spider-Man : Homecoming theoretically should give the fans that were pissed off about Sony still holding the cinematic rights to their favorite web-slinger everything they want : it’s fairly light-hearted, reasonably fun, well-cast, and directed in the sort of unimaginative, risk-averse “house style” first laid down by talentless hack Jon Favreau (who’s on hand here as Peter Parker’s Stark Industries “handler,” Happy Hogan) in Iron Man and since followed to a proverbial “T” by all Marvel movie product. Sure, plenty of liberties are taken with Spidey’s origin story — no mention of Uncle Ben, no talk of great power going hand-in-hand with great responsibility, Tony Stark (the by-now-perpetually-annoying Robert Downey Jr.) is shoved into the proceedings for, let’s be honest, superfluous at best reasons — but hey, them’s the breaks when you’re trying to shoehorn Marvel’s most famous character into their interconnected universe this late in the game. And besides, none of those changes seem seem to really bother the die-hards, because at this point it’s all about brand loyalty for them more than it is a franchise staying true to its roots.

A funny thing happened on the way to this flick taking in its inevitable billion dollars at the worldwide box office, though : a not-inconsiderable percentage of the very troglodytes Marvel Studios and Sony hoped to win back with their new co-production deal turned on the so-called “House Of Ideas” in a big way.

The reasons for this are as simple as they are simple-minded, and so pathetic I don’t wish to go into them in great detail — suffice to say a quick Google search for “SJW Marvel” will turn up any number of mouth-foaming rants, either of the written, spoken, or streaming variety, featuring emotionally and intellectually stunted middle-aged white guys bitching about the fact that their once-favorite entertainment conglomerate has become “too political,” “too liberal,” “too preachy,” “too PC,” etc. Yes, apparently the company that has for decades produced — and continues to produce — mind-numbingly stupid comics and films featuring reactionary bloodthirsty vigilantes such as The Punisher, Wolverine, Bullseye, Foolkiller, etc. just isn’t right-wing enough for the “Make Marvel Great Again” crowd.

Then again, making Marvel “great” isn’t what they’re concerned about in the least — the post-Kirby Marvel comics they grew up reading and now speak of in reverent whispers were anything but. In fact, by and large, they sucked. But, Captain America sidekick The Falcon aside, they were essentially all-white stories, and these days, with characters like a Muslim-American Ms. Marvel, a female Thor, an equally female Wolverine, a black and female Iron “Man,” etc. running around, things are getting a bit too diverse for the “Trump troll” segment of fandom.

So what’s any of this got to do with Spider-Man : Homecoming, you ask? I mean, didn’t we already establish that no one’s really complaining about the “updated” take on the character? Hell, aren’t some of these 40-year-old virgins downright thrilled about Aunt May being a good three decades years younger than she’s ever been and played by Marisa Tomei?

Well, yeah, they are — and they generally seem to be in agreement that the new tech-savvy version of the villainous Vulture, as portrayed by Michael Keaton (who’s punching way below his weight class in a second-fiddle role) is an A+ baddie and that Tom Holland hits the nail on the head in his infectiously likable turn as Peter Parker/Spidey (although for my money Pete should always be a little bit of a self-absorbed, self-pitying jerk, and Andrew Garfield got that part of the character exactly right) — what they don’t like is that he’s got a crush on a black girl (Laura Harrier’s Liz) and that another black girl (Zendaya’s Michelle/ M.J.) has a crush on him. They seem far less than thrilled that Pete’s best buddy, Ned (played by Jacob Batalon) and arch-rival Flash (Tony Revolori) are “insufficiently” Caucasian, as well, but that’s nowhere near as large and affront to these knuckle-dragging cretins than even largely- unrequited interracial romance is. Kinda makes you wonder if they’ve got got some issues they don’t wanna deal with, doesn’t it?

In point of fact, these supposed ” old-school purists” (or maybe that should just be racial purists) — who, again, voice little to no objection to any of the other, much more significant, alterations made to the franchise they claim to revere — have even taking to calling this film “SJW Spider-Man,” even though, in the chickenshit tradition of the MCU, nothing like an even remotely political statement is made by anyone in the movie at any point. Hell, in the overall scheme of things Mary Jane’s name being changed is probably a “bigger deal” than her race being changed given that Peter Parker lives and goes to school, as is customary for the character, in Queens, and there just plain is no such thing as an all-white, or even a majority-white, high school in Queens anymore. If you don’t like that fact, then don’t venture outside of Kentucky, or Alabama, or wherever the hell you’re broadcasting your racist YouTube screeds from, but don’t blame either Sony or Marvel (a phrase you’ll never hear me say again, I promise) for providing an entirely realistic 21st-century supporting cast for their newest star-in-the-making.

And while we’re at it, let’s acknowledge that Liz’s race goes some way toward helping the more-clever-than-these-things-usually-are script keep its massive third-act plot twist a secret. I’ll say no more for fear of offending the “spoiler police,” but for those of you who’ve seen this flick already, well — you know what I’m talking about. It’s a genuinely surprising twist that I sure as hell didn’t see coming, and neither did you.

Add in the aforementioned very-good-too-terrific acting, solid CGI work, some flawlessly-timed laughs (many coming our way courtesy of Chris Evans), and numerous well-shot-and-choreographed action scenes, and what you’ve got here — and I risk my “Marvel-hater” reputation by saying this, I know, but — is an enjoyable, if flawed, summertime popcorn flick. Sure, quality veteran performers like Tyne Daly and Bokeem Woodbine are utterly wasted in go-nowhere roles, and sure, there’s nothing happening here that breaks the MCU mold, and sure, the rank hypocrisy of those who praise this film to high heavens after bad-mouthing, and in some cases even boycotting, the frankly superior The Amazing Spider-Man (I’m only talking about the first one, mind you) is annoying as all get-out, but hey, who are we kidding? These things are what they are. And for what it is, Spider-Man : Homecoming isn’t too shabby at all.

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Writing reviews of these Marvel flicks really ought to be fairly easy at this point since they can more or less all be summed up with “if you like this sort of thing, then you’ll like this one, too” — and while that’s as true as ever in the case of the just-released Captain America : Civil War, there’s plenty on offer here worth commenting on in a bit more depth, much of which isn’t taking place on the screen at all. So let’s dive into that first, shall we?

Make no mistake — the latest entry into the so-called “MCU” had a big opening weekend and looks set to make its parent company plenty of money. But a number of box office websites projected it to do considerably more business right out of the gate, and keep in mind that those figures are usually adjusted downwards thanks to pressure from studio executives. As just one example, boxoffice.com was going with a projected figure of $214 million for opening weekend, and you can bet that means their initial, un-publicized projections were more in the neighborhood of $220 million. As receipts started to be tallied up, they revised that figure down to $185 million, then down to $181 million come Sunday evening. Final score once actuals were totaled up? $179 million, good enough for the fifth-best opening weekend of all time, but lower than both Avengers and Avengers : Age Of Ultron. This final figure is certainly nothing to sneeze at, of course, but frankly much more impressive is how the Disney PR machine immediately leapt into action, emphasizing that it was a 90% stronger opening than the previous entry in the series, Captain America : Winter Soldier (which opened on a Wednesday in fucking April), rather than comparing it to the opening numbers for the two Avengers films, which is what they were saying the first-weekend box office take for this one would be more in line with before it, ya know, actually opened.

So, the good news for Dis/Mar is that Captain America movies (although this is one in name only given that Cap is hardly anything like “THE” central character — he’s more “A” central character) keep on making more money every time — the bad news is that Avengers movies (which, they were right, is essentially what this is) keep on doing incrementally worse. To provide some recent context (that also shows the efficacy of Disney’s largely-unpaid internet “spin” legion): the March 25th weekend opening of Batman V. Superman took in only $13 million less than did Captain America : Civil War, and all the talk within X-amount of days was about how that “under-performed” compared to expectations — even though its $166 million take was well ahead of the $140 million-ish figure most of the box office sites were projecting. I know that six weeks is ancient history in today’s world, but the simple truth is that Batman V. Superman was considered a rousing success — for all of about a week. It wasn’t until it suffered a 71% decline in its second week thanks to negative word of mouth (some sincere, some orchestrated by Disney brass) that talk of what a “failure” it was began to be taken seriously. For the record, to date BvS has made almost $870 million worldwide, and while Civil War is currently sitting around $700 million after just two weeks of release (it opened in many European and Asian markets before the US/North America — go figure) and will almost certainly pass Zack Snyder’s blustery-but-stylish romp within a week or two given that its week-to-week dropoff will almost certainly be much smaller, chances still seem fairly good that it also may not make it to a billion during its theatrical run (in fact, I’m betting it tops out around $930-$940 million) — and given that BvS will probably squeak just past $900 million between the few weeks it’s got left at the first-run theaters and its inevitable follow-up stint at the discount houses, there’s a very real chance that less than $50 million will be all that separates the “amazingly successful” Civil War from the “disappointing” Batman V. Superman. Considering that both films had budgets reported to be in the $250 million range and that each studio is said to have shelled out somewhere around $200 million on publicity to hype their product, Disney is still going to come out ahead of Warners on their big-budget superhero mash-ups for 2016, but not by a whole lot. Still — it’s funny how the “spin game” works, is it not? Once again, a few free preview passes and a few empty promises about “potential future visits to the set of one of our movies!” aimed in the direction of the right “opinion-shapers” is all it takes to make one studio look like champs and the other look like chumps.

I’ll tell you what, though — I don’t care how they spin in, the $179 million opening weekend for Captain America : Civil War was a good $30-35 million less than the Disney “suits” had been both hoping for and expecting. They’re hedging their bets a bit by claiming that the Mother’s Day holiday put a little bit of a dent in their business, but funny — BvS opened the same weekend as a holiday, as well : it’s called Easter. Maybe you’ve heard of it. Not traditionally known for being a big day at the movies.

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Of course, Civil War‘s (weird as this may sound) “soft” opening shouldn’t be taken in any way as a reflection on the film itself. Plenty of great movies have absolutely tanked at the box office, while plenty of shit ones have made hundreds of millions — and in the final analysis (which I’m getting to, I promise), this one falls somewhere in between. Directors Anthony and Joe Russo seem to have a bit more free reign here, stylistically speaking, than previous MCU directors have been given, and the end result is a flick that doesn’t start to ape the “big-budget TV episode” look of, say, Joss Whedon’s Avengers flicks or Jon Favreau’s Iron Man flicks until — oh, I dunno — about halfway through its two-and-a-half-hour-plus runtime. Frankly — and hard-core Marvel fans are gonna slap me for saying this — given the keen eye they show for shot composition in the early going (and again during some parts of the movie’s purportedly “climactic” final battle), Civil War often looks more like a Zack Snyder film than it does a Marvel film, and that at least goes some way toward keeping a person’s eyes glued to the screen. The story, sadly, is somewhat less engaging, revolving as it does (in case you didn’t already know) around a bunch of heroes falling in line behind Captain America (played, as ever, with a reasonable amount square-jawed heart by Chris Evans) and another bunch falling in line behind Tony Stark/Iron Man (Robert Downey Jr.) as they take opposite positions on a bill to sanction, approve, and essentially regulate all super-hero work being advanced by the US Secretary of State (portrayed by a gaunt and sickly-looking William Hurt). “Team Cap,” which is opposed to the new legislation,  consists of The Falcon (Anthony Mackie), The Scarlet Witch (Elizabeth Olsen), Ant-Man (Paul Rudd) and Hawkeye (Jeremy Renner), while “Team Iron Man,” which is in favor of it, has The Vision (Paul Bettany), War Machine (Don Cheadle), Black Widow (the preposterously-un-Russian as ever Scarlett Johansson), and newcomers Black Panther (Chadwick Boseman) and Spider-Man (Tom Holland) in its ranks. The battle lines are drawn, one character will definitely get the worst of it, the MCU will supposedly change forever — you know the drill.

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Of those just-mentioned newcomers, Holland’s Spidey is getting all the hype, but it’s Boseman’s Black Panther who is far and away the more impressive. He’s sleek, silent, calculating, and even-keeled, and his forthcoming solo movie might just be interesting (as opposed to his newly-relaunched comic series, which is off to a truly risible start). Holland, by contrast, seems a bit too youthful and, to be brutally honest, wet behind the ears to be an effective Peter Parker/Spider-Man, and his origin story looks like it’s going to be a rather revisionist, or “retconned,” one, with a lot of Stark Industries influence, and constant references to how “hot” his Aunt May ( played by Marisa Tomei — who, I’m sorry to sound like a pig, has certainly looked a lot better in other films than she does here) is. We’ll see how that goes, but his role here essentially boils down to being the first bit of  comic relief in a film that frankly has none until he shows up just past the halfway point (if you really want some fun, though, add up the number of critics online and in print who have said that BvS was too “dark” and “joyless,” then turned right around and extolled the virtues of Civil War‘s  “serious” and “mature” tone). To Holland’s credit, his character’s comic relief shtick at least works, which is more than you can say for the flat, forced “humor” on offer from Paul Rudd’s Ant-Man — the less said about which the better.

You already know the two sides won’t stay at each other’s throats forever, of course, and that they’ll team up to fight a bigger threat (a cliched non-twist that BvS  was, again, panned for but that Civil War is, also again, being praised for) before all is said and done — the problem is that said “bigger” threat here is, in the end, just a guy. Daniel Bruhl’s Zemo character (who bears precisely no resemblance to the Baron Zemo created by Jack Kirby) is certainly manipulative and all, but on the whole he’s a decidedly un-menacing bad guy. Granted, previous MCU films have set the bar for “villain quality” amazingly low, but this clown is small potatoes compared even to the bog-standard CGI alien invaders of The Avengers or the laughably incompetent Loki from the Thor flicks. In all honesty, Sebastian Stan’s Bucky Barnes/Winter Soldier seems a more pressing danger than Zemo ever is, and we know from the outset that he’s being manipulated/impersonated and doesn’t really mean anyone any harm. I don’t know how an entire fucking commitee of screenwriters couldn’t manage to come up with a better “evil mastermind”-type character than the one we’re served up here — unless they weren’t really trying. The only thing that might be more lame than this is Cap’s wooden “romance” with Sharon Carter (Emily VanCamp) — who just so happens to be the niece of his first love from back in the 1940s. Nothing creepy about that.

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If you’re getting the impression that I found Captain America : Civil War to be something of a mixed bag on the whole, hey, you’d be exactly right — the plot has a bit more thematic depth to it than most MCU fare and it’s a more appealing package visually (until it gets all “point-and-shoot” later on), but it suffers from all the usual flaws these things do, as well, the largest being that it exists more for the purpose of selling audiences on the next two or three films in this “universe” than it does for creating a truly memorable and “game-changing” viewing experience this time around. The Russo Brothers seem to be getting a more effective “hang” on this whole “blockbuster thing,” which is a good sign given that they’ll be heading up the next two films in the Avengers series, but if current patterns hold — and at this point there’s no reason to believe that they won’t — even those “tent-pole” releases will continue to promise that the best, biggest, baddest, and coolest thing ever is just around the corner. It would be nice if, for once, it actually arrived — but Disney studio execs (and I’m sure the same will be true for their counterparts at Warners as the so-called “DCEU” progresses) have no real reason to give audiences the “steak” rather than the “sizzle” as long as these two-and-a-half-hour “teaser reels” for future films continue to make money — even if they’re starting to make less money than they used to.

 

 

 

I suppose it was inevitable, really. With the vampire craze in full swing thanks to TV shows like True Blood  and The Vampire Diaries, and with the damn-near-ubiquitous-at-this-point Twilight franchise ruling at the box office and still sitting somewhere near the top of the fiction bestseller lists, it was probably only a matter of time before the creatively-stagnant-powers-that-be in Hollywood turned their attention to a remake of one of the quirkiest, most downright fun vampire movies ever made, namely writer-director (and eventual Child’s Play creator) Todd Holland’s 1985 mini-masterpiece Fright Night.

Here’s the thing, though — any “reimagining” of Holland’s film was doomed to be subpar in comparison to its progenitor almost from the word go because a big part of the original Fright Night‘s charm is that it’s such a product of its time. It’s unpretentiously, unapologetically 80s all the way, not because it was trying to be or anything, but just because, hell, that’s when it was made and they didn’t have much budget to reach for anything greater than they were capable of. It’s from that brief-but-glorious time when Hollywood decided to try to blend equal parts teen horror and teen comedy and see what it could come up with — if there was money to be made halfway between Friday The 13th  and Porky’s, if you will.

The answer, ultimately, was “some, but not enough to keep it going,” but in both the sort and the long runs the fusion-formula gamble paid off , and continues to pay off, for us genre fans with classics like Holland’s film and Fred Decker’s superb Night Of The Creeps.

That, however, was then, and this, needless to say,  is now. And what has the now brought us?

Well, something of a “close-but-no-cigar,” I’m afraid.

Director Craig Gillespie (best known for the indie-hit Lars And The Real Girl) really does seem to have his heart in the right place here, and some of the “modernizing” touches, such as setting the story in a typically barren suburban Las Vegas cul-de-sac, work quite well (Vegas has a transient population and it’s not entirely out of place to see a house with blacked-out windows because so many people work night and need to sleep when it’s light out) — and some of the casting choices are damn-near brilliant, to be honest. Colin Farrell as vampire-next-door Jerry is out-of-this-world menacingly cool and oozes dangerous charisma throughout. When he’s hanging out just on the other side of the doorway of our ertswhile teen hero Charley (Anton Yelchin)’s house because he hasn’t been invited in, the tension’s palpable as he quite clearly is trying to ingratiate himself to the point where Charley tells him “hey, man, come on in” but is also trying to suss out whether our intrepid adolescent has figured out who and what he really is. It’s a highlight-reel moment in a (no shit here people) Oscar-worthy performance from Farrell.

And on the supporting actor front — recasting Roddy MacDowall’s legendary Peter Vincent character as a Criss Angel Mindfreak-type Vegas performer rather than a washed-up TV horror host is another stroke of pure genius, as was casting Doctor Who  alum David Tennant in the role. Essentially he’s just playing the Tenth Doctor with a substance abuse problem (and, it’s strongly hinted, the sexual dysfunction issues that often go along with that), but it works and it’s a hell of a lot fun.

It’s in the rest of the casting, though, that the big cracks in this flick begin to show. First off, Anton Yelchin is just a straight-up bore as Charley, and nowhere near as interesting, or even mildly sympathetic, as a lead needs to be. He just never gives you much of any reason to give a shit whether or not he, and by extension through him everyone he loves, gets killed. So that’s a bit of a bummer. He’s not even so much actively bad as he is just crushingly bland. And the same can be aid for his supposedly too-hot-for-him, entirely-out-of-his-league girlfriend, Amy, played by Imogen Poots (today’s winner of the “celebrity-names-that-are-too-fucking-clever-by-half award, runner-up being Miranda July), who (sorry to be superficial, but) isn’t all that outrageously hot and more importantly isn’t all that good an actress. And finally, we’ve got Toni Collette slumming is as Charley’s mom (quite an international cast here, by the way — Collette’s Australian, Yelchin’s Russian, Tennant and Poots are British, and Farrell’s Irish), who’s serviceable enough, but this role is too blase for an actress of consequence like her to be messing with.

And lastly on the poor casting and performances front, and this one really hurts — Christopher Mintz-Plasee, McLovin himself, absolutely sucks as the 2001 version of Evil Ed. Granted, the script absolutely wrecks the character from the outset, turning a likable geek from the original into an asshole geek in this one, but even still, Mintz-Plasse is so unconvincing as a prick-ish nerd, and even more unconvincing one’s he’s “turned” by Jerry, that even a better-written character wouldn’t have stood a chance.

The other big flaw with this film is the script itself. the pacing just seems off from the start and when the film’s earlier attempts at blending some comedy into the mix, as the original did so effortlessly, are abandoned, we end up with a flick that takes itself way too seriously when at the outset it seemed like it wanted to plant its tongue firmly in its cheek. The massive, cop-out, deus ex machina-type plot device that resolves everything at the conclusion is impossibly lame, too, and probably made David Tennant feel right at home because it’s just the sort of mega-big, but mega-cheap-and-obvious ending that Russell T. Davies used to wrap up every season of Doctor Who with.

All that being said, there’s slightly more good than bad here on the whole, especially if you see it in 3-D (and yes, this was actually shot in 3-D rather than having it added in post-production, so there are some really cool, old-school 3-D style moments), and hey, you even get a cameo by the original Jerry himself, Chris Sarandon, so all is not lost by any means. But it sure comes close. Gillespie and crew seem to either lose sight of, or change their minds about, exactly what type of film they’re making here at right about the halfway mark, and make the rather perplexing choice to bury the fun under the grim way past the point where they ever had much chance of actually scaring us very much,  and the result is a movie that tries to be more than it has any business being, and consequently, and ironically, ends up being so much less. in short, it’s tough to go for pure thrills, chills, and gore when you start off letting us know we needn’t take anything here too seriously. Either stick with trying to blend horror and comedy from start to finish, as the original did so successfully, or just go with one or the other. And hey, if you ‘re absolutely determined to convince us that suddenly,out of nowhere, this now-dark-and-humorless world has consequences, don’t insult our intelligence by telegraphing an obviously consequence-free ending  (remember that deus ex machina I mentioned a second ago?) while there’s still a good half hour left to go.

Don’t get me wrong — as remakes go, this could have been a lot worse (most are), but to see a movie that really does seem to get where it’s coming and have an equally solid idea of where it’s going suddenly become so thoroughly and completely lost thanks to some ill-advised, and out-of-the-blue, tonal shifts just when it seemed to be in a position to really hit its stride is a real head-scratcher. Gillespie just about had a film here that you could happily compare to its predecessor, as with Let Me In/Let the Right One In (just for the sake of a recent comparison in the vampire genre), but the whole thing really loses it focus, and its heart, when it decides to ditch the fun and start taking itself seriously for no discernible reason whatsoever.  Some of the actors, most notably Farrell, who’s just plain dynamite here, really deserve better than to have their self-assured, supremely confident work lost inside a movie that  can’t quite decide what it wants to be.